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Experimental Darkroom: Contemporary Uses of Traditional Black & White Photographic Materials [Minkštas viršelis]

(Professor of Photography at Montana State University, Bozeman)
  • Formatas: Paperback / softback, 276 pages, aukštis x plotis: 254x203 mm, weight: 860 g, 400 Halftones, color; 400 Illustrations, color
  • Serija: Contemporary Practices in Alternative Process Photography
  • Išleidimo metai: 03-Oct-2022
  • Leidėjas: Routledge
  • ISBN-10: 1032131861
  • ISBN-13: 9781032131863
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 276 pages, aukštis x plotis: 254x203 mm, weight: 860 g, 400 Halftones, color; 400 Illustrations, color
  • Serija: Contemporary Practices in Alternative Process Photography
  • Išleidimo metai: 03-Oct-2022
  • Leidėjas: Routledge
  • ISBN-10: 1032131861
  • ISBN-13: 9781032131863
Kitos knygos pagal šią temą:
The Experimental Darkroom is a book focused on traditional black & white photographic materialsdarkroom chemistry and silver gelatin papernow used in many non-traditional ways. The book starts with a comprehensive digital negatives chapter. Topics are divided into five sections: cameraless experimentation, camera experimentation, printing experimentation, finished print experimentation, and a section highlighting contemporary photographers who use these approaches today. Each process under discussion is accompanied by photographic examples and a step-by-step method written in a Just the facts, maam style.

Topics included are:





Photograms and clichés verre Lumen prints Chemigrams Pinhole and zoneplate Holgas Chromo Liquid emulsion and modern tintype Lith printing Sabattier Mordanēage Bleaching and bleachout Toning, traditional to experimental Applied color and abrasion tone Encaustic, photomontage, and collage Bromoil

The Experimental Darkroom encourages taking risks and having fun. Over 400 images and 71 artists are included in its 276 pages. The outcome will be an expansion of creative options for the silver gelatin print. The options are engaging and now more accessible with digital negatives. Images are no longer solely captured in camera or on analog film. The darkroom is no longer always dark. The print is no longer a pristine and accurate rendition of what the camera sees. Photographers are pushing the boundaries of black & white photographic practice. It is an exciting time to get into the darkroom and play!
Preface ix
Introduction 1(2)
Chapter 1 Setting Up the Contemporary Darkroom
3(4)
Chapter 2 Digital Negatives for the Darkroom
7(20)
Photoshop software
8(1)
Epson ink jet printer
8(1)
QTR and Print-Tool software
8(1)
Build QTR Curve software
8(1)
Transparency material
8(1)
Stouffer step wedge
9(1)
Digital step wedges
9(1)
Contact printing frame
9(1)
Determining exposure for all methods
9(2)
Creating the Photoshop curve
11(1)
Applying the curve to a negative
12(2)
QuadToneRIP
14(1)
Installing QTR and Print-Tool
14(1)
Installing a profile
15(1)
Installing the Build QTR Curve tool
16(1)
Understanding profile terminology
17(1)
Making a one-part profile
18(1)
Installing software
18(1)
Finding the correct exposure time
18(1)
Creating a starting profile
18(1)
Testing the profile
19(1)
Evaluating and modifying the profile
19(1)
Linearizing the profile with Build QTR Curve
20(1)
Printing and evaluating the print
20(1)
Printing the monochrome negative
20(2)
QTR profile for lumen printing
22(1)
Troubleshooting the digital negative
23(1)
Troubleshooting the QTR negative
23(2)
Printing with the Print-Tool app
25(2)
PART ONE CAMERALESS EXPERIMENTATION
27(38)
Chapter 3 Photograms and Cliches Verre
29(6)
Photogram variables to consider
30(1)
Exposure time
30(1)
Direct projection photogram
31(1)
Reverse photogram
31(1)
Bas relief photogram
31(1)
Direct positive paper
31(1)
Tips and ideas
31(1)
Cliche verre
32(1)
Making a cliche verre
33(2)
Chapter 4 Lumen Prints
35(20)
Making a lumen print
36(2)
Toning
38(1)
Tips and ideas
38(1)
Digital negatives and lumen printing
39(1)
Lumen print step wedges
40(1)
Favorite papers
40(1)
Not so favorite papers
41(7)
Using lith developer with lumen prints
48(2)
Cyanolumens
50(2)
Phytograms
52(3)
Chapter 5 The Chemigram
55(10)
Hard and soft resists
56(1)
Examples of hard resists
56(1)
Examples of soft resists
56(2)
Other resists
58(1)
Tools
58(1)
Examples of process choices
58(1)
Making a chemigram test strip
58(2)
The laser chemigram
60(1)
Tips and ideas
61(4)
PART TWO CAMERA EXPERIMENTATION
65(22)
Chapter 6 Pinhole and Zoneplate
67(14)
Pinhole technicals
68(1)
Calculating optimal pinhole size
68(1)
Finding the right needle
68(1)
Needle size chart
68(1)
Calculating the f-stop
68(1)
Calculating exposure
68(2)
Speaking of exposure factor
70(1)
Reciprocity correction for film
70(2)
Reciprocity correction for paper
72(1)
Image diameter
72(1)
Direct positive paper
72(1)
How to make a pinhole
72(1)
Oatmeal/ice cream pinhole camera
73(1)
Film canister pinhole camera
74(1)
35mm pinhole body cap
75(1)
Zone plate
75(1)
Tips and ideas
75(1)
Pinhole resources
75(1)
Pinhole exposure tables
76(5)
Chapter 7 The Holga
81(6)
The lens
82(1)
Focus
82(1)
Aperture
82(1)
Shutter
82(1)
Film
82(1)
Flash
83(1)
Multiple exposure
83(1)
Loading a Holga 120 mm
83(1)
Unloading the Holga 120 mm
84(1)
Loading the Holga 35 mm
84(1)
Unloading the Holga 35 mm
84(1)
Taping your Holga
84(1)
Long exposures
85(1)
Tips and ideas
85(2)
PART THREE PRINTING EXPERIMENTATION
87(26)
Chapter 8 Chromo
89(8)
Discoveries
91(1)
Materials needed
91(1)
Image type
91(1)
The chromo tray method
92(1)
Tray 1
92(1)
Tray 2(if desired)
92(1)
Tray procedure
92(1)
The chromo brush method
92(1)
Brush procedure
92(1)
Tips and ideas
93(1)
Chemistry of the solutions
94(1)
Chromo sources
95(2)
Chapter 9 Liquid Emulsion and Modern Tintype
97(6)
Emulsion hardener
98(1)
Surface preparation
98(1)
Gelatin-alum subbing solution for glass
98(1)
Coating
98(1)
Exposure
99(1)
Processing
99(1)
Tips and ideas
99(1)
Modern tintype using liquid emulsion
100(1)
Supplies
100(1)
Tintype developer I
100(1)
Tintype developer II
100(1)
Quickie tintype developer
101(1)
Rockland tintype developer
101(1)
Tintype directions
101(1)
Lavender varnish recipe
101(1)
Troubleshooting modern tintype
101(2)
Chapter 10 Lith Printing
103(6)
Papers for lith printing
103(1)
Lith developers
103(1)
Lith Developer ID 13
104(1)
Lith Developer ID 85
104(1)
How lith works
104(1)
The lith process
105(1)
Second Pass lith
106(1)
Bleach-back lith
106(1)
Troubleshooting
107(2)
Chapter 11 Sabattier
109(4)
About sabattier
110(1)
Paper and developer to use
110(1)
Clarence Rainwater's R77
110(1)
Sabattier the quick way
110(1)
Duotone sabattier
110(1)
Thiosulfate sabattier
111(1)
Tips and ideas
111(2)
PART FOUR FINISHED PRINT EXPERIMENTATION
113(50)
Chapter 12 Mordancage
115(10)
Coote formula
117(1)
Papers to use
118(1)
Mordancage process
118(2)
Mordancage negatives
120(1)
Speck formula I
120(1)
Troubleshooting;---the paper is stained
121(1)
Troubleshooting---mordancage not working
122(1)
Tips and ideas
122(3)
Chapter 13 Bleaching and Bleachout
125(4)
Standard bleach formula
125(1)
Bleach as a corrective or selective tool
125(1)
Farmer's Reducer bleach formula
126(1)
Bleachout
126(1)
Tips and ideas
127(2)
Chapter 14 Toning
129(12)
One bath vs two bath toners
130(1)
Print preparation for all toning
130(1)
Selenium toning
130(1)
Split toning with selenium
130(1)
Bleaching after selenium
130(1)
Gold toning
131(1)
1% gold chloride solution
131(1)
Gold sodium bicarbonate toner
131(1)
Gold thiocyanate toner
132(1)
Gold thiourea toner
132(1)
Blue toning
132(1)
Iron blue toner
132(1)
Copper toning
133(1)
Ferguson's copper toner
134(1)
Tea toning
135(1)
Walnut or other nut toning
135(1)
Sepia toning
136(2)
Thiourea toning
138(1)
Clay Harmon's one-shot thiourea toners
138(1)
Selective toning
138(1)
Multiple toning
139(1)
Mortensen's metalchrome
139(2)
Chapter 15 Applied Color and Abrasion Tone
141(8)
Supplies
142(1)
Steps
143(3)
Tips and ideas
146(1)
Abrasion tone
146(1)
Abrasion tone (without abrasion)
146(1)
Mortensen's abrasion tone
146(3)
Chapter 16 Encaustic, Collage, Photomontage
149(6)
Supplies
149(1)
Low tech encaustic
150(1)
Medium tech encaustic
150(1)
The encaustic process
150(1)
The ivorytype
151(1)
Tips and ideas
151(1)
Sources
152(1)
Collage and photomontage
152(1)
Possible supports
152(1)
Possible materials
152(1)
Adhesives
152(1)
Tools
152(1)
Five steps to collage
153(1)
Photomontage
153(1)
Tips and ideas
153(2)
Chapter 17 Bromoil
155(8)
Paper choices
156(1)
Other supplies
156(1)
Bromoil bleach formula
157(1)
Making the print for bromoil
157(1)
A bit quicker bromoil
157(1)
Bleaching the print
157(1)
Inking the print with the brush
158(1)
Inking the print with the brayer
158(1)
Oleobrome
159(1)
Bromotype
159(1)
Troubleshooting bromoil
159(1)
Tips and ideas
160(3)
PART FIVE CONTEMPORARY EXPERIMENTAL ARTISTS
163(83)
Chapter 18 Contemporary Experimental Artists
165(81)
Patricia A. Bender
167(6)
Annemarie Borg
173(4)
Brigitte Carnochan
177(2)
Douglas Collins
179(6)
Bridget Conn
185(4)
Karen Hymer
189(4)
Mike Jackson
193(2)
Katejordahl
195(4)
Tiina Kirik
199(4)
Leah Macdonald
203(2)
Chris McCaw
205(2)
Brittany Nelson
207(4)
Eva Nikolova
211(4)
Elizabeth Opalenik
215(6)
Chris Peregoy
221(4)
Nolan Preece
225(4)
Tim Rudman
229(6)
Leah Schretenthaler
235(2)
Sara Silks
237(4)
Kathy Vargas
241(5)
APPENDIX: In-camera composition tips
246(15)
Further Chromo Formulas
247(4)
Alan Bean's process
247(1)
Denny Moers' "painting with light"
247(1)
Jolly's Procedure One
247(1)
Jolly's Procedure Two
248(1)
Jolly's updated process
248(1)
More notes from Jolly
249(1)
Jolly Silver Mirror Printing process
249(1)
Silver Mirror Printing update
250(1)
Edmund Teske's process
250(1)
Dan Burkholder's method
250(1)
Further Mordancage Formulas
251(6)
Speck's patent
251(3)
Original Marriage formula
254(1)
E.J. Wall's etching process
254(1)
Baxter's formula
254(1)
Baker's formula
255(1)
Kodak etch bath EB-3
255(1)
L.P. Clerc's formula
255(1)
Allen P. Greenleaf's formula
256(1)
Alan McFaden's formula
256(1)
Jonathan Bailey's formula
256(1)
Further Toning Formulas
257(4)
Gold thiocyanate toner II
257(1)
Gold thiourea toner II
257(1)
Cassell's copper toner
257(1)
Photo Miniature copper toner
257(1)
Chinese toning (selenium/iodine)
258(1)
Iodine bleach
258(1)
FSA toning
258(1)
The process
258(1)
Other FSA toners
258(1)
Halo-chrome™
259(1)
Bleach formula
259(1)
Redeveloper formula
259(1)
Halo-chrome™ on a finished print
259(1)
Halo-chrome™ on an unfixed print
259(1)
Silver toning processes---SS
260(1)
Step One Copper bleach formula
260(1)
Step Two Redeveloper formulas
260(1)
Bibliography 261(2)
Index 263
Christina Z. Andersons work focuses on the contemporary vanitas printed in a variety of 19th century photographic processes. Andersons work has shown nationally and internationally in 120 shows and 60 publications. Anderson has authored books which have sold in over 40 countriesThe Experimental Photography Workbook, Gum Printing and Other Amazing Contact Printing Processes, Gum Printing, A Step by Step Manual Highlighting Artists and Their Creative Practice, Salted Paper Printing, A Step-by-Step Manual Highlighting Contemporary Artists, and Cyanotype: The Blueprint in Contemporary Practice; also Digital Negatives with QuadToneRIP, Demystifying QTR for Photographers and Printmakers co-authored with Ron Reeder, and Handcrafted: The Art and Practice of the Handmade Print co-authored with Wang, Jianming, and King. Anderson is Series Editor for Focal Press/Routledges Contemporary Practices in Alternative Process Photography series and Professor of Photography at Montana State University. To see her work, visit christinaZanderson.com.