Preface |
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Introduction |
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1 | (2) |
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Chapter 1 Setting Up the Contemporary Darkroom |
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3 | (4) |
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Chapter 2 Digital Negatives for the Darkroom |
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7 | (20) |
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8 | (1) |
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8 | (1) |
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QTR and Print-Tool software |
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8 | (1) |
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8 | (1) |
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8 | (1) |
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9 | (1) |
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9 | (1) |
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9 | (1) |
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Determining exposure for all methods |
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9 | (2) |
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Creating the Photoshop curve |
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11 | (1) |
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Applying the curve to a negative |
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12 | (2) |
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14 | (1) |
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Installing QTR and Print-Tool |
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14 | (1) |
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15 | (1) |
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Installing the Build QTR Curve tool |
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16 | (1) |
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Understanding profile terminology |
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17 | (1) |
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Making a one-part profile |
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18 | (1) |
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18 | (1) |
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Finding the correct exposure time |
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18 | (1) |
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Creating a starting profile |
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18 | (1) |
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19 | (1) |
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Evaluating and modifying the profile |
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19 | (1) |
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Linearizing the profile with Build QTR Curve |
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20 | (1) |
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Printing and evaluating the print |
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20 | (1) |
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Printing the monochrome negative |
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20 | (2) |
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QTR profile for lumen printing |
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22 | (1) |
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Troubleshooting the digital negative |
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23 | (1) |
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Troubleshooting the QTR negative |
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23 | (2) |
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Printing with the Print-Tool app |
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25 | (2) |
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PART ONE CAMERALESS EXPERIMENTATION |
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27 | (38) |
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Chapter 3 Photograms and Cliches Verre |
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29 | (6) |
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Photogram variables to consider |
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30 | (1) |
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30 | (1) |
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Direct projection photogram |
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31 | (1) |
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31 | (1) |
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31 | (1) |
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31 | (1) |
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31 | (1) |
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32 | (1) |
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33 | (2) |
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35 | (20) |
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36 | (2) |
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38 | (1) |
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38 | (1) |
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Digital negatives and lumen printing |
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39 | (1) |
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40 | (1) |
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40 | (1) |
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41 | (7) |
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Using lith developer with lumen prints |
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48 | (2) |
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50 | (2) |
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52 | (3) |
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55 | (10) |
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56 | (1) |
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56 | (1) |
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56 | (2) |
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58 | (1) |
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58 | (1) |
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Examples of process choices |
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58 | (1) |
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Making a chemigram test strip |
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58 | (2) |
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60 | (1) |
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61 | (4) |
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PART TWO CAMERA EXPERIMENTATION |
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65 | (22) |
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Chapter 6 Pinhole and Zoneplate |
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67 | (14) |
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68 | (1) |
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Calculating optimal pinhole size |
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68 | (1) |
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68 | (1) |
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68 | (1) |
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68 | (1) |
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68 | (2) |
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Speaking of exposure factor |
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70 | (1) |
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Reciprocity correction for film |
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70 | (2) |
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Reciprocity correction for paper |
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72 | (1) |
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72 | (1) |
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72 | (1) |
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72 | (1) |
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Oatmeal/ice cream pinhole camera |
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73 | (1) |
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Film canister pinhole camera |
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74 | (1) |
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75 | (1) |
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75 | (1) |
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75 | (1) |
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75 | (1) |
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76 | (5) |
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81 | (6) |
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82 | (1) |
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82 | (1) |
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82 | (1) |
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82 | (1) |
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82 | (1) |
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83 | (1) |
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83 | (1) |
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83 | (1) |
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Unloading the Holga 120 mm |
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84 | (1) |
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84 | (1) |
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Unloading the Holga 35 mm |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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85 | (2) |
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PART THREE PRINTING EXPERIMENTATION |
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87 | (26) |
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89 | (8) |
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91 | (1) |
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91 | (1) |
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91 | (1) |
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92 | (1) |
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92 | (1) |
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92 | (1) |
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92 | (1) |
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92 | (1) |
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92 | (1) |
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93 | (1) |
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Chemistry of the solutions |
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94 | (1) |
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95 | (2) |
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Chapter 9 Liquid Emulsion and Modern Tintype |
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97 | (6) |
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98 | (1) |
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98 | (1) |
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Gelatin-alum subbing solution for glass |
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98 | (1) |
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98 | (1) |
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99 | (1) |
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99 | (1) |
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99 | (1) |
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Modern tintype using liquid emulsion |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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Quickie tintype developer |
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101 | (1) |
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Rockland tintype developer |
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101 | (1) |
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101 | (1) |
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101 | (1) |
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Troubleshooting modern tintype |
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101 | (2) |
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103 | (6) |
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103 | (1) |
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103 | (1) |
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104 | (1) |
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104 | (1) |
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104 | (1) |
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105 | (1) |
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106 | (1) |
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106 | (1) |
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107 | (2) |
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109 | (4) |
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110 | (1) |
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Paper and developer to use |
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110 | (1) |
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110 | (1) |
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110 | (1) |
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110 | (1) |
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111 | (1) |
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111 | (2) |
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PART FOUR FINISHED PRINT EXPERIMENTATION |
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113 | (50) |
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115 | (10) |
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117 | (1) |
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118 | (1) |
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118 | (2) |
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120 | (1) |
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120 | (1) |
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Troubleshooting;---the paper is stained |
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121 | (1) |
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Troubleshooting---mordancage not working |
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122 | (1) |
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122 | (3) |
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Chapter 13 Bleaching and Bleachout |
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125 | (4) |
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125 | (1) |
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Bleach as a corrective or selective tool |
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125 | (1) |
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Farmer's Reducer bleach formula |
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126 | (1) |
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126 | (1) |
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127 | (2) |
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129 | (12) |
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One bath vs two bath toners |
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130 | (1) |
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Print preparation for all toning |
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130 | (1) |
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130 | (1) |
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Split toning with selenium |
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130 | (1) |
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130 | (1) |
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131 | (1) |
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1% gold chloride solution |
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131 | (1) |
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Gold sodium bicarbonate toner |
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131 | (1) |
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132 | (1) |
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132 | (1) |
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132 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (1) |
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135 | (1) |
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Walnut or other nut toning |
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135 | (1) |
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136 | (2) |
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138 | (1) |
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Clay Harmon's one-shot thiourea toners |
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138 | (1) |
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138 | (1) |
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139 | (1) |
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139 | (2) |
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Chapter 15 Applied Color and Abrasion Tone |
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141 | (8) |
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142 | (1) |
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143 | (3) |
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146 | (1) |
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146 | (1) |
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Abrasion tone (without abrasion) |
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146 | (1) |
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Mortensen's abrasion tone |
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146 | (3) |
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Chapter 16 Encaustic, Collage, Photomontage |
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149 | (6) |
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149 | (1) |
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150 | (1) |
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150 | (1) |
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150 | (1) |
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151 | (1) |
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151 | (1) |
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152 | (1) |
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152 | (1) |
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152 | (1) |
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152 | (1) |
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152 | (1) |
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152 | (1) |
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153 | (1) |
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153 | (1) |
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153 | (2) |
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155 | (8) |
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156 | (1) |
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156 | (1) |
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157 | (1) |
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Making the print for bromoil |
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157 | (1) |
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157 | (1) |
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157 | (1) |
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Inking the print with the brush |
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158 | (1) |
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Inking the print with the brayer |
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158 | (1) |
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159 | (1) |
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159 | (1) |
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159 | (1) |
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160 | (3) |
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PART FIVE CONTEMPORARY EXPERIMENTAL ARTISTS |
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163 | (83) |
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Chapter 18 Contemporary Experimental Artists |
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165 | (81) |
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167 | (6) |
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173 | (4) |
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177 | (2) |
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179 | (6) |
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185 | (4) |
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189 | (4) |
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193 | (2) |
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195 | (4) |
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199 | (4) |
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203 | (2) |
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205 | (2) |
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207 | (4) |
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211 | (4) |
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215 | (6) |
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221 | (4) |
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225 | (4) |
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229 | (6) |
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235 | (2) |
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237 | (4) |
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241 | (5) |
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APPENDIX: In-camera composition tips |
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246 | (15) |
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247 | (4) |
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247 | (1) |
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Denny Moers' "painting with light" |
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247 | (1) |
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247 | (1) |
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248 | (1) |
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248 | (1) |
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249 | (1) |
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Jolly Silver Mirror Printing process |
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249 | (1) |
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Silver Mirror Printing update |
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250 | (1) |
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250 | (1) |
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250 | (1) |
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Further Mordancage Formulas |
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251 | (6) |
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251 | (3) |
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Original Marriage formula |
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254 | (1) |
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E.J. Wall's etching process |
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254 | (1) |
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254 | (1) |
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255 | (1) |
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255 | (1) |
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255 | (1) |
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Allen P. Greenleaf's formula |
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256 | (1) |
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256 | (1) |
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Jonathan Bailey's formula |
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256 | (1) |
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257 | (4) |
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Gold thiocyanate toner II |
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257 | (1) |
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257 | (1) |
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257 | (1) |
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Photo Miniature copper toner |
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257 | (1) |
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Chinese toning (selenium/iodine) |
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258 | (1) |
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258 | (1) |
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258 | (1) |
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258 | (1) |
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258 | (1) |
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259 | (1) |
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259 | (1) |
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259 | (1) |
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Halo-chrome™ on a finished print |
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259 | (1) |
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Halo-chrome™ on an unfixed print |
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259 | (1) |
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Silver toning processes---SS |
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260 | (1) |
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Step One Copper bleach formula |
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260 | (1) |
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Step Two Redeveloper formulas |
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260 | (1) |
Bibliography |
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261 | (2) |
Index |
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263 | |