Showing posts with label photogravure. Show all posts
Showing posts with label photogravure. Show all posts

Wednesday, March 04, 2015

First sun exposure using PPM-1 UV exposure meter

Recently, I bought a light meter from LightMeasure.com that displays time, intensity, and total dose of UV light from 360 - 380 nm.  The device (often called an "integrator") is made by someone who has experience with Solarplates.  Since the UV light needed to develop Solarplates is the same as needed to develop the KM73 plates that I use, I thought it would be beneficial.  Here are the results of my first basic experiment over the past week.


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February 21, 2015

Since my normal workflow uses RPX 16x20 uv unit (the one with tube lights and not CFLs) and a Takach10” x 12” stochastic screen for 5 minute screen exposure and 5 minute image/transparency exposure, I placed the PPM-1 over the RXP unit to measure the dose of a 5 minute exposure.

Dose 1:  5466                        cold unit, first firing
Dose 2:  5978                        lowered PPM-1 unit closer to lamps
Dose 3:  5683                        careful to place PPM-1 unit at exact same distance from UV tubes as the outer face of the contact frame class is from the UV tubes.

Average dose:  5709
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February 25, 2015

Testing outside with PPM-1 to see how long it takes to get a dose of 5700
Direct sunlight

12:23 pm       169 seconds  dose = 5706  last intensity reading = 333
12:29 pm       157 seconds              dose = 5735  last intensity reading = 365
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March 2, 2015
Direct sunlight           3:10 pm
Expose KM73 polymer plate to the “Gamelights…” transparency using same contact frame and screen as normal workflow, to make a new plate for comparision

Target dose = 5700 for each exposure (screen & image)

Actual:
Screen  dose: 5761  time: 279 seconds     last intensity reading: 92
Image dose:  5813     time:  354 seconds    last intensity reading: 157

Notes:
Using a plastic bag to cover contact frame from exposure is awkward.  Perhaps light leaks?
The current clamp system made holding the contact frame difficult and impossible to put down so I had to hold it (had to keep adjusting attitude of frame).
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March 4, 2015

Printed new plate (outside exposure with PPM-1) and old plate (exposed with RXP 16x20 uv tube unit) using same ink and paper.

(Note:  image resolution degraded/grainy to protect copyright)

Old Plate
New Plate


Conclusion: 
PPM-1 is a good device that makes exposing any plate size possible.  Needs a new curve, probably a less aggressive curve, probably making the transparency more closely resemble that of a film inter-negative.  This first experiment was overexposed a little bit because I was not able to accurately control the exposure with just a plastic bag.  A good light-proof cover needs to be designed to control the exposure.  It might be worth making an entirely new contact frame that has edges that can rest squarely on the ground without the clamps getting in the way, so the exposure process can happen at the same attitude (angle facing the sun) throughout both the screen and image exposures. 

Speculation:
Since the sun is a single point source of UV, undercutting does not happen to the same degree as with fluorescent tubes.  This might explain the darker tone above 30% density (undercutting/scattering of UV with tubes over cures these sensitive tones, thus making them lighter).  Also, the darker areas (above 85%) are lighter, probably because the UV intensity is higher so they are a bit over cured. 

Sunday, November 02, 2014

Making Adjustment Curves for Digital Negatives

This was designed for making photogravures (polymer), but will work for any alternative/historical photographic process that requires a negative/positive printed on a transparency with an inkjet printer.






http://youtu.be/gZAQtm4KMlQ


This is a video version of the workflow from the book
http://www.amazon.com/Making-Photogravures-With-Polymer-Plates/dp/0615919219
The video was made for one of my classes last year.  The class already had lessons on intaglio printing, finding minimum (and optimum) exposure times, as well as a quick introduction to setting up the scanner to digitally capture an image of an intaglio print with multiple step wedges.

Here are links to many articles and videos.

Articles published on www.AlternativePhotography.com

When to use gray gamma 1.8 or 2.2

Finding Base Exposure Time when making Photogravures with Polymer Plates




YouTube instruction videos

Which gray gamma setting to use for digital negatives

Making your own step wedge for digital negatives

Making adjustment curves for photogravures (polymer) and digital negatives

Making a polymer plate for photogravure

Photogravure printing (in real time)

Making a cyanotype



Articles on my own blog

Overview of making adjustment curves for digital negatives

Adjustment curves compared

Cyanotype toning materials compared

Monday, March 24, 2014

Friday, February 14, 2014

Grand Canyon photogravures on display in NJ (entire series)


For those who have yet to see the completed first stage of this project,
it will be on display at Fairleigh Dickinson University, on the Teaneck side of campus,
in University Hall Art Gallery (main floor).

Three of the photogravures from this series just came from a show at The Belskie Museum of Art and Science, so I know that many local people saw the work there.  This, however,  is a rare opportunity to see all of the images together, in one place, where the narrative is more developed.

I will give a brief presentation to the University's students, about the process of making these images.  The general public is welcome (and encouraged) to attend.  The time for the presentation is not yet set.  I'll post here when it is.

The show will only be up for two weeks, so mark your calendars!
February 24 - March 21
The University Hall Art Gallery is open Monday - Friday
from 9:30 - 4:30 pm.
I teach on Tuesday and Wednesday nights and can open the gallery for people on those evenings if you contact me.

Thursday, February 13, 2014

Half Full









photogravure (polymer)
working proof (pretty clean, doesn't need much work)
4" x 6"



* note:  photo taken while ink was still wet, thus the glossy spot in the 100% black area in the background.  It dries to a matte finish.

Wednesday, February 12, 2014

Vulcan's Anvil




photogravure (polymer)
7" x 10.5"

first print
probably a little too much oil, less would bring the contrast back
overall I like the plate


Monday, February 10, 2014

Game Lights on a Winter Night









photogravure (polymer)
working proof (first print, needs some cleaning)
4" x 6"

Friday, February 07, 2014

The Long Path to Success

On October 13, 2010, I made a blog post about photogravures with polymer plates, in which I was frustrated about the process, realized that I was mostly on my own with how far I wanted to push the process, and had mostly given up on the usability of the information on the internet.
http://artandwater.blogspot.com/2010/10/keep-on-paddling.html

The information is out there.  The frustration grew from two things:
1.  The good information is scattered among lots of incomplete or bad information.
2.  Those who had the type of success I was pursuing seemed to have access to some very expensive equipment, and I wanted to do this without spending thousands of dollars.

As the October 2010 post suggests, I decided to "keep on paddling" forward.

Fast-forward to November 2013, and I had figured out the least expensive way to get the high quality that I wanted.  I published a book about the workflow.  In the book I included an email address, offering to help those who bought the book.  Currently, I'm having email correspondence with a few people, and am anxious to see the success they will have.

For the sake of encouraging others who look to explore the process of making photogravures with polymer plates (and for curious record-keeping), I will post links to most of the blog entries I made over the past three years (that have to do with learning this process).  Hopefully it encourages students by reminding them that success is not instant.  It takes work.  They will experience frustration.  The reward is worth the effort (I believe).

http://artandwater.blogspot.com/2011/05/how-to-make-plate-with-photopolymer-for.html

http://artandwater.blogspot.com/2011/06/photography-changes-during-printing.html

http://artandwater.blogspot.com/2012/03/digital-negatives-adjustment-curves.html

http://artandwater.blogspot.com/2012/06/grand-canyon-gravure-kickstarter.html

Believe it or not, making many cyanotypes helped me understand making adjustment curves.  I had some success, but in 2011 I felt that I did not yet understand it well enough to teach.  Making many cyanotypes, allowing myself to experiment with making curves by intuition (making many different digital negatives for small prints) let me develop a solid understanding of compensation curves for digital negatives.  Cyanotypes are significantly less expensive to make than polymer plates for photogravure.  Toning cyanotypes with different agents also reinforced the idea that different inks and tones will have different grayscale densities, forcing me to be very careful in the future about which ink I was going to use for photogravure (making unique curves depending on the ink color).

http://artandwater.blogspot.com/2012/08/basement-bathtub-photography.html

http://artandwater.blogspot.com/2012/08/12-different-cyanotype-tones-compared.html

http://artandwater.blogspot.com/2012/08/curves-by-intuition-and-some-experience.html

http://artandwater.blogspot.com/2012/09/transparency-for-inkjet-negatives.html

http://artandwater.blogspot.com/2012/11/pictorico-vs-fixxons.html

http://artandwater.blogspot.com/2013/04/printing-photogravure.html

http://artandwater.blogspot.com/2014/02/how-to-find-minimum-exposure-time-for.html

To everyone learning this process, I want to wish you good luck.  If you own my book, please feel free to email me at the address in the book.



Thursday, February 06, 2014

Foggy moon behind the trees



photogravure (polymer)
4"x6"

working proof (some grit from sanding still on the surface of the plate, the edges are not totally smooth for editioning yet; essentially it's one of the first two prints to see if the plate is good.  The tone in the sky will be much smoother once the plate is cleaned.) 


Saturday, February 01, 2014

How to find minimum exposure time for polymer plates

Click on this link
to view a PDF (that can also be downloaded)
of Chapter 5 in the book "Making Photogravures With Polymer Plates"
that reveals how to establish both
the minimum exposure time and optimum exposure time
when using polymer plates for intaglio process


The full book is available for purchase through Amazon
http://www.amazon.com/Making-Photogravures-With-Polymer-Plates/dp/0615919219/




People who buy the book are welcome to email me for help with this process.


Friday, January 31, 2014

Captain Awesome

paper plane




4" x 6" photogravure

Wednesday, January 29, 2014

Monday, January 27, 2014

Tuesday, November 12, 2013

Making Photogravures With Polymer Plates (Book)

The book is ready!



photogravure instruction book


$11.99  Introductory price.

available through Amazon


ISBN-13: 978-0615919218

ISBN-10: 0615919219 


Learn photogravure with this step-by-step instruction book. It has over 250 images and 140 pages of explanations that reveal what is needed to use steel reinforced, photo sensitive polymer, to create stunning intaglio plates.  

Applicable for experts and beginners alike, individuals with small home-made darkrooms or large universities, the methods shown will open the possibilities of intaglio image making without the need for acids, high v.o.c. solvents, fine rosin dust, or petrochemical asphaltum. The aquatint and image are made with film positives and UV light. The plates are etched with water. Both traditional oil based inks and modern "safe" etching inks can be used to make the final print.   

Photogravure is a photo-mechanical process in which etching ink is pushed into the recesses of a fine matrix ("aquatint") of a printing plate. Excess ink is wiped from the surface by hand. Damp cotton paper is run through an etching press with the inked plate, where it picks up the image. The resulting print is one of the most archivally stable ways of photographic reproduction known.   

Included inside the book is a unique method for visually creating adjusted digital transparencies. The technique can easily be adopted for the creation of digital negatives for any of the "alternative" photographic processes that are seeing a resurgence in recent years.   

Practitioners of polymer photogravure are not limited to just photographs. The same plates make beautiful etchings and reproductions of hand drawn images. Many artists use hybrid drawing and photographic methods to create intricate and beautiful work with the polymer plates. 

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Here us a link to a video that shows printing in real time...




Tuesday, July 30, 2013

Dam Stairs (updated)



This is the first version of this photogravure (km73 polymer).  It's a little flat for my taste so I have reworked the digital version.  I like how dark it is, and think that the problem is that I applied the normal adjustment curve to an image that doesn't have many subtle gradients.  I think that the new transparency will have very little adjustment curve (just a bit to keep a separation between 80 & 90%).  High contrast and scratchy is the aesthetic of this industrial image so the characteristics of the sensitive KM73 plate will be perfect for it.
 
-------------------------------------
Update August 1, 2013
 
Different transparency, different UV exposure unit with different times, different (new) plate makes lots of difference....  ; )
 

This is good because the original capture (and what pulled me to take the photo) showed the linear highlights that danced around a dingy environment.  It was like an low-key HDR image right in front of me, in real life, without a bunch of digital tweaking.  I suppose that industrial settings can do that.
 

Sunday, July 28, 2013

Daisies or Black Eyed Susans?


The fun with monochrome is that you really have to know the difference between the two while not relying on color differences.  


Rudbeckia Hirta

Friday, July 26, 2013

Tumbledown


photogravure looking northwest from the summit towards the notch in the cliff face where the Loop Trail emerges.  

Thursday, July 25, 2013

Inking a la squeegee


Multi-color intaglio prints that use only one plate require extra care to prepare, wipe, and print.  Normally this is associated with inking "a la poupee" ("with the doll"), in which each color is applied with small hand-made "dolls" of tarlatan; one for each color.  I prefer to use squeegee cutoffs; whether they are cardboard or plastic.  So, since this water lilly was not prepared with little tarlatan dolls, but with little pieces of squeegee, then I consider it inked "a la squeegee".  


White Water Lily
(nymphaea odorata, nymphaea tuberosa)

Wednesday, July 03, 2013

Did You Hear?

or some such reference to a tree falling in the woods.......   (not quite sure what to name this intaglio polymer photogravure print)


A tree falling in the woods makes me think of the internet (bear with me a moment here).  A solitary tree, when it falls (or is felled), will make a noise.  The philosophical question is about whether or not anyone notices the noise, thus has their attention drawn to the event of the tree falling.  Imagine a deep forest, with many trees, and very few distractions.  Surely you'd hear a tree falling.  Now imagine the internet.  Millions of people are "heard" everyday, but do they really exist?  Or, is the white noise loud enough to deafen everyone else to the sound of a single tree falling?  I suppose if one were to pay close attention, then the tree would be noticed.

So, the book.  I'm waiting for some supplies to arrive this week.  While I wait, I'm going into the woods for a few days.  I might as well listen to the trees for a while, before I am called back to the cacophony of "civilization" that houses my studio space.  A step away from documenting and writing about this (polymer) photogravure process will give me the time to remember some things that I may find the need to include.  It will also allow me the space to figure out which steps are superfluous and which are important to think about and have while learning this process.  When I think about it now, this will be a good thing.

Monday, July 01, 2013

photomechanical printing book update


Working hard to keep this first edition affordable, I think that I can keep the price to $20 (or less, depending on the final edit size).

Instruction photos that are finished:
*  Photoshop and printing a transparency with an inkjet printer
*  Exposing the KM73 plate to a stochastic screen, image transparency, washout and heat setting.
*  Preparing plate, paper, and ink for printing.
*  Printing
*  Cleanup

I need to re-shoot some processes at the end of this week:
*  Finding a base exposure time for the stochastic screen and transparency.
*  Home made step wedge to make workflow-specific adjustment curves.
*  Some problem plates for a troubleshooting section.

One decision that I have to make soon:
*  What is the title of the book?