Showing posts with label alternative. Show all posts
Showing posts with label alternative. 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.


_______________________________________

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

Saturday, March 15, 2014

Make your own 11 step wedge for Digital Negatives



http://youtu.be/_MlwU6wQRw4

Having a good step wedge is an important first step when figuring out exposure times and corrections curves for a new photographic process.

Many step wedges can be downloaded from the internet.  Most of them can be found by going through the Alternative Photography website. (it is a great starting point for all photographic things alternative and historical)  Be sure that you are using the correct gray gamma setting.

If you can't find one you like, however, you need to make your own.


Keep On Paddling

Photography Changes During Printing

Digital Negative Correction Curves

Grand Canyon Kickstarter Project

Basement Bathtub Photography

Different Cyanotype Tones Compared

Curves by Intuition and some experience

Transparency for Inkjet Negatives

Pictorico vs Fixxons

Printing a Photogravure

How to find Minimum Exposure Time for polymer Photogravures

Making Photogravures with Polymer Plates book

from Drawing to Plate

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. 

-------------------------------------------------------------

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




Tuesday, September 25, 2012

Diffusion IV

Campsite Quanta photogravure in Muse Showcase

my photogravure titled "Campsite Quanta"
is part of the Muse Showcase in 

Monday, September 24, 2012

"Altered" show

October 5 - 31
http://www.submitartimages.com/show/6/gallery/

at Open Shutter Gallery
735 Main Avenue
Durango, CO 81301

Juried by Mark Sink

I won't be there for the opening reception
(October 5 from 5 - 9 pm),
but I'm happy to be included in the show at such a great gallery,
and psyched that I'll be in town a week later,
so will be able to see all the beautiful work that was selected.



(here is the photogravure of mine that will be included
titled "Winter Canyon"





Sunday, August 12, 2012

Curves by Intuition (and some experience)



Energized by the good fortune of being able to set up a workshop this summer on a beautiful lake in western Maine, I found the courage to test my understanding of compensation curves used to create digital negatives.  The mountain spring water may be better nourishment for my body (and spirit?) than the city water on the university campus, but the radically different chemistry in the water liked to wash out anything in my images that was less than 50% black.  The standard solution for this problem would be to print a step wedge, analyze the resulting print, and create a correction curve that will stretch the tonal scale to compensate for the odd UV blocking properties of inkjet negatives.  But, this time, I decided to do something less rigorous.  With each image, I manipulated the compensation curve by estimating how much darker/lighter different segments would need to be.  This practice removed many steps in the editing process and forced me to visualize the entire workflow from Photoshop to real printing in the wet darkroom.  After making some big mistakes, I started to get the hang of it, and developed some unique curves for each image.  

For the sake of instruction, I ran an experiment in which I applied some of the curves to images for which they were not originally made.  This made for an interesting comparison that reveals what compensation curves are doing.  Below you will see an image chart.  Each row of pictures corresponds with the curve that was applied (screen capture of the curve at the top of each column).

(click on image to view larger)


The image below was an interesting challenge because most of the visual information exists on the far ends of the tonal scale.  Cyanotype is already a high-contrast process, and this high-contrast image meant that the compensation curve had to extend both sides of the tonal scale and flatten the center.






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





Friday, August 10, 2012

12 Different Cyanotype Tones Compared

(click on image to make it larger)


1.  Overexposed.  No Bleach.  Very long tannic acid bath.
2.  Brief bleach.  Long tannic acid bath.
3.  Medium bleach (half of cyan color left, half gone).  Long tannic acid bath.
4.  Bleach all cyan color out.  Tannic acid bath.
5.  Long bleach (almost all cyan color gone except in darkest shadows).  Tannic acid and coffee mix for toning bath.
6.  Medium bleach (half of cyan color left, half gone).  Tannic acid and coffee mix for toning bath.
7.  No bleach.  Coffee bath over night (about 7 hours).
8.  Completely bleach all cyan color out.  Coffee bath for about 2 hours.
9.  No Bleach.  Coffee and tannic acid bath for about 3 hours.
10.  Long bleach (almost all cyan color gone except in darkest shadows).  Coffee and tannic acid bath for about 3 hours.
11.  Completely bleach all cyan color out.  Black tea bath for about 3 hours.
12.  No bleach.  No tone.  Native cyan color.


Notes:

* The bleaching solution used was Borax in water.

* The tannic acid solution is from Bostick & Sullivan.  It is part of their bleaching/toning kit.  It is cyanotype toning solution B.

* The coffee is a dark roast.  I do not remember the brand.  I brewed an entire pot.

*  The tea is Tetley classic black tea. 

*  All the images had a standard exposure time of 10 minutes, with the exception of #1, which had a 12 minute exposure time.

*  The prints were scanned with an Epson Perfection V500 PHOTO scanner.  All color corrections were turned off so things might look a little bit flat.  But, while considering the differences that exist with each person's monitor, web compression, and jpeg compression, I decided to leave the images alone so that, even though they are a little dull, the relative differences would be preserved for comparative analysis.  

Navaho Bridge

cyanotype (toned)


Monday, August 06, 2012

making cyanotype cards

to say thank you to all the people who supported the Grand Canyon Gravure project, and helped it start the second phase of development.

Sunday, July 22, 2012

John, Paul, Ringo

(were the names of our rafts rented from Canyon REO)




http://www.kickstarter.com/projects/1064313302/grand-canyon-gravure?ref=card


I'm super excited and very flattered by all of you who helped the Grand Canyon Gravure project reach it's funding goal.  Thank you very much!



For those who are just now deciding to become backers of this project, you'll still get some good art at the fund-raising price.  Anything pledged that pushes the project beyond the original minimum goal will help take steps towards making the book portion a reality.  

There are some other very cool projects out there too, not just his one, so take a look.  You just might make the difference between an artist funding their dreams of making important work.


Invisible Cities Photo Exhibition


What We Tell Each Other


New Orleans Community Print Shop