MurrayMinchin
Membership Council
Thanks for the tip...will look into it.
Thanks for the tip...will look into it.Murray,
I did a lot of "tail chasing" with linearity on several alt photo processes. I tried chart throb with limited success, however I took Clay Harmon's photopolymer workshop and started reading his blog. I really didn't want to invest in an expensive densometer, however he recommended a fairly inexpensive device used for paint matching - here a link to his writeup - https://clayharmonblog.com/posts/ColorMuse2-affordable-colorimeter. Although not perfect, it is surprisingly linear which is what is important, and with a simple linear correction it works well. It has helped me linearize both cyanotype, photopolymer and gum ..... as Koracks has pointed out there are many process variables that must be controlled, it is a good way to start for roughly $100 (US). I quickly learned my UV setup had a "hot spot" and needed to be redesigned.... but good luck
Dave
Thanks!
Salted-paper is a really nice process... my favorite. I love the connection to the very dawn of photos on paper.
From what I have seen (I have no direct experience) tri-color gum has a very steep learning curve. The two folks I've known who used to use the process both recommended taking a workshop in order climb that hill. Good luck!
Probably the first (and likely last) cyanotype print ever made by tiling multiple exposures together onto the one sheet of paper. I've been trying for a while and this was the best I could do, but the 'busy' image is doing a lot of heavy lifting to hide the imperfections. Still, I kinda like how it turned out so I might frame it and hang it up anyway.
Very nice - I can't really detect the tiling, good Dmax and a few whites - what is the overall size? Wish my handwriting were as good as yours - looks extremely professional.
Van Dyke
Coffee toned cyanotypes
Excellent cyanotypes, and nice framing. Would you be willing to share the type of paper and the details of the coffee/cyanotype process you used
I have done some toning of standard cyanotypes on arches WC cold press using strong instant espresso and the staining was very bad. However yours look much better.
Cheers.
I first tried bleaching before toning in sodium carbonate, using Magnani Portofino hot-press watercolour paper, but the bleaching made the print look faded and the paper stained horribly.
Then I tried a short toning (30 minutes) without bleaching on the other paper that I use which is a very cheap store-brand hot-press watercolour paper, and that turned out significantly better, with decent dark eggplant blacks and quite acceptable levels of staining. Unfortunately I can't really tell you much about the paper as it is just re-branded by a local art store chain, but it's 230 gsm and almost certainly not pure cotton or anything fancy. Here's a link:
GH WET STRENGTH CARTRIDGE 230G A3 PAD 30 SHT
GH WET STRENGTH CARTRIDGE 230G A3 PAD 30 SHTwww.gordonharris.co.nz
I think the paper makes a huge difference to how bad the staining is, and I couldn't tell you what it is about this paper that works, maybe the sizing?
I use 6 tablespoons of cheap instant coffee powder dissolved in 500mL of boiling water, which is then added to 3L of cold water (I had quite a few prints to tone and a large tray). I pre-soaked the prints in water in the hopes that it might prevent the paper absorbing too much of the coffee, and then placed the wet prints face-down in the coffee and let them sit for 30 minutes before removing and washing.
I like that!
not sure if this belongs here - I have been doing some photogravure intaglio prints from my digital images. Using the direct to plate process with a fairy linear curve in QTR. Printed on hahnemuhle durer copperplate with black ink.... was messing around with doing some gum layers over the intaglio prints. Was using some prints that were not "perfect" but had some small flaws/uneven inking etc. Decided rather than using gum layers I would to try just hand paint in some watercolor over the print. Now I have absolutely NO skill in watercolor or painting, but decided to give it a try - I was surprised how it came out - not perfect but not too bad either. Wondering if others have gone down this path - sort of like old silver gelatin B&W prints that were hand colored.......
City Gate in Gerace, Italy - Calabria
View attachment 387145
KYsailor, hope you’re managing the snow! I was wondering if you have your etching press sorted…I keep circling back to the idea of making oil transfer prints, though sneaking a big Conrad into the house might upset our domestic harmony.
Very nice!!!
Like you, I have no real skill in painting. However, I have experimented with hand coloring inkjet prints (see: https://porfolio.gorga.org/hand-colored-pigment-prints). I have not tried using an alt process print as the base; something to add to my 'to do' list.
Andy O’Neil has a number of YT videos where he’s doing “gum over” cyanotypes as well—they exhibit an interesting split tone effect. Otherwise, I think you have right idea on getting in with a studio group—
I’ve shied away from photogravure and carbon transfer just because of their big footprint. One more question, though: how are you mounting/presenting your images? Is it possible to dry mount a photogravure print?
Andy O’Neil has a number of YT videos where he’s doing “gum over” cyanotypes as well—they exhibit an interesting split tone effect. Otherwise, I think you have right idea on getting in with a studio group—
I’ve shied away from photogravure and carbon transfer just because of their big footprint. One more question, though: how are you mounting/presenting your images? Is it possible to dry mount a photogravure print?
If you use traditional oil based ink I have read that it actually takes a couple of weeks to fully dry.
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