Contributions of the group altprocess

Union Square - 2

nobody@ipernity.com (J P Jackson) — Mon, 30 Sep 2019 14:20:15 +0000

J P Jackson has posted:

Photo intaglio print made with analog film and photopolymer plate - 18.5cmx18.5cm

ftmfh

nobody@ipernity.com (J P Jackson) — Fri, 19 Apr 2019 11:50:30 +0000

J P Jackson has posted:

cyanotype printed from a 5x7 inch in camera negative.

Ragle Oaks

nobody@ipernity.com (Ned) — Mon, 05 Feb 2018 04:47:19 +0000

Ned has posted:

Oaks at Ragle Ranch Park in Sonoma County, California.
Printed 3 February 2018

Salted paper print of a calotype.
7x11 inch image on 9x13 Strathmore 500 drawing paper.

Toned in gold borax and platinum. Sorry I can't get the color right... it's subtle and nice: midtones remind me of the color with vinegar instead of citric acid in the silver nitrate. The darkest shadows were just starting to turn a sooty black when I stopped the toning.

Marshall Gulch

nobody@ipernity.com (Ned) — Thu, 01 Feb 2018 04:12:19 +0000

Ned has posted:

Salted paper print of a calotype.

Printed 28 January 2018
7x11 inch image on 9x13 Strathmore 500 drawing paper, plate finish

Started exposure facing East away from the sun with a paper diffuser, my daughter and I went to the beach and when we got home the sun was setting. I finished it with 5 minutes under BLB but it didn't print deeply enough to tone well. Toned in gold thiocyanate for over an hour, it did not shift the color much but it did increase contrast and brighten the water a bit. It has a kind of soft light look that reminds me of that morning. I thought I was going to need to re-print it, but I like it just the way it is.

blue hornets nest

nobody@ipernity.com (J P Jackson) — Wed, 17 Jan 2018 19:12:16 +0000

J P Jackson has posted:

Cyanotype printed from 5x7 inch analog negative.

Oakleaf Hydrangea 'Snowflake'

nobody@ipernity.com (J P Jackson) — Sat, 12 Aug 2017 12:14:51 +0000

J P Jackson has posted:

From 5x7 B&W analog negative; exposed and developed Aug. 10, 17 ; printed Aug. 11, 17. Sensitizer is a mixture of 50/50 "classic" and "Ware's" formulas.

Making pictures out in the yard.....

still life on the porch rail

nobody@ipernity.com (J P Jackson) — Fri, 11 Aug 2017 17:54:03 +0000

J P Jackson has posted:

From a 5x7 inch B&W analog negative.
A 50/50 mixture of "classic" and "Ware's" sensitizers.
Arches platine 310gsm pare.

July 4, 17 horse house

nobody@ipernity.com (J P Jackson) — Mon, 10 Jul 2017 12:40:36 +0000

J P Jackson has posted:

In camera negative (5x7 inch) exposed July 4, 17. Cyanotype on Arches platine paper.

still life with yellow; gum/pigment over cyanotype

nobody@ipernity.com (J P Jackson) — Tue, 31 Jan 2017 14:21:51 +0000

J P Jackson has posted:

Watauga lake (2) Oct-3-2016 (palladium/platinum print)

nobody@ipernity.com (J P Jackson) — Sat, 22 Oct 2016 12:45:04 +0000

J P Jackson has posted:

Exposed with Deardorff 4x5 Special w/5x7" back. 210mm lens, Y6 yellow filter. 1.6 seconds @ f32.
V500 scan (800 dpi) of a 5x7inch Pd/Pt(IV) print. FP4+w/ Xtol +0@72F - 14 minutes. Arches platine 310gsm paper. Developed in Potassium Oxalate.
Printed on Oct-21-2016.

Carlevaro Beach Salt Print

nobody@ipernity.com (Ned) — Mon, 19 Sep 2016 00:26:26 +0000

Ned has posted:

This is a salted paper print made from a calotype.
Printed 17 September 2016.

I wish I could get the color right so that you could see it. I fussed around for quite a while but just could not get it to look like the print. The print has a slightly peachy-pink cast and a nice soft light look...nothing harsh at all. I'm afraid it this image does not even hint at the tones in the print.

Lana Aquarelle paper, 2% Hawaiian alaea salt, 0.5% citric acid, 0.5% sodium citrate, 1% "superclear" pigskin gelatin. I have a batch of different papers salted with this combination, and every print before this one had some problem with fog.

For this print I added more citric acid to the sensitizer and it solved the fog problem, but it did also slow down the printing a bit. It was coated with 12% AgNO3, 10% CA.

2 hours with a paper diffuser, in the shade aimed East away from midafternoon sun. 5 minutes aimed East without diffuser. 90 second blast of straight sun to lock in the darks.

Toning: 0.34 g borax + 3.4 ml 0.2% gold chloride in about 80 ml of water for 20 minutes. Then added a scant 1 ml of 2% ammonium thiocyanate and agitated until the first hint of a shift in tone was apparent: 2 minutes. This shifted the tone away from red toward peach and somewhat more neutral. I think it made the highlights ever so slightly brighter too. I'm very pleased with it :) I'm going to attempt to tone a whole series this way -- but not with this salting solution, which was troublesome. I'll try to capture the color better next time.

Franklinia alatamaha - Argyrotype

nobody@ipernity.com (J P Jackson) — Wed, 31 Aug 2016 12:13:40 +0000

J P Jackson has posted:

Exposed with Deardorff 4x5 Special w/5x7" back. 210mm lens, Y6 yellow filter. 35 seconds @ f32.
V500 scan (800 dpi) of a 5x7inch argyrotype print. Delta 100+w/ Xtol +1@75F - 12 minutes. Cot 320 paper. Developed in spring water.
Printed on 08-30-2016.

Back yard 6-16-16 - argyrotype

nobody@ipernity.com (J P Jackson) — Sun, 19 Jun 2016 18:48:36 +0000

J P Jackson has posted:

Exposed with Deardorff 4x5 Special w/5x7" back. 210mm lens, Y6 yellow filter.
V500 scan (800 dpi) of a 5x7inch argyrotype print. Delta 100+w/ Xtol +1@74F. Cot 320 310gsm paper. Developed in spring water.
Printed on 06-19-2016.

Fence - Tree - April -14-2016

nobody@ipernity.com (J P Jackson) — Fri, 29 Apr 2016 18:32:15 +0000

J P Jackson has posted:

Exposed with Deardorff 4x5 Special w/5x7" back.120mm lens, Y6 yellow filter.
V500 scan (800 dpi) of a 5x7inch "new"cyanotype print. FP4+w/ D76+0@80F. Arches platine 300gsm paper. Printed with my new UV exposure unit on 04-26-16.

Namias' Sepiaprint 2

nobody@ipernity.com (Ned) — Sat, 05 Mar 2016 19:22:18 +0000

Ned has posted:

Another Namias' Sepiaprint, this time un-toned.

Pinhole paper negative from February 2015, Laguna de Santa Rosa.

Printed 4 March 2016

Namias' Sepiaprint

nobody@ipernity.com (Ned) — Wed, 02 Mar 2016 00:55:42 +0000

Ned has posted:

Rodolfo Namias' Sepiaprint

Pinhole paper negative, heritage oak at Finley Community Center in Santa Rosa, California

Left: still wet after fixing. According to Namias, the browns would get much darker if allowed to dry.

Right: final dry print after toning.

I read Namias' 1901 article describing an iron-silver process. It is somewhat like a so-called “Van Dyke Brown” print, but uses citric acid instead of tartaric acid. It is not one of the historic processes that has remained popular today. I can't find much record of its use, except in “sepia paper” used for copying technical drawings, similar to the way blueprints were used. Since I had all the needed supplies, I thought I'd try it.

I followed the directions in the article and made this print from a pinhole paper negative. Everything went just as Namias described, which in itself is a refreshing change from usual. Usually there are all sorts of things that can go wrong, but it made a nice print on the first try.

This must be the simplest and easiest printing process I've ever tried:

* brush on the senistizer, let dry
* expose the print
* wash for 2- 3 minutes
* fix for 2-3 minutes
optional: tone after fixing
* wash.

Everything was done as simply as possible. I already had eyedropper bottles of

24% silver nitrate
12% citiric acid

that I use to make salt prints. I made another eyedropper bottle with:

25% ammonium ferric citrate

A drop ratio of 1:2:2 is close to the formula in Namias' article. I used:

6 drops silver nitrate + 12 drops citric acid + 12 drops ammonium ferric citrate

This was much more than enough to coat a piece of 5x7 inch paper.

I used Canson Universal Sketch paper, which does have an alkaline buffer, but it worked just fine.
You can see the highlights are perfectly clear white with no fogging and no hint of yellow.

Brushed on with an inexpensive foam brush, no brush marks or uneven areas are visible.
Exposed it for ½ hour under BLB compact fluorescent lamps, it did not look done, so exposed for ½ hour more. Then it was time for dinner so I just turned the lamps off.

After dinner, it was interesting to see the image intensify in the wash, just as Namias described. Then it intensified again and changed color in the hypo. I used a rounded ½ teaspoon of sodium thiosulfate in about 60ml water to fix the image.

Namias recommended gold thiocyanate toner after fixing, so I mixed a weak toning solution of:

2.5 ml 0.2% gold chloride + 2.5ml 2% ammonium thiocyante in about 70ml distilled water.

Toned in this for about 10 minutes, until it did not seem to be changing much.

Washed for an hour then dried on a sheet of glass overnight.

I think it is remarkable how there is detail in the deepest shadows ( on the tree and in the background on the right ) and in the most extreme highlights ( bulletin boards on the building in the background ). Also the sky is perfectly paper white.

This is a fun and interesting process, and particularly simple. Next time I will let one dry down without toning and see what it looks like. With the right negative, it might make a nice print!

Duncan's Landing Salt

nobody@ipernity.com (Ned) — Mon, 29 Feb 2016 04:23:02 +0000

Ned has posted:

Salt print from calotype.
Calotype had a few spots touched up on back w/ soft pencil.

Lana Aquarelle, 2% alaea salt, 0.5% CA, 0.8% gelatine.
Sensitized with 12% AgNO3, 6% CA.

Bright overcast at start, partly sunny after first 1/2 hour.
1h 25m toward N sky with paper diffusor.
10m facing E away from sun, no diffusor.
2m direct 4PM sun.

Toning:
2ml 0.2% gold chloride + 2ml 2% ammonium thiocyanate in about 80ml DH2O. 12 minutes.
Followed by:
0.2g borax + 1ml 0.2% gold chloride in about 80ml water, 10 minutes

Hard to get the tone right on this digi-snap. It is a little more neutral, but also a tiny bit more toward dark purple in the water. It also looks sharper with more "pop".

Printed 27 February 2016

Redwoods in Fog

nobody@ipernity.com (Ned) — Mon, 08 Feb 2016 20:12:56 +0000

Ned has posted:

Gold toned salt print made from a calotype.
Printed 7 February 2016

This "fairy ring" of redwood trees is probably on the same ground a prehistoric giant once stood upon. At Riverfront Regional Park near the Russian River in Sonoma County, California.

Laguna de Santa Rosa

nobody@ipernity.com (Ned) — Tue, 19 Jan 2016 03:44:51 +0000

Ned has posted:

Still working on the non-toxic oil prints. This is an oilprint using AFC instead of bichromate. I'm having mixed luck, but having fun trying to make it work.

It was made from a pinhole paper negative. I've never printed or scanned this negative before, I think it is from February 2015 "red rooster" coffee can pinhole camera.

Printed / inked 17 January 2016

Vase and Tulips

nobody@ipernity.com (Antonio) — Wed, 06 Jan 2016 20:18:20 +0000

Antonio has posted:

--------------------------------------------------------------------------------
Sinar P2 8x10" with Fomapan 200 developed in Pyrocat-HD.

Printed on Bergger Cot 320

Mike Ware Cyanotype