Van dyke

Printing with Van Dyke Brown requires the use of a large format negative in the size of the desired print, a suitable substrate for coating and subsequent printing, and a UV light source, either sunlight or suitable bulbs. The substrate can be almost anything that the solution will adhere to. Watercolor paper is a good first choice, but trickier substrates such as metal, glass or tile can be first ‘sized’ with gelatin or arrowroot to facilitate coating. The substrate is coated with solution under tungsten light, air dried, and coated a second time if desired for a stronger image.

The negative is placed on the thoroughly dried coated substrate, and is then weighted with a piece of glass. Frequent printers often use a printing frame to ease the checking of printing progress without disturbing the registration, or alignment, of the negative on the paper. These printing frames also ease the printing of a second coat over the same image.

The glass-negative-substrate ‘sandwich’ is exposed to a source of UV light. UV bulbs offer more control and consistency of light than sunlight, but at greatly increased cost. Standard daylight fluorescents produce some UV light, but printing times may be very long. A good starting point for printing time is to check a region of your photo that is very light but should still show some tone or detail (a highlight), and note how long it takes to register this detail, and print as long again. The latent image now appears, although flat and lacking substantial shadow tones.

My Van Dyke print came out quite good. I learn from my mistake from cyanotide so I left my Van Dyke print contact with the UV longer than it really need. No rushing when do coating and the sun is quite nice on that day.

 I put the 2 digital negative on top one another and this is the result.

 I think Van Dyke is the best print I even made in this class. Good coating, nice contrast and detail.

Cyanotype

Cyanotype is a photographic printing process that gives a cyan-blue print. The process was popular in engineering circles well into the 20th century. The simple and low-cost process enabled them to produce large-scale copies of their work, referred to as blueprints. Two chemicals are used in the process. The English scientist and astronomer Sir John Herschel discovered this procedure in 1842. Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.  It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.  Atkins placed specimens directly onto coated paper, allowing the action of light to create a sillhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.

 I missed the lab day when we made this print so I came to make it one the make up lab.
I don’t have a luck on this one at all !! it’s a very cloudy day plus raining . I didn’t let’s my print contact with UV light long enough.

After fix the print with water they are all turn white all the picture have fade away. I am too rush to do this one too much if I should have leave them longer some off them should be survive.

Albumen print

The albumen print, also called albumen silver print, was invented in 1850 by Louis Désiré Blanquart-Evrard, and was the first commercially exploitable method of producing a photographic print on a paper base from a negative. It used the albumen found in egg whites to bind the photographic chemicals to the paper and became the dominant form of photographic positives from 1855 to the turn of the 20th century, with a peak in the 1860-90 period. During the mid-19th century, the carte de visite became one of the more popular uses of the albumen method. In the 19th century, E. & H. T. Anthony & Company were the largest makers and distributors of the Albumen photographic prints and paper in the United States.

Process

1. Coated the water color with the emulsion of white egg and let’s it dry naturally

2. For the 2 coated we have to let’s the first one complete dry first and repeat the process again

3. Then coated them with alcohol to make a nice and glossy surface.

4. Coated them with silver nitrate for 2 coated, let’s it dry between coated before applied another.

5. Put the digital negative into a picture frame follow by albumen paper

6. Expose the paper to the sun for 10 minute (the paper change to dark maroon colors)

7. Then we take a paper out and fix them with Hypo

This is the result

Not so bad but not that good compare with other people in class. I think when I coated the white egg it still not even and also a lot of bubble. Moreover, my skill of coating silver nitrate seem not getting better at all. The color is quite charming look very vintage, soft and daydreaming.

We also did other print, this is an arrowroot which I like the best.  It provide a very good detail ,sharpness and contrast from digital negative. This is my best print among the least I made in the same day

This one is a gelatin print I used the same digital negative with albumen print. It gave a better contrast and detail compare to my albumen paper.

Overall I think I like arrowroot the best. I love the sharpness and contrast that arrowroot provide. Beside, it’s the best print among the least I made on that day.

Camera Obscura

The camera obscura (Latin; “camera” is a “vaulted chamber/room” + “obscura” means “dark”= “darkened chamber/room”) is an optical device that projects an image of its surroundings on a screen. It is used in drawing and for entertainment, and was one of the inventions that led to photography. The device consists of a box or room with a hole in one side. Light from an external scene passes through the hole and strikes a surface inside where it is reproduced, upside-down, but with color and perspective preserved. The image can be projected onto paper, and can then be traced to produce a highly accurate representation.

Using mirrors, as in the 18th century overhead version (illustrated in the History section below), it is possible to project a right-side-up image. Another more portable type is a box with an angled mirror projecting onto tracing paper placed on the glass top, the image being upright as viewed from the back.

As a pinhole is made smaller, the image gets sharper, but the projected image becomes dimmer. With too small a pinhole the sharpness again becomes worse due to diffraction. Some practical camera obscuras use a lens rather than a pinhole because it allows a largeraperture, giving a usable brightness while maintaining focus.

My DIY Camera Obscura

In class, we receive a cheap plastic magnifier lens with a task that we need to create our own camera obscura with one of this lens. I choose to use the big one since the focus length seem easier for me to build a camera. I project a lamp to the lens and measure the distance between lens and the point of light (I use the smallest point).

I found a box from my wood tool perfectly good size for making a camera so I cut a circle hole that fit with the lens then glued them together. I use black masking tape to fill all the gap made sure that no light will be able to come through . I use tracing paper as a film by cutting a card board for making a frame and put the tracing paper in between

Then I check whether it’s work from my studio window. I got a picture better than I expect  The picture when I try outdoor even better.

It’s not as hard as I think ! very fun and interesting project.

Art Material / Photography 3rd Experiment

Salted Paper & Photogenic Drawing 2

We used the best result from the last experiment which is 1 coated of 2% salt and 2 coated of 12% silver nitrate on watercolor paper. We repeated the same process as last time in group work ,beside an object we also use a transparent gel paper which are red, blue and yellow. We expect to the see how each gel paper will give different resource.

Coated water paper with one coated of 2 % salt then dry it with hairdryer.

Coated paper with 2 coated of silver nitrate and place the object and gel paper on top of the test pieces.

After we place all the object we leave the test pieces outside for 10 min. Compare to last experiment this time the paper react with the uv better and faster. I guess over brush stroke have been improve.  We can see the paper change into very drake down color and the color are quite even on the test piece.

After we remove the tape we washed our paper with 4 water.

1st water for 3 minute

2nd water for 4 minute

3rd water for 4 minute

4th water for 1-2 hours

We can see from the result that among the gel paper blue didn’t let’s the light go through that much compare to other colors also the glass that we use for place on the paper also block the uv a bit so they created a frame on the paper.

Individual Experiment

Material

1. Salt

2. Silver Nitrate

3. Watercolor paper

4. Gel paper red

5.  Mechanical pencil

6. Clipper

I repeated the same process for my individual experiment. I change concentration on coating to 1 coated of salt and 3 coated of silver nitrate which I expect to see a better result for this time.

It’s seem like the result didn’t come out like I expect. The 2 coat of 12 % silver and 3 coated is hardly different and I probably rush to do it so the brush stroke is not that good. I can see the uneven from the paper. Next time I need to be more careful than this and not only the amount of silver coat that matter but also the even of the brush stroke. If I can redo it again I will stick with the 2 % salt and 12 & silver nitrate and give myself enough time to coat them evenly and let’s it dry properly before let’s them contact with a uv.

Art Materials / Photography : Experiment 2

Photogenic drawing

In January 1839, the mathematician William Fox Talbot FRS announced his invention of ‘photogenic drawing’ at a Royal Society meeting. People were amazed by the finely detailed pictures he produced of everyday items like lace and flowers. The Victorian craze for photography had begun. From the beginning, photography was used by scientists to record the world in a new way. Plants, animals and even facial expressions could be captured and studied. Now it is difficult to imagine a world without photographic images.

Wrack: From the "Bertoloni Album," 1839

The Oriel Window, South Gallery, Lacock Abbey, 1835 or 1839

Photogenic Drawing experiment

Our experiment this week we will work with salt and Silver Nitrate solution for creating a sample of photogenic drawing. Our group have separated into 12 testing pieces and each pieces combine with different intensity of solution to compare the different and see which combination give the best result after react with the sunlight.

Material

1. Salt 2%

2. Salt 5%

3. Silver Nitrate 5 %

4. Silver Nitrate 12 %

5. Destill Water

6. Water Color Paper

7. Personal object : lighter, glasses, id card, key, gum, key chain, scissor and pen

8. Brush

Method

Each group provided a different solution our group made 2% salt by using 2 gram of salt mix with 100 mml destill water.

We separated the testing into 12 pieces

1. 1 Coated of 2% Salt 1 Coated of 5 % Silver Nitrate

2. 1 Coated of 2% Salt 1 Coated of 12 % Silver Nitrate

3. 2 Coated of 2 % Salt 1 Coated of 5% Silver Nitrate

4. 2 Coated of 2% Salt 1 Coated of 12% Silver Nitrate

5. 2. Coated of 2% Salt 2 Coated of 5% Silver Nitrate

6. 2 Coated of 2% Salt 2 Coated of 12% Silver Nitrate

7. 1 Coated of 5% Salt 1 Coated of 5% Silver Nitrate

8. 1 Coated of 5% Salt 1 Coated of 12% Silver Nitrate

9. 1 Coated of 5% Salt 2 Coated of 5% Silver Nitrate

10. 1 Coated of 5% Salt 2 Coated of 12%  Silver Nitrate

11. 2 Coated of 5% Salt 2 Coated of 5 %  Silver Nitrate

12. 2 Coated of 5% Salt 2 Coated of 12%  Silver Nitrate

We start coat a paper with salt solution first by using dropper to drop a solution directly on the paper then use a brush to apply a solution evenly on each paper.

Use a hairdryer to dry each paper before apply and second layer. After we finish coated all paper with salt we start to coat paper with silver nitrate and dry them with hairdryer again.

Put different type of object on each paper and went outside to let’s a paper explode with sunlight for about 5 minute. Once the paper contact with the light it start to react and we can see some area became darker and darker.

Removed the object and see what happen. We can see that some area are darker and it’s not as even as we expect which may come from the brush stroke and went we applied the solution on paper. A paper with 12% silver and less salt seem to react better than the least of the group.

Then we soaked all the paper into a salt water for couple minute for stop the reaction or else the paper will become darker and darker with they contact with the light.

After soaked all paper with salt water we wash them with tap water and took them out and take a look again. We can see the outline shape of the object in every pieces yet the better on have to be the paper with 2 coated of 12% silver with less salt. The outcome is very interesting and I can see that if the brush stroke is not even enough it will create and uneven when the paper start to react some area are lighter some area are darker. The paper that coated 2 time with 12% silver nitrate became golden brown after the reaction and the group that have more salt than silver became very dark purple. I think if we coated silver nitrate more than 2 coat the paper will react even better.

Source : http://royalsociety.org/Photogenic-drawing/

http://www.edinphoto.org.uk/1_p/1_photographers_talbot.htm

Art Material / Photography : 1st Experiment

Anthotype

Anthotypes are a way to create fine art images right from a garden. This process was originally invented by Sir William Herschel in 1842. An emulsion is made from crushed flower petals or any other light-sensitive plant, fruit or vegetable. A coated sheet of paper is then dried, exposed to direct full sun-light until the image is bleached out. This is done ideally in a printing frame over 1-3 days or more depending on conditions and negative/material. What you see is what you get. No fixation is required. You can follow the gradually emerging image as you go. Results vary greatly from plant to plant and the strength of the emulsion employed. The resulting images are exquisite and often almost wispy or dream-like.

Anthotype lap experiment

In the class me and my group have a chance to experiment with this technique.  We have separated the experiment into 6 pieces with the hypothesis that the exposure of light is the factor of color intensity when the time pass.

Material : Raspberry , Spinach , Brush, Still water, Alcohol and Watercolor paper

Spinach 10 mml

Raspberry 10 mml

Alcohol 5 mml

destill Water 5 mml

Method

1. Put our materials into the filter paper then crush and drain all the liquid from raspberry and spinach.

2. Separate each  juice in to a beaker and use a clean brush to apply 2 even coat in each testing pieces.

– First sheet was coated 3 layers with filter spinach juice and distilled water. The color is very fresh green.
– Second sheet was coated 3 layers with filter raspberry juice and distilled water. The color is very fresh magenta
– Third sheet was coated 3 layers with mixture of filtered spinach juice and filtered raspberry juice and distilled water. The color become brown
– Fourth sheet was coated 3 layers with filtered raspberry juice with alcohol. The color change to be more transparent magenta
– Fifth sheet was coated 3 layers with filter spinach juice and alcohol. The color change to be more transparent green.
– Sixth sheet was coated 3 layers with mixture of filter spinach and raspberry with alcohol. The color change to be very transparent mix of green and magenta.

3. Dried each teaching sheet then cut a paper into a shape and put them on top of each testing sheet. Those shape will prevent the sunlight to contact with testing sheet, therefore we can see the different between the area that explode with light and the area that not.

4. we separated each sheet for each group member

5. Place it on the window or some place that our testing sheet can receive a sunlight.

6. Wait and see the result.

I received 2 testing pieces the first one is the mixture of filter spinach juice and filter raspberry juice and the mixture of filter spinach juice and filter raspberry juice and alcohol. I put both sheet on my apartment window from my observation the colors start to fading away. As I peeked to the area that has been cover a little bit I can see that the sheet of the mixture of filter spinach juice and filter of raspberry juice the color are darker than the area that contact with sunlight. While the mixture with alcohol change just slightly a little from the first time. I guess we have to wait more since spring just start to come to us.

The top sheet is the mixture of filter spinach and raspberry and the bottom is the mixture of filter spinach and filter raspberry with alcohol. Now we need to wait for couple more month to see what they gonna be in the end.

Source : http://www.arthistoryclub.com/art_history/Anthotype

 

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