Fiddling

I’ve been playing a fair bit recently with different ideas and antique processes. In large part because I’ve no access to running water in my current studio space, thus my re-visiting physautotype. It’s a nice process for me in that it doesn’t require water at all, and it’s really not terribly sensitive to light (I also have no capacity to black out my space during the day, closing the curtains and working quickly is sufficient ).

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This was a bad pour, the imafe is from a lith negative I had lying about. It was very thin, it seems that physautotype likes thin negs.

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This is from my digital infrared series, I finally found an output from these files that I like.

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This was a test exposure, it gives you a decent idea of what the plate looks like without any special holder. There’s a lot of detail there when it’s displayed correctly.

So the next step is re-jigging my negatives to be a bit thinner, which should preserve the shadow detail.

I’ve also been playing with an idea about dageurrotypes.IMG_20160322_155900

This is as far as I’ve gotten, not so special really. But in this case I’m trying to use cheap silver plated flatware and I’m using iodophor steriliser with a wet treatment to create the sensitive plate, so even this level of success is pretty surprising.

It’s not something I expect to work out very quickly, but it is fairly cheap to do.

 

Physautotype – redux

I finally got the process as far as this, it’s about as far as I’m going to take it for now.

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This is a contact print from a lith negative. I coated both sides of a glass plate (gives a nice three dimensional effect) in a solution of violin rosin in ethyl alcohol (0.5g in 100ml) and then contact printed it for about three days exposure to blue sky on a window sill (this is not instant photography – If exposed to direct sunlight it’d be far faster), then developed it by exposing it to the fumes of mineral turps from about 1cm away on a flat plate. A separate development for each side.

This is the process that Niepce referred to briefly in one of his letters to Dageurre in the 1820’s – he said that printed on glass it makes a pleasing image when viewed in front of a dark surface. This (mine) is sandwiched in a black perspex case with a glass cover to protect it. I offered this to Geoffery Batchen, but he never responded, so it’s going in a box I guess.

I’m not taking this experiment any further for the forseable future, I’m thinking of a project involving travel, that and paying down a 78 thousand dollar student loan 😛

Bookages

A book I made as a test;

The cover looks a wee bit greener in real life.

Some of my photographic subjects (vandyke pics) piled to the side
Some cyanotypes – which are a headache to mount

Another. – Yup, the blue ones are taxidermied.

Vandykes of wee plastic animals.

Tempera print of a fishing lure.

And a gum print of a model tiger.

I made that as a test to see how people reacted to a particular set of ideas – and discovered that I’m on the right track, but with a few caveats – for one, people devalue regular binding, even hand made – probably because they can pick up something that looks (superficially – but who can see past that these days?) similar for a few dollars from a discount store.

Also how much hand can be visible, and what the aesthetics should look like – As a result I’ll go more towards something like this;

The spine looks like;

This was also a test, just using some ply I pulled out of a skip bin (dumpster) and some heavy glossy card stock I hadn’t found a use for yet – bound with linen thread.

The covers are ok, need a bit of sanding and some sort of treatment Shellac or wax/oil – the thread needs to be much thicker – perhaps embroidery thread, and I’ll probably move to using Hahnemuhle bamboo for the paper stock as it’s cheap, decent quality, and is conceptually in line with the recycled covers – final piece prolly won’t have ply covers, but we shall see..

I might be making some sketch books like this – prolly with laser etched covers. I feel a squirrel rampant coming on.