The Hybrid Photography Issue M Nancyscans and Nancyscans DFM
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Through Lens View
This article originally appeared in the 2010-2011 publication, “LANGDON REVIEW OF THE ARTS IN TEXAS” published by Tarleton State University’s Dora Lee Langdon Cultural and Educational Center in Granbury, Texas. THROUGH THE LENS OF THE VIEW CAMERA The general description of the wet darkroom process is not that complicated. yet the successful implementation requires a much deeper understanding and dedication to craft than is readily apparent. Large and Ultra Large Format photography requires a dedication and understating of craft, which in turn allows the artist to express themselves in a way that is unique to the medium. All cameras, regardless to size, are only a light-tight Box that hold the lens and film. Camera, film, chemicals and process are only the tools used to create the finished product. That finished product is the photographic print. It has to contain and express what the artist wants to say with respect to their feeling and interpretation of the suBject. It is said that amateur photographers talk aBout equipment, while serious photographers talk about photographs. Certainly it is important to have the proper tools in order to be successful at anything you attempt. Matters not whether you are building a bookcase, fixing a leaky kitchen faucet or making a photograph. But to obsess endlessly over your tool Belt is not necessary. When asked how they choose which camera to use, JB or Susan Harlin will usually say, “it is the largest camera I can get into position.” This is especially true for landscapes. The biggest obstacle is just how far they can carry any one camera. -
Alternative Processes a Few Essentials Introduction
Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z. -
Price List NEW.Pmd
Price List November 2014 The essential guide to the very best photographic equipment and materials Telephone: 01636-823922 Fax: 01636-821719 Email: [email protected] wwwwww.mor.morcoco.uk.com.uk.com We supply all these top brands... Agfa Hahnemühle Manfrotto Quantum Ansmann Harman Marrutt Reflecta Apple Heliopan Marumi Richards B+W Hensel Medalight Rodenstock Beattie Herma Metz Rosco Benbo Hewes Morco Rotatrim Benro Hitech NEC Samyang Billingham Holga Nissin Sandisk Bowens Hot Press Nova Savage Braun Hoya Omega Sekonic Camlink HP OpTech Sigma Canon Ilford Orchard Silvestri Canson Just Oregon Slik Cokin Kaiser Osram Snapshut Colorama Kenko Panasonic Sony Creativity Kenro Pantone Sunpak Delkin Kentmere Paterson Tamrac Douglas Kodak Peli Tamron Eclipse LaCie PermaJet Tetenal Elinchrom Lastolite Philips Toyo Energizer Lee Photolux Velbon Epson Lensbaby PhotoTherm Visible Dust Falcon Lexar Pinnacle Wein Fotospeed Light Craft Pocket Wizard Westcott Fuji Linhof Polaris X-Rite GePe Lowepro Polaroid Zeiss Gossen Lyson Morco Limited College Farmhouse, Cromwell, Newark, Nottinghamshire, NG23 6JE England Telephone: +44 (0)1636-823922 Fax: +44 (0)1636-821719 Email: [email protected] www.morco.uk.com Introduction Contents Welcome to The MORCO Price List. Page Inkjet Paper and Digital Consumables Since 1987 Morco has been a supplier of a wide range of Ilford Paper.................................................. 1 top quality products to the professional and amateur Fotospeed Paper......................................... 2 photographic and allied markets. Permajet Paper........................................... 2 - 6 Pinnacle Paper............................................ 7 We are the UK distributor for BEATTIE, PHOTOTHERM Hahnemühle Paper...................................... 8 - 9 and WEIN products, we also manufacture/produce MORCO Harman Paper............................................. 10 PHOTOGRAPHIC products. These products are available SnapShut Folio Covers............................... -
CHAPTER 18 the GUM BICHROMATE PROCESS Fig: 18 -1 Here, Christopher James, Alicia in Gum #2, 2012 (Gum) OVERVIEW & EXPECTATIO
CHAPTER 18 THE GUM BICHROMATE PROCESS Fig: 18 -1 here, Christopher James, Alicia in Gum #2, 2012 (gum) OVERVIEW & EXPECTATIONS Here’s the truth… in the gum bichromate process there are very few absolutely correct ways to do anything. Here’s another nugget of dependable veracity… in my experience, gum bichromate printers are the most passionate and hard-headed of all alternative process artists when it comes to their particular way of performing the process. I can just imagine so many of my friends reading that last sentence and saying, "I just know he’s talking about me!" © Christopher James, The Book of Alternative Photographic Processes: 3rd Edition, 2015 When the gum bichromate process is broken down into its three component steps, and explained in the most elementary way possible, it appears to be amazingly uncomplicated. However, to nearly every one of my students who has been taken with the process, and for those artists who are dedicated to it for life, gum bichromate slowly reveals itself to be one of the most complex in the alternative process genre. The gum bichromate process is ridiculously seductive. This is primarily due to its very limited chemistry, oh-so-simple water development, unlimited color palette using the watercolors of the artist’s choice, and very flexible ability to be coupled with a wide range of other alternative and graphic arts techniques such as platinum / palladium, cyanotype, all forms of printmaking and artist’s books. I think of gum as the photographic ambassador to the fine arts. Because of its pigment and substrate options, and brush application, gum bichromate printing is one of the few photographic processes capable of achieving that wonderful element I refer to as gesture - gesture being the evidence of the artist’s hand in the creation of an expressive and graphic mark. -
The Chiba System 千葉方式 : a Non Toxic Alternative to the Dichromate
The Chiba System 千葉方式 A Non Toxic Alternative to the Dichromate Processes January 2007 Halvor Bjoerngaard Graduate School of Science and Technology CHIBA UNIVERSITY (千葉大学学位申請論文) The Chiba System 千葉方式 : A Non Toxic Alternative to the Dichromate Processes or The Production of Photographic Prints in Permanent Pigments by Utilising the Sensitivity of the Ferric Salt to the Spectre and Employing the Polymerization of Colloids. 2007年1月 千葉大学大学院自然科学研究科 情報科学専攻画像科学 Halvor Bjørngård Abstract This study has the main purpose of presenting a non-toxic, or an alternative, printing system for the dichromate based pigment processes. The two methods presented in depth are modelled on first Carbon printing then Gum Printing. Achieving non-toxicity for these systems means replacing the dichromate sensitizer and secondly to avoid the practise of hardening the substrate. An alternative sensitizer is presented and hardening is avoided by using modified working methods. The chemistry utilised for this purpose is iron based, red-ox induced, free radical polymerization. The sensitizer is ammonium ferric citrate, using either hydrogen peroxide or ammonium persulphate as developer. For Carbon Printing a solution to both the need for hardeners and the problem of oxygen inhibition, which is usual for this kind of polymerisation, is achieved. This is done by using a covering layer of agar-agar that blocks oxygen and changes the transfer system, obsolescing the use of hardeners. For Gum Printing two methods are presented. One is based on gelatine, which allows the use of a hydrogen peroxide bath for development. The second method is with gum arabicum, which necessitates inclusion of ammonium persulphate in the coating as a developing agent. -
(In This Case, Huge-Format) Negatives. New Solutions Were Also Needed to Keep the 20 X 24 Inch Negative Optimally Positioned During Projection
of large-format (in this case, huge-format) negatives. New solutions were also needed to keep the 20 x 24 inch negative optimally positioned during projection. Initial attempts were sobering and led to stretching of the negative. The idea of simply adapting the dimensions of a classic glass holder to the required format was also discarded because, due to the weight of the glass, it showed significant buckling. In the end, two solutions were delivered: a combination of anti-Newton glass and museum glass, and anti-Newton glass in a metal holder pressed together with magnets. The mechanical design also had to be extremely stable to ensure the necessary precision. This in turn led to the use of some very heavy individual components which would require a body- builder as operator/lab technician. To make it both safer and easier to operate, mechanical brakes were designed into the new product along with motor-driven assists. Anton Ivanov was involved in all phases of planning and construction to Anton Ivanov and the MAMONT at the Art of Foto Gallery and Lab in ensure that the enlarger could be operated practically and St. Petersburg, Russia. The rails on the floor were for an older horizontal productively in its intended home. enlarger; the MAMONT doesn’t need them. No less complex than the mechanical design was the electronic hardware and electromechanical design. Heiland’s goal from the beginning was to forego rail guidance. But the 400+ kg (almost 900 pound) enlarger still needed to be easily movable, and not cause any problems with image projection Jürgen Heiland really got into his work in St. -
The Hybrid Photography Issue
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 6, BUILD 2 The hybrid photography Issue WWW.MAGNACHROM.COM NancyScans and NancyScans DFM NancyScans NancyScans DFM 3 Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output 6HDPOHVV)XO¿OOPHQW 'LVWULEXWLRQ MC MC MC MC MC MC MC MC MAGNAchrom v1.6 MC Volume 1, Issue 6 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: HOT MODS: In The Pink 4-SQUARE: Edoardo Pasero MEDIA: Tri-Transparency Prints VISION Pinhole + Alternate Process BEYOND LF: Room-size pinhole photography TRAVELS: Enviro-Industrio Panoramas VOLUME 1, ISSUE 6, BUILD 1 BUILD 6, ISSUE 1, VOLUME CENTERFOLD: Klaus Esser EQUIPMENT: Going Ultra: with a 14x17 Lotus View www.nancyscans.com TECHNIQUE: DIY inkjet print onto aluminum www.nancyscans.net INTERVIEW: Denise Ross 800.604.1199 PORTFOLIO: Roger Aguirre Smith NEW STUFF: Mamiya ZD The hybrid photography Issue VIEWPOINT: Gum Printing, Then & Now WWW.MAGNACHROM.COM ADVICE: Hybrid Technique Cover Photo: Squish ©2007 Christina Anderson MAGNACHROM VOL 1, ISSUE 6 WWW.MAGNACHROM.COM About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the 8QOLNHWKH¿UVWWKUHHLVVXHVRI0$*1$ 4published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”. -
THE PHOTOGRAPHIC EYE Learning to See with a Camera
REVISED EDITION THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael F. O'Brien & Norman Sibley THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael E O'Brien & Norman Sibley Davis Publications, Inc., Worcester, Massachusetts Copyright 1995 Davis Publications, Inc. Worcester, Massachusetts U.S.A. To the photography students of Seoul American High School, past, present and future. No part of this work may be repro- duced or transmitted in any form or by any means, electronic or mechan- ical, including photocopying and re- cording, or by any information storage or retrieval system without the prior written permission of the copyright owner, unless such copy- ing is expressly permitted by federal copyright law. Davis is not autho- rized to grant permission for further uses of copyrighted selections or im- ages reprinted in this text without the permission of their owners. Permis- sion must be obtained from the indi- vidual copyright owners as identified herein. Address requests for permis- sion to make copies of Davis mate- rial to Permissions, Davis Publi- cations, Inc., 50 Portland Street, Worcester, MA 01608. Editor: Claire Mowbray Golding Design: Greta D. Sibley Printed in the United States of America Library of Congress Catalog Card Student photograph by Gregory Conrad. Number: 93-74644 ISBN: 0-87192-283-5 1098 765 Cover: Student photograph by Leah Gendler. 4 The Photographic Eye Contents 7 Introduction Part 1 Getting Started 11 Chapter 1 From Blurs to Big Business History • Photographic Careers Part 2 Elements of Composition 35 Chapter 2 Tools Manual or Automatic? • The Camera, Inside & Out • Exercises: Testing the Shutter & Aperture • Loading Film 51 Chapter 3 What is Composition? Snapshots vs. -
Gum Bichromate Pigment Printing V.1.03 Preface/Introduction
Page 1 of 82 Norman Breslow 1977 [email protected] http://shmedling.com Gum Bichromate Pigment Printing v.1.03 By Norman Breslow, B.F.A Copyright © 1977 by Norman Breslow You are welcome to share this ebook with others. This ebook may be reproduced, copied and distributed for noncommercial purposes, provided the ebook remains in its complete original form. Preface/Introduction (What’s the difference between a preface, an introduction, a prologue and a forward?) The material which follows was written in longhand between 1972-1976, and typed in 1977 by me, Norman Breslow *, and discovered by me 40 years later in 2017, in a box of "stuff" I had long forgotten about. I retyped the material in January 2017 using a word processor. I haven’t made changes to the original material, but I have added some of the handwritten notes I had made on the original typed pages. And I have corrected some misspellings and some typos, but I've probably introduced others that didn't exist in the original text. Additionally, I have found that the passage of 40 years has made parts of this "how to" guide obsolete, but I haven't changed those parts for two reasons: First, I see this guide as having historical importance, and second, some of the seemingly obsolete parts still have practical value. Be on notice: Some of this material may be well beyond the ability of today's digital photographers, who never developed a roll of film, to understand. The * refers to my name both with and without my middle initial, which is K. -
Gum Article Proof V1.Indd
BIOGRAPHY Writer / Peter J. Blackburn Photography / Peter J. Blackburn Peter J. Blackburn is a freelance photographer working in the Dallas, Texas area. He spends many hours An Introduction a week working with both gum and casein bichromate printing. He says, to the Gum Bichromate Process “while browsing through a basic darkroom handbook early in my Always be careful when handling chemicals. Read the health and safety photography training, I came across instructions. a section outlining just a few of the many alternative processes. Gum and Expressive, delicate, and inspiring—many are the casein printing were among them. I complementary adjectives showered in praise of was fl oored! It was love at fi rst sight!” the gum bichromate print. Those experienced in the making of gum prints, however, might tend —that was back in 1988. For it’s to add temperamental, tedious, and elusive to the intimate beauty and for the option to descriptive repertoire. From Fox Talbot to Robert print either in monochrome or three Demachy, from the Lumière brothers to Heinrich and four-color, Peter chose to work Kühn, the bichromate process has a long and exclusively with the bichromate varied history spanning well over a century. Each process right from the start. He uses artist persevered through their own series of trials the ubiquitous Texas sun to expose and failures. Eventually they overcame, in varying his negatives and credits imaging degrees, the myriad of pitfalls encountered on the technology and advances in modern road to creating wonderful prints. The beginner gum bichromate printer would do well to study the sizing for helping to streamline his works of those early masters. -
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2 WWW.MAGNACHROM.CO M NancyScans and NancyScans DFM NancyScans NancyScans DFM Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output Seamless Fulfillment & Distribution MC MC MC MC MC MC MC MC MAGNAchrom v1.4 MC MC Volume 1, Issue 4 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: SOAPBOX: A Brotherhood of Photographers HOT MODS: MP4 with Technika-style lensboards 4-SQUARE: Tim Myers STUDENT WORK: The Royal College of Art REVIEW: Shen-Hao HZX 45IIA CENTERFOLD: Mike Stacey VOLUME 1, ISSUE 4, BUILD 1 FEATURE: Sandy King: Carbon Prints CUSTOMIZE: A Homebrew 6x17 Camera www.nancyscans.com INTERVIEW: Robert Kresa www.nancyscans.net NEWS: New Stuff 800.604.1199 COLLECTIBLES: Rolleiflex TLR PROJECT: Working Class PARTING SHOT: Guggenheim, Bilbao Cover Photo: MAGNACHRO M VOL 1, ISSUE 4 “Retrato” — Cuba, La Habana ©2007 Leonardo Régnier WWW.MAGNACHROM.CO M About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the Unlike the first three issues of MAGNA- published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”. -
Before Digital: Post-1970 Photography in Alberta
POST-1970 PHOTOGRAPHY IN ALBERTA jan 15 – mar 16, 2019 Illingworth Kerr Gallery, ACAD BEFORE DIGITAL / 2 EXHIBIT INFORMATION CAN BE FOUND ON PAGES 3–34 OF THIS BROCHURE. PLEASE REFER TO PAGES 35–40 FOR ARTIST BIOGRAPHIES. CURATED BY MARY-BETH LAVIOLETTE While a student at Carleton University, Mary-Beth had many fine moments in the darkroom with the results from her beloved Pentax. She never forgot the experience. More recently, she has worked as an independent art curator and writer specializing in Alberta visual art and fine craft. She has five major publications to her credit: 75 Years of Art: Alberta College of Art + Design, 1926 – 2001; An Alberta Art Chronicle: 1970 – 2000; Alberta Art & Artists: An Overview (co-author); A Delicate Art: Artists, Wildflowers & Native Plants of the West and Alberta Mistresses of the Modern: 1935 – 1975. She also has an extensive background as an art writer and critic focusing on western Canadian art: Calgary Herald, Canadian Art, Studio and Galleries West. CONTEMPORARY CALGARY AND ILLINGWORTH KERR GALLERY ARE VERY GRATEFUL TO THE FOLLOWING SPONSORS: 31 BEFORE DIGITAL: POST-1970 PHOTOGRAPHY IN ALBERTA Adjust your lens through the eyes, photography and the province was film cameras and darkrooms of 27 part of the zeitgeist.”* fine art photographers. Presented in partnership with Before Digital displays what is Contemporary Calgary and Alberta beautiful, unusual, striking and College of Art + Design Illingworth surprising about taking photographs Kerr Gallery, Before Digital: Post- as it was done for over 150 years— 1970 Photography in Alberta is a without computer technology. Before sweeping survey of discovery, social Digital focuses on artists working in exploration, the appropriated, the analogue within Alberta since the tongue-in-cheek and the deeply 1970s.