Photos, videos and docs of Ned, with the keywords: "calotype"

Marshal Tavern salt print

nobody@ipernity.com (Ned) — Mon, 08 Dec 2025 05:20:23 +0000

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Printed 6 December 2025
The print is warmer than this shows, with a little pink cast to the sky.

Foggy at my house, so I put it in the contact printing frame and drove about 1/2 hour to find some sunshine! It was exposing on the passenger seat while I drove under the clouds :)

Then another 30m open sky w/ diffuser
12m sun w/ diffuser
13m open sky no diffuser
3m direct sun.

This is maybe a boring picture, but it printed easily. Then I drove home and processed it. Toned with gold borax toner for about 40m

Marshall Tavern calotype

nobody@ipernity.com (Ned) — Mon, 08 Dec 2025 05:20:08 +0000

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Another Guillot-Saguez calotype on vidalon vellum paper.

4 December 2025 around noon
5x7 Eastman No. 1, velostigmat
LV: sky 15, front of building 16, water 14-15, cypress trees 11
Exposed 16m @ F/22

Sensitized 10:30a, exp 11:45a, dev 1:30p
No image at start, added 1 eyedropper ( ~3/4ml ) ANS, developed 40m.

Marshall Tavern

nobody@ipernity.com (Ned) — Mon, 08 Dec 2025 05:19:55 +0000

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Marshall Tavern was built in 1870 originally as a hotel. In the 1970's Neil Young, Joan Baez and Van Morrison played there. Now it is empty and falling apart.

Gleason Overlook salt print

nobody@ipernity.com (Ned) — Fri, 05 Dec 2025 05:21:13 +0000

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Printed 3 December 2025

Strathmore 500 vellum surface drawing paper, rice starch, NaCl
1h10m faced East away from sun.
7..5m facing 3PM winter sun.
toned with gold thiocyanate

Gleason Overlook calotype

nobody@ipernity.com (Ned) — Fri, 05 Dec 2025 05:20:57 +0000

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2 December 2025 around noon

Maybe not a great calotype but this is my first Furlong family calotype that did not fog in the developer, and I kind of like it. Canson Marker and Ruscombe Chateau Vellum fogged badly both untreated and acidified in 2% sulfamic acid. This time I soaked in 10% NH4Cl ( to hopefully “chlorinate” any cationic starch ) washed and then acidified in 5% distilled vinegar ( calcium acetate is soluble. ) I saw that Darran Green over at FB does not wash after acidification, so I didn’t either. I have a sheet of iodized chateau vellum prepared the same way that I’m hoping to try tomorrow.

Not sure whose process I should say this is. I made a list of 12 historical sensitizers used with double iodide, with AgNO3 from ranging from 0.1 to 1%, acetic acid from 0.2 to 9% and ss gallic acid from none to 8%. Possibly if we leave out the gallic acid we should call it Adamson’s process. In any case it’s Furlong’s “single wash” iodizing process!

5x7 Eastman No. 1, velostigmat
White water LV 16, sky 15+, water 15, sun on near rock 14 , shade on rock 13.
16m @ F/22, extended to 20 minutes because fog and clouds obscured the sun.

iodized – single wash double iodide, washed overnight, dried for a day.
Sensitized: 0.71% AgNO3 and 2.85% acetic acid
the big stain in upper left appeared during sensitization.
Sensitized 11AM, exposed noon, developed 1:30PM

No image at start. Added ½ eyedropper ANS to 100ml ss gallic acid. Seemed to come up nicely. This one was very fun to watch develop… it was like watching a painting with ivory black watercolor. Done at 21 minutes. There were AgNO3 splatter stains on the back that disappeared in the hypo.

Gleason Overlook

nobody@ipernity.com (Ned) — Fri, 05 Dec 2025 05:20:42 +0000

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Making a calotype near Gleason Overlook, Sonoma Coast, California

Hood House Salt Print

nobody@ipernity.com (Ned) — Wed, 03 Dec 2025 01:32:05 +0000

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Untoned salt print from calotype.
I should have left the borders so the bottom didn't get cut off.
The rubylith mask I'm using is a tiny bit too big anyway!

Printed 1 December 2025
Strathmore 500 vellum surface drawing paper, rice starch and NaCl.
1PM start.
2h 20m aimed East away from sun with paper diffuser.
1 minute direct sun, no diffuser.
That's probably as much contrast as could be coaxed out of this thin negative. :)

Hood House Calotype

nobody@ipernity.com (Ned) — Wed, 03 Dec 2025 01:31:51 +0000

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Another Guillot-Saguez calotype.

I knew I was a bit too close, but forgot that the calotype is a little smaller than the glass holder, and that it would be masked even more when printing. The calotype was also upside down in plate holder ( you can see my pencil mark indicating the back in the upper left corner. ) I'll go back to this place when it is sunny and find a spot further back.

28 November 2025, 2PM overcast and foggy.
Sky LV 14.5, House 12.5, under eaves on porch 11.5, orange tree 10.5.
Decided to expose for 12.5

5x7 Eastman No. 1, Wollensak velostigmat
Exposed 36m @ F/11
4% KI, 1%KBr iodizer
7% AgNO3, 12.5% AA sensitizer

Even though a few things were not going well, the development did seem to go better. There was a faint image visible at the start ( I gave an extra stop of exposure ) 1 scant eyedropper ANS in 100ml ss gallic acid, it seemed to come up pretty well and was done after 19m. The negative is very thin and will be difficult to print. I tried anyway because it is good practice.

William Hood House

nobody@ipernity.com (Ned) — Wed, 03 Dec 2025 01:31:36 +0000

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Making a calotype at William Hood House in Sonoma County, California

House was built in 1857. The architecture is not special but it was constructed from brick, which was unusual at that time.

The sun was supposed to be out, but the fog never burned off. Since my calotype was already sensitized, I decided to try anyway.

Church of one tree salt print

nobody@ipernity.com (Ned) — Wed, 26 Nov 2025 21:25:12 +0000

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Untoned salt print from Church of One Tree calotype
Printed 25 November 2025

I knew this one would be hard to print but I didn't help myself by starting too late in the day.

Started about 2PM faced East with a paper diffuser. After one hour turned to face the sun but the sun set behind trees before 3:30. Under BLB with diffuser for 3 more hours, then 5 minutes without the diffuser. The print is a little warmer brown than this shows.

Church of one tree calotype

nobody@ipernity.com (Ned) — Wed, 26 Nov 2025 21:24:58 +0000

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Another Guillot-Saguez calotype, made 24 November 2025.

Full shade and a dull red color made this difficult.

5x7 Eastman No. 1, Wollensak velostigmat
LV 11 church, LV9 shrubs.
Exposed 64m @ F/8

Vidalon Vellum paper
Iodized 4% KI, 1% KBr
Sensitized 7% AgNO3, 12.5% acetic acid
Sensitized at 10:30A, exposed at 12:45P, developed at 2:45P

Developed in 100ml ss gallic acid with one eyedropper of ANS added.
another 1/2 eyedropper added at 12m, done at 35m
the calotype is pretty thin and will be difficult to print, but it was starting to fog so it was time to stop developing.

Church of one tree

nobody@ipernity.com (Ned) — Wed, 26 Nov 2025 21:24:44 +0000

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Church of One Tree was built in 1873 in Santa Rosa, California.
It was constructed from the wood of a single redwood tree. The tree was 275 ft ( 84m) tall and 18 ft (5.5m) in diameter and produced 78000 board-feet ( 180 cubic meters ) of lumber.

I seem to be choosing difficult photos to learn this kind of calotype. The scene is in full shade and a calotype is almost blind to the dull red color.

Burbank Greenhouse salt print

nobody@ipernity.com (Ned) — Fri, 21 Nov 2025 22:42:50 +0000

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untoned salted paper print from calotype
printed 20 November 2025

Strathmore 500 vellum finish drawing paper recently prepared with rice starch and NaCl.
I usually expose salt prints in 4 stages:
1) with paper diffuser aimed East away from sun
2) with paper diffuser aimed at sun
3) without diffuser aimed away from sun
4) 2 or 3 minutes with no diffuser direct sun.

I forgot to put the paper diffuser on when I started and didn't think of it until 7.5 minutes. I put the diffuser on then. The print was already overexposed after just 5 minutes of step 2, so I skipped step 3 and only used 1 minute direct sun.

Burbank Greenhouse calotype

nobody@ipernity.com (Ned) — Fri, 21 Nov 2025 22:42:36 +0000

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Calotype made 18 November 2025
Luther Burbank's greenhouse

Details:
2nd calotype using the Guillot-Saguez process. This one came out a little better but I was still too cautious about adding Aceto-nitrate of silver during development.

5x7 Eastman No. 1, Wollensak velostigmat
LV 16 sunny bricks, LV 15 sky, LV 13 shady bricks, LV 10 background trees
Decided on LV14 but added an extra stop for red colored bricks.
Exposed: 32m @ F/22

Vidalon Vellum paper
iodized 4% KI, 1% KBr
sensitized 7% AgNO3, 12.5% acetic acid

sensitized at 11AM, exposed at 2PM, developed at 4PM
lost upper left corner when positioning on glass plate.
paper was wet a long time and lower left corner came mostly off during processing.

100ml ss gallic acid, 4 drops ANS
added about 1/2 eyedropper at 5 minutes, another 1/4 at about 10m and 15m.
done at 20m.
still would like to see a little more density ( could just see newsprint through the sky ) and next time I will start with more.

Burbank Greenhouse

nobody@ipernity.com (Ned) — Fri, 21 Nov 2025 22:42:23 +0000

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Making a calotype of the greenhouse at Luther Burbank's house in Santa Rosa, California

Luther Burbank was the "plant wizard" of Sonoma County. This greenhouse would have been kept warm in the winter and at night with the fireplace.

Dragon Tooth calotype

nobody@ipernity.com (Ned) — Sun, 02 Nov 2025 03:55:23 +0000

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This one has some staining but I thought I'd print it anyway for the practice. I think the stains were caused by overexposure.

29 October 2025
5x7 Eastman No 1 camera
sky, water, and foreground LV16
front of rock in water LV14
exposure 10m @ F/32
Greenlaw's process on vidalon vellum
developed too fast, done at 18m.

North Wright's Beach

nobody@ipernity.com (Ned) — Tue, 14 Nov 2017 02:36:16 +0000

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North Wright's Beach on the Sonoma Coast in California. Really beautiful day at the coast, I was in my shirtsleeves. Some of our best days at the beach are in late fall and early winter.

Calotype made with Alexander Greenlaw's process.
Bright, cloudy.
LV 16 brightest clouds, 15 sky, water, beach, 14 near slope.
12m @ f/32

Development, as usual, very faint image at start, 2 scant eyedroppers ANS, came up pretty fast, done after 29m.

This calotype has a bunch of problems and I'll be going back to try this again. It was a lovely day but the light was a bit flat, so it wouldn't be a bad thing to try again ( like I need an excuse to go to the beach! :) I don't know what causes the marbling ( in the middle, in the water and sky ) but it happens occasionally. There are a few pinholes, some are small enough to have been caused by dust in the camera, but some are bigger white spots. A few small black spots. And that funny lighter area on the right: I've seen that before a couple times too and it's always at that end of the calotype -- I wonder if one end sometimes doesn't get sensitized enough. Also I'm going to include more of the near beach.

Coast Live Oaks

nobody@ipernity.com (Ned) — Wed, 01 Nov 2017 04:37:54 +0000

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Coast Live Oaks at Ragle Ranch in Sebastopol, California.

Alexander Greenlaw's process calotype.

7x11 Eastman No. 2, uncatalogued Wollensak lens.

4PM sun fairly low. LV 10 on trunk, 11 mid-scene, 12 brightest light through branches.
1 hour @ F/16

Development: 1.4g gallic acid in 200ml DH2O. Added 2-1/2 eyedroppers ANS, image was most faintly visible at start, came up normally. Stopped development at 28 minutes. Wash 2x5m DH2O, fix 2x10 minutes in hypo, 3m in sodium sulfite, wash 1.5 hours in changes of RO water. Dried for 2+ days between 3 changes of blotter.

I didn't notice any pinholes or black spots or defects on this calotype, which goes along with the idea that they get better after the 1st one goes through replenished sensitizer.

Marshall Gulch

nobody@ipernity.com (Ned) — Mon, 30 Oct 2017 04:54:51 +0000

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On the Sonoma Coast in California.

The rock out in the water on the left is called Arched Rock, the arch goes seaward, so is not visible from this side. This is a nice pocket beach where a small stream reaches the ocean.

7x11 Eastman No. 2, uncatalogued Wollensak lens.
f/32 for 24m

Light was a little difficult, it was sunny but with morning haze, so hard to know how much UV might be bouncing around. LV 15 water, sky; 14 sand, 13 foreground rocks.

Calotype made with Alexander Greenlaw's process.

Development: added 2 eyedroppers of ANS to 1.4g of gallic acid in 200ml DH2O. Image was very faintly visible at start, it came up fast and I stopped at 23 minutes. More pinholes and black spots than usual... I had just replenished my sensitizer and I wonder sometimes if it's more prone to some of these problems with fresh acid and silver in it. Dried between 3 changes of blotter for several days.

( digi-snap of reverse side by mistake.. I flipped it back in software but it's not as sharp as the front of the negative )

Vidar's Sunshine Calotype

nobody@ipernity.com (Ned) — Thu, 14 Sep 2017 04:09:12 +0000

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I'll always remember making this calotype because of something funny that happened. I'd made 3 calotypes earlier in the day, and each time the sun clouded over or it rained on me ( of course, it was sunny between the times I was making photographs! ). I was leaving the Norsk Folkemuseum for the day when I bumped into another member of our little calotype group, Vidar. Vidar was arriving with his camera and said he was going to make another calotype. I said I thought the sunlight was done, and he said, just watch: when he opens his tripod it will make the sun come out again :) So I turned around and went back to this picturesque corner of "old town" that had caught my eye, and Vidar went off to make his calotype. Sure enough, I set up the camera and then the sun came out and stayed out for the whole exposure, like magic! So this photograph was possible because of Vidar's magic tripod ( not to mention, my camera was mounted on another tripod that he generously loaned me for our time in Oslo).

The building on the left in this scene ( on the right side of the negative above ) is a half-timbered house that was built in the 1600s by Federik Brun, a bookbinder. After multiple disastrous fires, King Chrisitan IV issued an edict that all houses must be made from brick or stone. A less expensive alternative was to fill brickwork in the space between timbers, or "half-timbered", and still resistant to fire. This is Brun's actual house; it was relocated here to the museum.

I will try to remember this story correctly: Brun lived with his wife and a large household of children, housemaids and an apprentice bookbinder. When he passed away, his elderly wife married the much younger apprentice and kept the bookbinding business running... and when the wife passed away, the now older apprentice then married a much younger housemaid and they kept the business running. When the old apprentice passed away, his now older wife married his much younger apprentice, and this pattern continued for several generations! This pattern seems astonishing but when you read about how they lived it is more understandable.

Trutat variant of a Pélegry calotype on Canson Opalux paper.
5x7 Eastman No. 1, modified Wollensak Velostigmat
4:30PM sunshine!
LV ~14, f/8, 7 minutes

Development:
30 August
Faint image visible at start.
200ml of 0.7% gallic acid, added 2 drops of 12% citric acid and 4 drops of 24% silver nitrate.
Looked good after 50 minutes.