Tag Archives: film

more providence ri

i live not to far from the jewel of new england

and have taken up making digital photographs

of the skyline, and soon to be the pre 1950s architecture …

and making digital negatives at kinko’s copies

i’m not quite sure which i like better small or larger

i haven’t made a full 8×10 film negative yet, maybe with the right

image it will look nice, as is, i have made contact sheets and  1/2 8x10s

the camera has no issue, it would probably work OK even with a cheap cellphone snappy,

i’m certain film negatives would look great too.

 

here is the latest  …

 

1920s skyscraper, 1020s look

sun print digital negative

digital negative sun print

long view industiral natinal bank

sun print, digital negative

tower of the industrial national bank building

sun print digital negative

industrial national bank

digital negative

chimneys and roofs

kink

hybrid xerox negaive

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tmy 400 retina film negative

like the last image i uploaded

this one is also on photographic film

black white kodak tmy 400.

great film for all around photography.

it is also a nice film for making 2 hour long exposures.

2:30-4:30 sunday nov 27

made with a speed graphic and ilex seminat lens ( at 3.5 )

outside was bright, the plant was backlit, with very little room light on it

after 2 hours i grabbed the film and scanned it and inverted it, and tweaked the levels a bit

( i made a large slow scan and the film was extremely grey from the light beam )

instead of cropping the junk out of the image, i cropped the image in the film.

 

here it is:

retina image (film )

2 hours, inverted+levels tweaked in photoshop

 

it is kind of interesting that i was exposing this image today because i was having a online conversation on apug about transparancy of naming images and processes.

i found it strange that some folks make commercial photo paper paper negatives and refer to them as calotype or salt prints or talbot types and was asking what other people thought about

people.  and i was questioned about why i call these long exposed images retina prints.  a link to a post here was posted into the thread

and it was suggested that i am less than honest about how i describe these images.  it was suggested that these images, even just the negative is so different from

Nicéphore Niépce’s original process that it isn’t truthful that i call them the same thing.  it was suggested that i do not say the images were scanned

or inverted in photoshop,or that i tint the images in photoshop sometimes and add color,which all seemed a bit strange seeing i can’t imagine how i would get the images

on the internet without scanning them, and whenever i talk about these images i say they were inverted in photoshop &c.

maybe i shouldn’t call them retina prints?  but i can’t really think of what else to call them seeing they are pretty much the same thing

except i haven’t used salted paper, but have used everyting else under the sun ( glass, metal, plastic paper coated with bottled emulson or home made emulsion,

store bought photo paper ( rc or fiber based ) as well as color and black and white film.  maybe it is because the thing i am scanning is the retina image

and i don’t come right out and say “a scan of”  seems like it is implied whether i say it or not.  maybe i will just call them long exposed photographs instead

of a name game.

Posted in Misc., photographs Also tagged |

emulsive

i thought i posted a link to this but i guess it got away from me.

i was interviewed by emulsive.org a little while ago about film and emulsion and what i am up to.

in case you don’t know about emulsive org what i am up to here is the link

what’s emulsive.org ?  feel free to go there, its a pretty interesting site

well worth the click !

I am John Nanian and this is why I shoot film

Posted in film development technique, technique and style Also tagged , , , , , , , , , , , |

self made close up attachment

you read it right.

i made myself a close up attachment for my graflex slr.  i did this a handful of years ago because i wanted to do macro work, or at least “magnified” photographs and couldn’t put a long lens on the camera because of bellows extension.  so what did i do ?

i took one of the handful of old junk lenses i had lying around, and assembled something that i could stick in or on or over my camera.  i have done this with a few different lenses i use with the slr, and it is fun.  the depth of field is nearly gone so you have to be careful what you focus on.  you also need to realize that depending on where you have the bellows cranked open to, your lens to subject distance will change, and the magnification will change as well  …  so the image might end up looking normal not magnified.

this is something i made exposures of last week and assembled as a tri chrome moments ago.  i know the colors are a little weird, i kind of like this sort of charm, like a bad fotomat print  😉

because i had excessively expired film and developer i decided to stop down a little bit and make very long exposures.

i am not sure what F-number i stopped down to, my sunshade blocks the numbers, so i will just say 1/8 a turn  ..
and the film was exposed for around 15seconds each exposure.

 

graflex slr, sumatranol130 + dektol

home made close up lens, expired film, and developer

Posted in film development technique, technique and style, using vintage equipment Also tagged , |

coffee cups

originally …

i made 4 exposures, 1 with NO filtration and 3 others ( RGB ) and i was going to make a trichrome image of these coffee cups that look like stacked bowls but i ran into a little trouble.  while i love making exposures and i love processing film, i had no way of identifying the negatives after the film was processed.  i suppose if i was some sort of superhero i could look and know what was what, but there is too much stain in the film for me to be able to see which is which.  this can sometimes be a problem when processing 36 sheets of film at a time, and they get a little jumbled up  😉

so, instead of spending hours trying to ID the film, or making many many attempted trichromes with photoshop like some sort of mind bending puzzle i decided to take one of the images and hand color it, 4 different ways.  i used christmas colors and had some fun.

so, here are a few hand colored photographs.

4 up

hand colroed black and white

feel free to poke around on imagekind if you see something that you like they are less expensive than me making the prints by hand 😉

 

 

Posted in Misc., technique and style Also tagged , , |

it looks like i am off the good – stuff

after 15 years, or actually more like almost 18 or 20 years …

i am not using ansco 130 developer to process my prints, paper negatives, film

or work as an additive in my caffenol c developer.  for nearly 2 decades i have used

this lovely glycin based developer, at first mistakenly thinking it was GAF UNIVERSAL

and then making it my developer of choice.  would buy 8 gallons at once, mix them

and use them as i needed for a year …  then 6 when i stopped printing as much, and then

4 when i started processing everything in caffenol ( or sumatranol ) …  well, last year it looks like

i bought 4 gallons, and i just ran out, over a year later. …  the developer lasts about a year as a stock solution

and it was no longer clear, but brown.  rather than shell out the big bucks and buy 2 gallons at a time

for 25$ plus shipping, i decided to do something really old-school.  i mixed up a gallon of dektol.

dektol, D72, the developer made famous by  kodak …  and it seems to be working fine.  i have split processed prints with it

and i have added some into my caffenol c  ( instead of caffenol 130 i think i am going to call it Dcaffenol )  …  and

i have developed out some paper negatives that look nice too.  not bad for 6$ plus maybe 1$ for gas.

i’m also using it to reformulate a reversal developer, so stay tuned !

 

 

Posted in technique and style Also tagged , , |

long term goal

i have a hard time running out of film.

every time i get close someone i see on apug.org has some outdated film

and i am a sucker for that stuff …  so i buy it.  i do my best to shoot it a lot ..

i am getting low in my materials, thank goodness ..

only a few 100′ rolls and maybe 50-100 rolls of 35mm film
maybe 50 rolls of 120 film
a few hundred sheets (each) of 5×7, 8×10 and 4×5 film …

it’s been my new year resolution for the better part of 6 years to run completely out of film

and i might do it this year, and i can’t wait !

i have a dream that i can’t wait to act on …

its a long term goal of not shooting film anymore, but only hand coated materials.

i’ve been using hand coated materials off and on, with limited success and off/on enthusiasm for almost 30 years …

and i hope to run out of EVERYTHING so i can start making my own emulsions and coating glass, metal, plastics and paper.

why would i want to do this?

i have a few reasons …

its not that i don’t enjoy using premade paper and film, its that they are too good ..

as you might see from the photographs in this blog, and on my website and on imagekind
i don’t really like “perfect” … unless its for a job, and that is what my client expects …

otherwise i would rather have a few imperfections here or there and enjoy making it all by hand …

 

Posted in alternative process photography, images on glass and metal, images on hand coated paper, liquid emulsion, technique and style Also tagged , , |

dream

they say you dream in black and white

and when you awake your brain puts color to it all.

see previous upload for information

 

i awoke and saw it all in color …

Posted in alternative process photography, film development technique, images on hand coated paper, liquid emulsion, Misc., photographs, technique and style Also tagged , , , , , , , , , , , , |

coating plates … how to

i haven’t’ coated plates with hand made emulsion yet, that will happen soon enough …

but i have been coating plates on and off since the mid 1980s …

there are a few different ways to do this, some are easier than others

the first steps are all the same.

you have to wash the plate to make it chemically clean.  you can see if your glass sheet if clean by running water on it
if the water doesn’t “hang”  you are probably OK …  i wash my plates with a scrub brush ( plastic ) and washing soda.  i have a wood drying rack that i put them on so they drip dry.  i also just have them lean against the wall of the darkroom sink.

once they are dry you can coat them with a sub / or binding agent.  glass doesn’t really have anything for the emulsion to anchor to so an intermediary layer of something works.  depending on what sort of emulsion you are using you use a different binding agent …
i only use silver gelatin emulsions now, so my subbing layer would be  …  clear unflavored gelatin.  you can get hard bloom photography grade gelatin, its the same stuff used in the emulsion  …  or you can use cheap store bought knox gelatin.  i have only used knox  …  and it really never let me down.

i add a packet to warm water and let it dissolve.  then i pour it on the plate and put it someplace flat to set-up.  some folks put hardener in their sub layer, i have never done that.

anther binding agent could be clear poly urethane.  i have never used it  ( min wax ) but some do and they have had successes …  others suggest that it might yellow over time.  i’ve never used that so i really can’t comment.

i do know what DOESN’T work …

albumen doesn’t work
collodion ( either photographer’s collodion or pharmacy “flexible” ) doesn’t work
rubber cement doesn’t work either

as i write this, i realize i only used the albumen and collodion when they were not fully dry.
i have never tried to use them when they were dry, and knowing that there are collodion+gelatin emulsions that exist
i haven’t heard of a albumen gelatin emulsion though …

so i guess the jury’s out still on albumen and collodion …

once there is a sub layer there are a few different ways to coat the plate.
FIRST  …  you have to warm your emulsion and turn it into liquid.  i used to heat up a whole bottle and pour it off
but since then i have learned to squeeze out some emulsion into a warming container and have a small amount liquify.  heating and jelling
emulsion ( from what i understand ) can lead to a fogged emulsion.  once you have it in liquid form  …

one way is by total submersion into a tray of emulsion.  i haven’t done this, but from what i understand you can put some sort of covering on the back of the plate ( tape or something similar )  and dunk the plate in the emulsion, pour off the excess from a corner and put the plate someplace flat to even-out and set up.

another way is using a paint brush.  i like using japanese brushes to coat paper but they tend to leave brush strokes.  brush strokes on glass plates can be nice if enlarged on or shot through a camera, depending on the look you want …  i also like using cheap foam brushes.

this next way i was never able to do until this year, i always had trouble down the line and it never worked, but i have been reformed.

folks who write on http://www.thelightfarm.com and http://www.apug.org and mark osterman at the george eastman house have opened my eyes to another, easy and practical way to coat plates.  you need to have a warmish plate so i use a heating pad if my darkroom ambient temperature is coldish  …  and you need a cold level surface.  i use a pizza stone that cold from the freezer.
i have a small glass bottle i pour from, and another container to pour off / drain into.  i hold the plate level, and pour a large puddle of warm liquid emulsion onto it … and i tilt the plate to get all 4 corners ( like one would do if coating a wet plate ) …  and i use my finger to make sure
the whole plate is covered before draining it off into the second container.  after the plate is drained, i put it on the cold pizza stone to set the gelatin.  if the plate needs a second coat i pour on a second coat.  i usually coat maybe 4-10 plates at once, so by the time i am done with the last one, the first one can get its second layer.

i leave the plates flat and level to dry and after a day or so they are ready to expose.

when i process plates i use a coffee based developer and a strong developer.  i pretty much only use ansco 130, and use a 1:2 dilution to kickstart the development, and i put it in the coffee developer to finish.  i don’t rush it, and i agitate the tray  or with a gloved hand agitate the plate by rock it in the developer.  i don’t  use a stop bath but a water bath ( cold ) …  and while i never use hardener for any other process because it tends to be difficult to wash the emulsion and paper free of chemistry, i have a hardener fixer bath.

cold temperatures, an alkaline developer and a hardener in the fixer keep or help keep the emulsion from lifting off the plate.  in years gone by i would get perfect images on the emulsion, but they would lift off the plate, and wash off.  since i started using a cold stone, cold chemistry, alkaline developers and hardener i haven’t had this happen yet…

maybe  …  just a little bit, but not anywhere as badly as it could be.

5×7 and 8×10 glass plates on the horizon !

Posted in alternative process photography, film development technique, images on glass and metal, liquid emulsion, photographs, technique and style Also tagged , , , , , , , , , |

dry plates … in color

color images made from dry plate negatives

 

hand colored image from hand coated dry plate

 

conimicut point

colorized dry plate

Posted in alternative process photography, images on glass and metal, liquid emulsion, photographs, technique and style Also tagged , , , , , , , , , |

hand colored work, from dry plates

i am kind of stuck in hybrid mode these days

part of me is stuck in about 1890 and the other part in 2013 ..

recently i have been hand coating metal and glass plates with liquid emulsion
some were exposed and developed in a special developer to convert the negative image to a positive
( tintypes and ambrotypes ) with wet plate images this is done with collodion spiked with certain salts
which then bind with silver nitrate and are developed …this sort of thing was invented in the late 1850s early 1860s …

what i am doing was invented 20 years later.  instead of the silver nitrate ( and salts ) being suspended in a slowly drying
celluloid ( collodion ) that needs to be processed into a photographic image right away when still “wet”, i am using the silver-stuff
that has been suspended in clear gelatin.  they are called DRY plates …  it is the same silver gelatin liquid that i coat on paper ..
the same emulsion you can make yourself if you want  ( it really is easy enough for a college student to do ..  i did as a 20 years old at least )
and it is really easy to purchase from a store in a bottle  ( liquid light, black cat, se-1 &c ) …
in around 1900 someone discovered a way to invert the image to make a positive …  street photographers capitalized on this making instant portraits and post cards  ( developing tank under + attached to the camera ) …  and you can still do this today with the rockland colloid tintype kit

that is what i am using at least because the recipe for the developer is an unknown …

some plates are tintypes i made, some ambrotypes

and some are hand colored ( using photoshop )

 

 

Posted in alternative process photography, film development technique, images on glass and metal, liquid emulsion, photographs, technique and style Also tagged , , , , , , , , , , |

1910-2012

main street old earnshaw drugs

hand colored black and white

odeum theater
hand colored black and whtie

Posted in alternative process photography, film development technique, photographs, technique and style, using vintage equipment Also tagged , , , , , , |

the caffenol cookbook

six, almost seven years ago i was given a recipe for caffenol c film developer by a friend whitey.  i met whitey over on apug.org, one of the 3 or so photo places i hang around.  whitey is an artist and teacher and a friend of a friend who i went to college with.  he is the person who started me down a path that at first wasn’t sure where it was going to lead me, and now i couldn’t see myself doing anything else.  he emailed me the recipe for caffenol c  and the recipe went like this:

Caffenol C

8 oz. water
4 slightly rounded tsp. instant coffee
2 tsp. washing soda (buy it at Shaws as well)
1000 mg Vitamin C (1/4 tsp powder)

like a good science student, i got a spoon and the right ingredients and a beaker to mix them in, and i processed a roll of film.  after the first development i got tired of mixing 8oz at a time and started to make 1L at a time and just eyeballing the measurements.  i processed my film in an old leaky unicolor processor and it worked well, until it didn’t.  for whatever reason a few rolls came out completely blank with nothing on them, and i swore off the coffee developer.  i went back to ansco 130 for my films, and sprint film developer too.  i eventually got bored and began to use the coffee again, and this time i added a little bit of ansco 130 in it to see what would happen.  it turned out to be the best film developer i could imagine.  time went by and i started to wonder what would happen if i used coffee beans instead of instant coffee.  i hunted down some green beans a local roaster had and wasn’t using.  i did a test roast and process and he was as happy to sell me the beans as i was to use them.  there is another post in this blog that details my coffee roasting and processing …

over the years i have run into people who were also coffee enthusiasts.  some invited me to flickr.com where i met up with other like minded, people.  it is a diverse crowd over there, experimenters, scientists and people who really enjoy having fun with a camera and film.  i also met up with a someone who asked me if i would be interested in joining into a group and making a book all about caffenol.  knowing my style isn’t for everyone … i like imperfection, i like not measuring, i like adding a little bit of print developer into my strange brew, i wasn’t sure if i should join in or not.   well, it has been a long time in the making and it is finally done.

the caffenol cookbook and bible is here:  http://www.caffenol-cookbook.com/

 

HUGE thanks to bo for putting this together, it is an honor to be associated with such a great and diverse group of coffee fanatics.

Posted in alternative process photography, film development technique, photographs, technique and style Also tagged , , , |

occupasusatuxet cove ( paswonquitte )

behind where i live is the cove
the real name for it is occupasusatuxet cove ( paswonquitte )
which means  -small cove on tidewater –
it is an inlet on narragansett bay.
low tide it is a mudflat, high tide …
salt marsh and thatch
some say you can see the ribs of boats run aground
i didn’t see much low or high tide ..
i walked through the thick briars and followed the stream where the large turtles climb up.
the grass was thick and wet
and the water was high

this is from a developing series
multiple images using a 4×5 box camera
( and eventually other things )
printed and presented together.
this groups is both tmx and tmy processed in coffee, in a tray .. all 16 views.

Posted in Misc., photographs Also tagged , , |

chepiwanoxet

i have been spending more time at chepiwanoxet island these days.
years ago it was an island, but when the gaulidette airplane factory was
there, they trucked in dirt and linked it to the cove. no one knows
what chepiwanoxet means. i have an old dictionary of new england place names
and their english translations and it refers to chepiwanoxet island as “devil’s island”.
a few years ago i spoke with a elder of the narragansetts and when i mentioned that name
he got very upset. he said if i wanted a clue to the island name’s meaning
go in the morning or evening, and look to the north, south, east and west,
and maybe i would learn from experiencing.

the other day i was there with my box camera, i walked and listened, i walked and looked.
these views are what i felt and saw when i was there. the bay was quiet,
and silently lapped the shoreline. the wind blew through the weeds and tall grass.
i saw potowomut ( land of fire ), and cowesset ( place of the small pines )
and everything was still.

i also have a copy of the dictionary roger williams created
so he could learn the narragansett language.
if offers some clues too, but spellings are different.
chépewess means a northern storme of war,
chepassotam mean dead sachim
and chepasquaw means dead woman …

maybe if it was the place of a fierce battle, or where many people may have died
or a place where one could be touched by the spirit world.
it seemed quiet and offered a place of reflection when i was there.

i plan on going back sometimes soon, maybe my camera will help me
learn the true meaning …

=====

the sea was quiet and wind was whispering
the birds didn’t see me as they sunned
i walked the shoreline, scattered with the
remnants of staples and airplanes
and looked across to the other side

Posted in alternative process photography, film development technique, Misc., photographs, technique and style, using vintage equipment Also tagged , , |