A Practical How-To Book for Making Pinhole Cameras and Images
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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. -
Cyanotypes Handout
Cyanotypes Background/Context Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. Equipment needed Ferric Ammonium Citrate Scales 3 containers for mixing (ideally brown glass bottles) Potassium Ferricyanide Measuring Jug Plastic Spoons Protective Equipment: Facemask, Brushes & Sponges Glass or Clear Perspex Gloves & Apron Sunlight or UV Source Water trays Heavy papers approx 300 gsm Found materials such as threads, Acetate/Tracing Paper Black pens/china graph pencils leaves, feathers, buttons etc Mixing the Chemicals Using a plastic spoon mix 25g of ferric ammonium citrate with 100ml of water. In a separate container mix 10g potassium ferricyanide with 100ml water. Mix the two solutions together with a 1:1 ratio immediately before use. Chemical solutions can be stored separately in glass brown bottles for months but ammonium ferric citrate will grow mould which will need sieving out. Coating the Papers Wear gloves when applying the solution. In a dark room or room with a low level light the solution can be applied to paper using a brush - or for even coverage use a sponge brush. Keep the coated papers in the dark and ideally leave to dry flat. Dry coated papers can be kept in a light sealed black bag until exposed in sunlight or using a UV light box. Exposing your Image Using sunlight: Place your objects or acetate image on top of the coated side of the paper and place a piece of glass or clear perspex on top. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
'Cyanotype and Anthotype: Eco-Patterning with Mineral and Natural Dyes.' Proceedings: International Textile & Costume Congress
Cyanotype and Anthotype: Eco- patterning with mineral and natural dyes Item Type Article Authors Wells, Kate Citation Wells, K. (2015) 'Cyanotype and Anthotype: Eco-patterning with mineral and natural dyes.' Proceedings: International Textile & Costume Congress. 2015. Between Worlds: Innovation and Design in Textiles and Costume. Marmara University, Istanbul: 145 Publisher International Textile and Clothing Congress ITCC Journal Proceedings of the 3rd International Textiles & Costume Congress - ITCC 2015 Download date 28/09/2021 17:18:38 Link to Item http://hdl.handle.net/10545/601182 ‘CYANOTYPE AND ANTHOTYPE: ECO - PATTERNING WITH MINERAL AND NATURAL DYES.’ Wells Kate University of Derby College of Arts Markeaton Street Campus Derby DE22 3AW Abstract: The paper outlines collaborative research between two different disciplines: That of textile design and early colouration methods with historical photographic imaging techniques. The project considers the symbiotic relationship between natural plant extracts with ‘Anthotypes’ and raised colours specifically ‘Prussian Blue’ with ‘Cyanotypes’. The aim of which, is to consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric for fashion and interiors? Looking at the substantive and the fugitive properties of the colouration materials along side different light wavelengths and analysing the success or failure of using Anthotypes and Cyanotype as an alternative sustainable surface design process can be attained: A form of Eco-patterning that relies upon light and natural substances/dyes not synthetic dyes as the colouring medium. 1. Introduction This paper discusses a research project, which considered the correlation between Natural and Mineral dyes with early 19th Century photographic processes ‘Cyanotypes’ and ‘Anthotypes’ as a form of eco-patterning that relies upon light and natural subsantnces as the colouring medium. -
Transient Luminous Events Observed with the Pinhole Camera from Sierra Negra Volcano in Mexico
International Journal of Modern Research in Engineering and Technology (IJMRET) www.ijmret.org Volume 4 Issue 1 ǁ January 2019. Transient Luminous Events observed with the pinhole camera from Sierra Negra Volcano in Mexico E. Ponce1, S. Hernandez1, H. Salazar1, O. Martinez1, R. Conde1. 1(Department of physics and Mathematics, Autonomous University of Puebla, Mexico) ABSTRACT: The next generation of experiments devoted to study extreme energy cosmic rays will be at space platforms. Recent satellite missions have shown that the UV light background is more complex than previous models. Therefore, the observation of transient luminous events TLEs at the upper atmosphere will be important, information about the time and space evolution of this very fast events may need to be recorded, this impose requirements of a wide field of view and the largest focus depth. The simplest optical design, a pinhole camera fulfills these characteristics. This pinhole camera have a multi anode photomultiplier, eight by eight pixels, that allow us to register 2d images of TLEs of about milliseconds. In this work, we present the observations of some events recorded from Sierra Negra Volcano in Mexico and its capabilities in order to use it as a monitoring device. KEYWORDS –UV light, atmosphere, pinhole, images, device. I. INTRODUCTION that may should trigger some TLE’s. This One of the important phenomena in night perturbation was considerate as background noise atmosphere, directly related to UHECR in the tracking of the cosmic ray original particle. measurement One of the important phenomena in night atmosphere, directly related to UHECR The high brightness of TLE may allow us measurement, are TLE (transient luminous events) to use the simplest pinhole optics for measuring the characterized by very bright (energy in UV up to image in pixels of UV detector. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Photo-Aquatint, Or, the Gum-Bichromate Process : A
€3i;jAi'^i'iI ^ 111; 1. \ r^^:,! OS r^^^ "** ^ ^^II^'^ I 4.^'^-^l ^-'<T/^« ^ §..-S uiJ^mo ^ ^^l h T $ pa I j:iu \jui.^i"i.Ji\.iS.ii\VA^i/iii:^M41l-OiyililUM./ill & aui.^D "«'''' '' '^""^ '\ ''^- -^v' ^"'^ 'V^ T""^ '"T'^ ^ A H' f'"''^ \pmQm t Amateur Photographer Library—Advertisements. Messrs. Adams & Co. Are the INVENTORS, PATENTEES and MANUFACTURERS of the following exceedingly popular HIGH-CLASS HAND CAMERAS x The "Adams de Luxe," The "Adams Reflex," The Adams "Yale," The Stereoscopic "Yale," The Adams "Natti," (The neat and small J-pI. pocket Camera.) ADAMS & CO., «^ 26, Charing Cross Road, LONDON, W.C. Telephone: 5387 GERRARD. Telegraphic Address.- " PYRO, LONDON. Amateur Photographer Library—Advertisements. BENETFINK LiCHTNlMC HAND CAMERAS, RELIABLE AS USED IN THE IN ACTION. NO BOER WAR COWIPLICATIONS. EASY TO USE. i PLATE SIZE. £2 2 £3 8 6 WITHOUT £4 8 NONE LIGHTNING") OUR £7 7 GENUINE LABEL. Net. BENETFINK'S SPECIMEN PRINT POST LlCHTNlNC FREE, HAND CAMERAS GIVE UNIVERSAL SATISFACTION. Thousands In Use. CATALOGUES Post Free. CHEAPSIDE. LONDON lii Amateur f*hotographer Library—Advertisements. The *'YALE" series are stronerly recommended for Poreigrn and Colonial Work, and are manufactured solely by ADAMS & CO. Adams "YALE." THE **YALE" IS EVERYBODY'S FAVOURITE. IMPROVED 1901 PATTERNS IN 4^x3^ and 5x4 SIZES. No. 1 PATTERN, J-pl. size, £5 5. No. 4 PATTERN, 5X4 size, £7 17 6. for Cycling: *' Perfect " YaleS have no awkward projections. Handle is on top, Nothing: to rattle also shutter and focusing fittings, these being below height'of handle. Illustrations show Camera resting upon side, in order or s^et out of order. -
John Sexton Photography Workshops
JOHN SEXTON PHOTOGRAPHY WORKSHOps 2007–2008 WORKSHOP SCHEDULE JOHN SEXTON PHOTOGRAPHY WORKSHOps 2007–2008 INTRODUCTION hotography is an illusion. It is amazing that human beings consider a photograph to be a STAFF representation of reality. As photographers, I think we are privileged to work in the medium that has such powerful illusionistic characteristics. I clearly remember the first photographic DIRECTOR P John Sexton exhibition I attended more than thirty years ago. Seeing those photographs changed not only my photography, but changed my life. The three photographers in the exhibition were Ansel Adams, ADMINISTRATIVE ASSISTANT Laura Bayless Edward Weston, and Wynn Bullock. I had never seen works of art that were so inspiring. I still find beauty, power, and challenges in the black and white silver printing process, and continue to PHOTOGRAPHIC ASSISTANTS enjoy working within that magical medium. As the technology of photographic imaging evolves, it Anne Larsen Jack Waltman is exciting to see how the voice of photographers expressing themselves — whether with pixels or silver grains — still resonates in their prints. INSTRUCTOR John Sexton The workshops included in this year’s program will provide opportunities to learn from successful working photographers. The instructors and assistants will willingly share their experiences with CORPORATE SPONSORS you — both successes and mistakes — they have NO SECRETS. The workshops are an intense expe- Eastman Kodak Company rience, in which one will be immersed in photography from early in the morning until late at night. Bogen Imaging You will be tired at the end of the workshop, but will be filled with information and inspiration. -
User Guide: Imaging
User Guide: Imaging Horizontal and Micro NMR Imaging With VNMR 6.1C Software Pub. No. 01-999163-00, Rev. A0201 User Guide: Imaging Horizontal and Micro NMR Imaging With VNMR 6.1C Software Pub. No. 01-999163-00, Rev. A0201 User Guide: Imaging Horizontal and Micro NMR Imaging With VNMR 6.1C Software Pub. No. 01-999163-00, Rev. A0201 Revision history: A0800 – Initial release for VNMR 6.1C. A0201 – Removed obsolete dslice macro per C. Hofstetter and M. Hedehus. Applicability of manual: Imaging modules on Varian NMR superconducting spectrometer systems with VnmrIMAGE version 4.4 software installed. Technical contributors: Simon Chu, Matt Howitt, Chris Price, Alan Rath, Subramaniam Sukumar, Evan Williams Technical writers: Michael Carlisle, Dan Steele Technical editor: Dan Steele Copyright 2000–2001 by Varian, Inc. 3120 Hansen Way, Palo Alto, California 94304 http://www.varianinc.com All rights reserved. Printed in the United States. The information in this document has been carefully checked and is believed to be entirely reliable. However, no responsibility is assumed for inaccuracies. Statements in this document are not intended to create any warranty, expressed or implied. Specifications and performance characteristics of the software described in this manual may be changed at any time without notice. Varian reserves the right to make changes in any products herein to improve reliability, function, or design. Varian does not assume any liability arising out of the application or use of any product or circuit described herein; neither does it convey any license under its patent rights nor the rights of others. Inclusion in this document does not imply that any particular feature is standard on the instrument. -
Robert Berdan © Science & Art Multimedia
This workshop will take you to the next level with Photoshop CS4 and show you how to use curves, adjustment layers, masks, channels, create actions, convert images so they simulate infrared, hand colour BW photos, combine images to expand dynamic range, create impressionistic images and more. This workshop is designed as a follow up to Photoshop I workshop. Robert Berdan Science & Art Multimedia E-mail [email protected] (403) 247-2457 Last Updated January 28, 2010 Suitable for intermediate to advanced level photographers and Photoshop users. The workshop includes a DVD with tutorial images and step by step video clips for self learning. 1. Introduction 1.1 Introduction..................................................................................................... 3 2. Photoshop Lessons 2.1 Introduction to Curves...................................................................................... 4 2.2 Cross Processing using Curves......................................................................... 8 2.3 Adjustment Layers ........................................................................................... 10 2.4 Automated Adjustment Layers ......................................................................... 14 2.5 Adjustment Layer Masks .................................................................................. 16 2.6 Add a layer mask to reveal selected regions of a photograph.......................... 19 2.7 Create a Photomontage.................................................................................. -
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. -
Fresnel Zone Plate Imaging in Nuclear Medicine
FRESNEL ZONE PLATE IMAGING IN NUCLEAR MEDICINE Harrison H. Barrett Raytheon Research Division, Waltham, Massachusetts Considerable progress has been made in recent so that there is essentially no collimation. The zone years in detecting the scintillation pattern produced plate has a series of equi-area annular zones, alter by a gamma-ray image. Systems such as the Anger nately transparent and opaque to the gamma rays, camera (7) and Autoflouroscope (2) give efficient with the edges of the zones located at radii given by counting while an image intensifier camera (3,4) rn = n = 1,2, N. gives better spatial resolution at some sacrifice in (D efficiency. However, the common means of image To understand the operation of this aperture, con formation, the pinhole aperture and parallel-hole sider first a point source of gamma rays. Then collimator, are very inefficient. Only a tiny fraction the scintillation pattern on the crystal is a projected (~0.1-0.01%) of the gamma-ray photons emitted shadow of the zone plate, with the position of the by the source are transmitted to the detector plane shadow depending linearly on the position of the (scintillator crystal), and this fraction can be in source. The shadow thus contains the desired infor creased only by unacceptably degrading the spatial mation about the source location. It may be regarded resolution. It would be desirable, of course, to have as a coded image similar to a hologram. Indeed, a a large-aperture, gamma-ray lens so that good col Fresnel zone plate is simply the hologram of a point lection efficiency and good resolution could be ob source (9).