Alternative Print processes

KenS

Active Member
Registered User
Out of sheer curiosity... I have been wondering if there is anyone else on this 'list' who makes prints using what is now termed the "archaic photographic print processes' that require the shorter UV wavelengths of the spectrum for exposing the image... often termed the 'printing-out
processes (as opposed to 'developing out print processes) that I have found to be 'enjoyable' since I retired from full-time employment, and am more than pleased to do so... using my home-built UV light source.

1611



Ken
 

Ian Grant

Active Member
Registered User
I have done and keep meaning to again.

Back in the late 1980's I did a long workshop with Fay Godwin at The Photographers Place, run by Paul Hill. We talked about doing a Platinum print workshop at the same time in a year or two. It didn't happen because we both had commissions for other work which took priority. I was offered gallery space for a major exhibition 3 or 4 years in advance of my proposed completion date and a chance of funding, and Fay was offered new publications and exhibitions.

It was many years later that I learnt to print Platinum/Palladium prints, but using digital negatives it's so formulaic, you can't go wrong. When I met Bob Carnie in Canada, probably the best printer in North America, we had a discussion about this. I realised that alternative processes weren't part of my main stream work. Bob actually said I'd get bored by the formulaic approach and that must have been from his own experience.

However I also realised that these alternative processes have a value and a definite possible use outside my core projets. It's something I'll sit on until ready. It's a bit like the hand toning, and colouring, I did in the late 1970's & early 80's commercially, the copyright belongs elsewhere so I can't post the images, only examples.

Alternative process aren't archaic there's been a growing interrest and output going back over 30 years and most importantly it's expanding.

Ian
 

KenS

Active Member
Registered User
I have done and keep meaning to again.

Back in the late 1980's I did a long workshop with Fay Godwin at The Photographers Place, run by Paul Hill. We talked about doing a Platinum print workshop at the same time in a year or two. It didn't happen because we both had commissions for other work which took priority. I was offered gallery space for a major exhibition 3 or 4 years in advance of my proposed completion date and a chance of funding, and Fay was offered new publications and exhibitions.

It was many years later that I learnt to print Platinum/Palladium prints, but using digital negatives it's so formulaic, you can't go wrong. When I met Bob Carnie in Canada, probably the best printer in North America, we had a discussion about this. I realised that alternative processes weren't part of my main stream work. Bob actually said I'd get bored by the formulaic approach and that must have been from his own experience.

However I also realised that these alternative processes have a value and a definite possible use outside my core projets. It's something I'll sit on until ready. It's a bit like the hand toning, and colouring, I did in the late 1970's & early 80's commercially, the copyright belongs elsewhere so I can't post the images, only examples.

Alternative process aren't archaic there's been a growing interrest and output going back over 30 years and most importantly it's expanding.

Ian


Ian...

I used the term 'archaic' as opposed to non-silver prints (Circa 1840-ish... Sir John Herschel's 'time') since I believe some of the early print 'emulsions' used and... as of today, do have some silver salts in the formula.

Ken
 

Alan9940

Active Member
Registered User
Alternative processes? Heck, silver gelatin printing is an alternative process nowadays! :D That said, I've made pt/pd prints from both digital and in-camera negatives for many years and totally enjoy the process.
 

Ian Grant

Active Member
Registered User
Found a near mint copy of Richard Farber's Historic Photographic Processes in my garage today, I have a vague memory of finding it at a camera fair maybe 18 months ago and it being quite cheap. It's actually covering updated versions of many processes.

Despite my comments above I have and will play with historic/alternative processes. I did a 2 day Albumen printing workshop at Dimbola House, now a museum but once the home of Julia Magaret Cameron, a few years ago. I acquired an Ensign 12"x10" contact frame last year for the cost of postage. I also have an Ensign King horizontal enlarger with condensers for quarter plate, plus Ensign safe lights etc. In practice I have all needed for a 1912 era darkroom and also have Houghton (Ensign) quarter, half, and whole plate field cameras. I also have plenty of chemistry inc Silver Nitrate :D

Now just need the motivation . . . .

Ian
 

KenS

Active Member
Registered User
Ian..

I have a copy of the plans that Eepjohn (Spp??) had for the units he was trying to market a number of years ago at a price not that many of us could afford.... so Ibuilt my own If you would like a 'set' of the plans, I'd be happy to 'share' them (as I have already done for 'other folks feeling to get into the 'Alt photo' print processes
I also built my own contact printing 'frame' i can share some images of that... There's no way I could have afforded to purchase one as 'good' I can 'do two 8x10s or a 16 x 20 (if I could make negatives that size)
the one 'extra' piece of hardware was a battery powered UV 'dose' measuring device that provides for a sensor under the glass. (saves an LOT of opening, peeking, and "Oh-Oh... dammit... it needs more time I can forward that source 'link' if you might be interested.

Ken
 

Ian Grant

Active Member
Registered User
Ken, I'd be interested in those plans, For now I'm happy to use sunlight, and I think I'd prefer to not use a digital inter-negative, but I've done commercial (practical) research into reversal processing in the past so that route is relatively easy.

I was surprised to find how much new Contact printing frames are these days, I checked what my 12"x10" would cost new to replace £395 / $500.. A 24"x20" frame is £1195 / $1515 who are they trying to kid ! I have a friend who makes banjos and is a superb craftsman, he could make an excellent 24"x20" contact printing frame for well under £100. I could as well but my wood working skills are more aligned to repairs and restorations :D

Ian
 

KenS

Active Member
Registered User
Ken, I'd be interested in those plans, For now I'm happy to use sunlight, and I think I'd prefer to not use a digital inter-negative, but I've done commercial (practical) research into reversal processing in the past so that route is relatively easy.

I was surprised to find how much new Contact printing frames are these days, I checked what my 12"x10" would cost new to replace £395 / $500.. A 24"x20" frame is £1195 / $1515 who are they trying to kid ! I have a friend who makes banjos and is a superb craftsman, he could make an excellent 24"x20" contact printing frame for well under £100. I could as well but my wood working skills are more aligned to repairs and restorations :D

Ian
I will forward some "quickie' digitals of my 'home made' printing frame as well as the light box ... but I think it might be more 'juducious' to send direct to your e-mail to 'save space on '5x4.
The reason I'm now using Pictorico 'film' (on the 'frosted' side) is due to my having ruined a negative when I (on one occasion) put an original negative 'in there' before the VDB I had layed down using a glass 'puddle- pusher... before it had 'dried' properly BUT... it also allows for any density/contrast 'changes' without doing anything to the original silver-gelatine camera made negative

So send email directions .. pretty please?

Ken
'
 

Ian Grant

Active Member
Registered User
On the Albumen printing course at Dimbola house we had to use a sheet of Acetate or Mylar (can' t remember which) between the negative and paper, this had no effect on print sharpness but protected the negatives from damage. I've no idea where my notes are :D The girl who led the course had spent time at GEH with Mark Osterman learning Alternative Processes.

Ian
 

KenS

Active Member
Registered User
Ken, I'd be interested in those plans, For now I'm happy to use sunlight, and I think I'd prefer to not use a digital inter-negative, but I've done commercial (practical) research into reversal processing in the past so that route is relatively easy.

I was surprised to find how much new Contact printing frames are these days, I checked what my 12"x10" would cost new to replace £395 / $500.. A 24"x20" frame is £1195 / $1515 who are they trying to kid ! I have a friend who makes banjos and is a superb craftsman, he could make an excellent 24"x20" contact printing frame for well under £100. I could as well but my wood working skills are more aligned to repairs and restorations :D

Ian
Ian.. I cannnot remember (off-hand)if I had offred you the 'plans' and 'wiring" that Eepjohn (Spp ??) had on his website diagram as an 'alternative to 'paying the big bucks' for him to build and ship over to Europe.
The plans then 'disappeared' because those of us unable to pay the big $$, downloaded for build your own...
Having done so and 'saved a LOT of pension income pennies, I do not regret admitting that I am one of them
 

Ian Grant

Active Member
Registered User
Anything's useful Ken. A friend in Turkey had a home made contact print exposure box which worked extremely well he'd downloaded the plans & wiring diagrams etc. We lost touch and he's not been online on any forums for over 8 years he also had health,issues.

Ian
 
Top