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Chrysotype: A Contemporary Guide to Photographic Printing in Gold [Kietas viršelis]

  • Formatas: Hardback, 200 pages, aukštis x plotis: 254x203 mm, weight: 453 g, 11 Tables, black and white; 176 Halftones, color; 176 Illustrations, color; 11 Illustrations, black and white
  • Serija: Contemporary Practices in Alternative Process Photography
  • Išleidimo metai: 28-Oct-2020
  • Leidėjas: CRC Press
  • ISBN-10: 1138344990
  • ISBN-13: 9781138344990
Kitos knygos pagal šią temą:
Chrysotype: A Contemporary Guide to Photographic Printing in GoldDidesnis paveikslėlis
  • Formatas: Hardback, 200 pages, aukštis x plotis: 254x203 mm, weight: 453 g, 11 Tables, black and white; 176 Halftones, color; 176 Illustrations, color; 11 Illustrations, black and white
  • Serija: Contemporary Practices in Alternative Process Photography
  • Išleidimo metai: 28-Oct-2020
  • Leidėjas: CRC Press
  • ISBN-10: 1138344990
  • ISBN-13: 9781138344990
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781138344990.html
Raktažodžiai:
"Chrysotype is about photographic printing in gold on paper. This 19th century printing process, modified for contemporary use, provides artists with an affordable way to produce permanent prints in gold. By using film or digital negatives, striking hand-coated prints can be created in monochromatic hues ranging from pink, violet, magenta and purple, to green, blue, grey and black. Chrysotype offers a how-to guide for intermediate practitioners with illustrated examples and simple explanations for each stage of the chrysotype process. The book is divided into three sections: history; preparation and how-to; and the work of contemporary artists using chrysotype. This book includes:: A concise account of the invention and modification of the chrysotype process, including early discoveries about gold and colour and the significance of moisture for printing in gold: How to set up your workspace for printing, including useful equipment and materials: Advice on safe chemical practice: A step-by-step guide to creating suitable digital and film negatives: Guidance on paper selection and how to successfully coat paper: An overview guide to creating a chrysotype print: Step-by step directions for creating the chrysotype solutions: An explanation of mixing ratios and solution volumes that control contrast: An illustrated explanation of the effect of humidity on colour, including split tone colours and ways to control humidity: Step-by-step directions on post-exposure hydration to lengthen tonal range and lower contrast: Step-by-step tray processing directions: Advanced techniques such as handling translucent papers, additional chrysotype formulas and procedures, and alternative developing agents that support longer development, colour formation and remedy problems that affect image quality: Troubleshooting chrysotype printing, including advice and photographic examples: Illustrated profiles of contemporary artists making chrysotype prints, including their methods and tips Chrysotype serves to inform, encourage and challenge a new generation of alternate process practitioners and a growing chrysotype community, from the newly curious to the experienced professional"--

Chrysotype is about photographic printing in gold on paper. This 19th century printing process, modified for contemporary use, provides artists with an affordable way to produce permanent prints in gold. By using film or digital negatives, striking hand-coated prints can be created in monochromatic hues ranging from pink, violet, magenta and purple, to green, blue, grey and black.

Chrysotype

offers a how-to guide for intermediate practitioners with illustrated examples and simple explanations for each stage of the chrysotype process. The book is divided into three sections: history; preparation and how-to; and the work of contemporary artists using chrysotype.

This book includes:

  • A concise account of the invention and modification of the chrysotype process, including early discoveries about gold and colour and the significance of moisture for printing in gold

  • How to set up your workspace for printing, including useful equipment and materials

  • Advice on safe chemical practice

  • A step-by-step guide to creating suitable digital and film negatives

  • Guidance on paper selection and how to successfully coat paper

  • An overview guide to creating a chrysotype print

  • Step-by step directions for creating the chrysotype solutions

  • An explanation of mixing ratios and solution volumes that control contrast

  • An illustrated explanation of the effect of humidity on colour, including split tone colours and ways to control humidity

  • Step-by-step directions on post-exposure hydration to lengthen tonal range and lower contrast

  • Step-by-step tray processing directions

  • Advanced techniques such as handling translucent papers, additional chrysotype formulas and procedures, and alternative developing agents that support longer development, colour formation and remedy problems that affect image quality

  • Troubleshooting chrysotype printing, including advice and photographic examples

  • Illustrated profiles of contemporary artists making chrysotype prints, including their methods and tips

Chrysotype

serves to inform, encourage and challenge a new generation of alternate process practitioners and a growing chrysotype community, from the newly curious to the experienced professional.

Recenzijos

'Chrysotype is a complex process with many variables yielding different results. This book corrals those variables into a clear path to a certain result'

Jim Patterson

'Leanne McPhee has written an outstanding volume on the chrysotype process for photographic printing in pure gold, which can produce beautiful prints in colors ranging from pink to purple to brown, black, or blue. The book covers the history of the process along with very detailed and thorough practical instructions, and includes contributions from contemporary chrysotype artists to show the wide variety of excellent work that can be produced.'

Mark Severson, Chemistry Professor and Alternative Photographic Process Artist

Preface xi
Introduction xv
PART ONE HISTORY
1(16)
Chapter 1 Early Experiments With Gold And The Chrysotype Invented And Reinvented
3(14)
The `Ingenious and Lively' Elizabeth Fulhame
4(2)
Herschel and Iron-based Printing in Gold
6(1)
Experiments with Gold and Iron
7(1)
Herschel's Chrysotype Process
7(2)
Herschel's Chrysotype Prints
9(1)
Nanoparticle Gold and Colour
10(2)
New Chrysotype
12(5)
PART TWO PREPARATION AND GUIDE TO CHRYSOTYPE
17(116)
Chapter 2 Preparing For Printing
19(12)
Safety First
19(2)
Chemical Safe Handling, Storage and Disposal
19(2)
Work Spaces and Lighting
21(1)
General Consumables
21(1)
General Equipment and Materials
21(1)
Equipment and Materials for Making Negatives
22(1)
Analogue Film
22(1)
Digital Negatives
23(1)
Equipment and Materials for Coating Paper
23(2)
Optional Items For Coating Paper
24(1)
Equipment and Materials For Controlling Humidity (Pre and Post Exposure)
25(1)
Equipment and Materials for Exposing the Print
25(2)
Making a Basic Contact Printing Frame
27(1)
Equipment and Materials to Process and Dry Prints
27(1)
Optional Items for Processing and Drying Prints
27(1)
Equipment to Make and Store the Chemistry for Version's'
28(1)
Additional Items for Versions `M' and `P'
29(1)
Chemicals
29(1)
Chemicals for Version `S'
29(1)
Coating
29(1)
Humidity Control
29(1)
Processing
29(1)
Useful Measurement Conversions
29(2)
Weight
29(1)
Liquids
29(2)
Chapter 3 Preparing The Negative
31(10)
Film Negatives
33(1)
Film Development
33(1)
Creating a Large Format Film Negative With PMK Developer
33(1)
Working Formula
33(1)
PMK Development Process
33(1)
Using a Transmission Step Wedge
34(1)
Masking the Negative
35(1)
Digital Negatives
36(2)
Creating a Basic Digital Negative
38(3)
Chapter 4 Paper Choice
41(12)
Paper Types
42(1)
Surface Finish
42(1)
HOT/HP
43(1)
NOT or CP
43(1)
Rough
43(1)
Size and Weight
43(1)
Paper Additives
44(1)
Impact of Paper Additives on Chrysotype
44(1)
Sizing -- Application and Type
44(1)
Internal (`Engine', `Body or `Beater') Sizing
44(1)
Surface (`Tub', `External') Sizing
44(1)
Impact of Sizing on Chrysotype Colour
45(1)
Papers for Chrysotype
45(4)
Paper Handling and Storage
49(1)
Paper Treatment
49(4)
Decalcifying Paper
49(1)
Procedure for Removing Calcium Carbonate
49(1)
Sulpbamic acid Decalcification Process
50(1)
Surface-sizing Paper with Hardened Gelatin
50(1)
Gelatin Harden ing Process
50(3)
Chapter 5 Overview Of The Chrysotype Process
53(10)
Overview of the Steps to Create a Chrysotype Print
54(3)
A Quick Guide to Getting the Common Chrysotype Colours
57(6)
"I want a pink image"
58(1)
"I want a split tone image"
59(2)
"I want a blue image"
61(2)
Chapter 6 Making And Mixing The Sensitiser
63(18)
Version `S'- Sodium Method
64(5)
Chemicals, Equipment and Materials
64(2)
Preparing Stock Solutions For Version `S' Sensitiser
66(1)
A. LigandSolution (1.4 molar)
66(1)
B1 Gold Solution (0.35 molar) - Option 1 Sodium Tetrachloroaurate
67(1)
B2 Gold Solution (0.35 molar) - Option 2 Hydrogen Tetrachloroaurate
67(1)
C Iron Solution (1.4 molar)
68(1)
Tween®20
68(1)
Version `S' Mixing and Contrast Control
69(2)
Contrast Control and Volume Ratios
69(1)
Working Out the Volume of Solution
70(1)
Advanced Section
71(1)
New Chrysotype Version `M'
72(2)
Chemicals, Equipment and Materials
72(1)
Preparing Stock Solutions For Version `M' Sensitiser
72(1)
A. Ligand Solution (1.4 molar)
73(1)
Differences In Use Between Versions `M' and `S'
73(1)
New Chryostype Version `P'
74(2)
Chemicals, Equipment and Materials
74(1)
Preparing Stock Solutions for Version `P' Sensitiser
75(1)
A Ligand Solution (1.4 molar)
75(1)
B Gold Solution (0.35 molar) Hydrogen Tetrachloroaurate
75(1)
C Iron Solution (1.4 molar)
76(1)
D Sodium Hydroxide Solution (14 molar)
76(1)
Version `P' Mixing and Contrast Control
76(5)
Contrast Control and Volume Ratios
76(1)
Working Out the Volume of Solution
76(2)
Preparing the Sensitiser
78(3)
Chapter 7 Coating Paper
81(10)
Chemicals, Equipment and Materials for Coating Paper
82(1)
Glass Coating Rod
82(1)
Items For Making a Glass Coating Rod
82(1)
Making a Glass Coating Rod
83(1)
Brush Coating
83(1)
Coating the Paper
83(8)
Which Side of the Paper to Coat?
83(1)
Helpful Coating Tips
84(1)
Rod Coating Method
85(2)
Brush Coating Method
87(1)
Coating Translucent `Vellum' Paper
87(4)
Chapter 8 Regulating Paper Humidity
91(10)
What is Relative Humidity?
91(1)
The Effect of Humidity on Chrysotype Colour
92(2)
Low Humidity 9--35%
92(1)
Intermediate Humidity 36--65%
92(1)
High Humidity 66--100%
92(2)
How to Regulate Humidity
94(7)
Timed Air Drying
94(1)
Extended Heat Drying
94(1)
Regulated Humidity Chamber
94(2)
How to Construct a Humidity Chamber
96(2)
Salt Humidity Chamber
98(1)
Silica Bead Humidity Chamber
99(1)
Water Hydration Chamber
99(1)
How To Use a Humidity Chamber
99(2)
Chapter 9 Exposing And Processing The Print
101(18)
Exposing the Print
102(2)
Exposure Time and Print-out
102(1)
Exposure Time and Ligand To Gold Ratio
102(1)
Humidity and Extent of Print-out
103(1)
Hydration after Exposure
104(3)
Steaming and Print-out
104(1)
Steaming Procedure
105(1)
Localised Breathing
106(1)
Processing the Exposed Print
107(5)
Standard Developing Agents and Colour
107(2)
Development Characteristics, Time and Temperature
109(1)
Clearing Baths
110(1)
Chemicals, Equipment and Materials For Processing Prints
110(1)
Processing Procedure
111(1)
Advanced Section
112(1)
Testing potential developing agents
112(7)
Colour intensification
113(2)
The salts of the standard developing agents
115(4)
Chapter 10 Troubleshooting Chrysotype
119(14)
I Can't Get `That' Colour Again
119(2)
The Print Looks `Grainy'
121(1)
The Image Highlights Are Stained Red/Purple
122(1)
The Print Has `Speckles' in the Shadow Areas
122(1)
The Print Has Dark `Measles' Marks
123(1)
The Print Has White Splotches
124(1)
I Can't Get an Even Coating
124(2)
Brush Coating
124(1)
Rod Coating
125(1)
The Sensitiser Disappears After One Or Two Coating Passes
126(1)
The Paper Turns Yellow Or Orange After Coating
126(1)
My Print Is Too Dark
127(2)
The Negative Looks `Thin'
127(1)
Paper
128(1)
Post Hydration
128(1)
Developing Agent Used
128(1)
My Print Has Too Much Contrast
129(1)
A Higher Ligand Ratio
129(1)
The Negative Is Too Dense
129(1)
The Image Is Faint Or Lacks Contrast
129(1)
Parts of the Image Look `Blurred'
130(3)
PART THREE CONTEMPORARY CHRYSOTYPE ARTISTS
133(50)
Chapter 11 Contemporary Chrysotype Artists
135(48)
Giorgio Bordin
137(4)
Bianca Conwell
141(4)
Wendy Currie
145(4)
Miguel Duarte
149(4)
Danielle Edwards
153(2)
Mark L. Eshbaugh
155(4)
Esme Ann Everingham
159(4)
Aileen Hubbard
163(4)
Tony McLean
167(4)
Pradip Malde
171(4)
Marek Matusz
175(4)
Mike Ware
179(4)
Appendix A Suppliers 183(2)
Appendix B Chemical Information 185(4)
Appendix C Bibliography 189(4)
Index 193
Leanne McPhee is an award winning Australian fine art photographer and researcher with works held in public and private collections in Australia, China, Italy and the United States. She has demonstrated expertise in a variety of alternative photographic processes, particularly chrysotype and salted paper printing. McPhee is a regular contributor to national and international symposia, delivering hands on workshops and has published both technical and creative works. To see her work, visit leannemcphee.com.