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Introduction to Alternative Processing in Photography

Lesson 27 of 49

Introduction to Van Dyke Printing

Daniel Gregory

Introduction to Alternative Processing in Photography

Daniel Gregory

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Lesson Info

27. Introduction to Van Dyke Printing

Lessons

Class Trailer
1

Class Introduction

03:03
2

Overview of the Alternative Process

03:31
3

Overview of the Digital Negative Process

10:21
4

Working with Black and White Digital: What You Need

09:17
5

Working With Black and White Digital Images: Color Settings

08:33
6

Working with Black and White Digital Images Lightroom

07:01
7

Working With Black and White Digital Images Photoshop

11:57
8

Working With Black and White Digital Images 3rd Party Plug-ins

07:29
9

Avoiding Key Artifacts

20:26
10

Creating the Step Wedge for Curve Corrections

39:00
11

Organizing Your Adobe® Photoshop® Files and Curves

11:20
12

Setting Up the Printer

20:24
13

Lab Safety and Workspace Set-Up

03:49
14

Setting the Maximum Black Time

12:06
15

Getting the Initial Curve Test Numbers

20:04
16

Correcting the Curve

20:37
17

Printing the Curve

06:08
18

Sharing Curves

08:50
19

Caring for the Digital Negative

12:29
20

Intro to Cyanotypes and Safety

07:46
21

Paper and Brush Types

05:08
22

Coating Process and Cyanotype Chemistry

12:17
23

Making the Cyanotype Print

06:41
24

Washing the Cyanotype Print

12:29
25

Creating Cyanotypes Photograms

14:59
26

Toning Cyanotypes and Cleaning Up the Darkroom

18:43
27

Introduction to Van Dyke Printing

04:36
28

Setting Up the Van Dyke Workstation

05:20
29

Van Dyke Paper and Coating

05:10
30

Van Dyke Exposure and Developing

32:30
31

Van Dyke Troubleshooting and Resources

08:26
32

Van Dyke: Split Toning

18:56
33

Van Dyke: Wash Cycle and Drying

04:33
34

Van Dyke: Clean Up Process

03:51
35

Introduction to Platinum / Palladium Printing

14:15
36

Platinum/Palladium Coating Chemistry and Safety

09:58
37

Platinum/Palladium Paper and Coating Options

22:31
38

Platinum/Palladium Exposure and Development

22:31
39

Platinum/Palladium: Equipment and Supplies

16:48
40

Ink Jet Negative Coating and Exposure

15:25
41

Platinum/Palladium Chemistry Options

07:50
42

Ink Jet Negative Development

03:45
43

Platinum/Palladium Waxing Images

08:40
44

Platinum/Palladium Troubleshooting and Resources

27:19
45

Sharing Your Work Digitally

14:49
46

Archivability

10:39
47

Matting and Framing Options

30:22
48

Editions and Signing Options

13:54
49

Alternative Processes: Further Exploration

07:25

Lesson Info

Introduction to Van Dyke Printing

So I'm super excited to be here an entire day in the dark room is like the perfect day for me, so I'm super excited about that, and the Van Dyke process is actually a great process, I call it a gateway process it because it's got a look to it and an aesthetic to it that starts to get a little closer to what you see in some other processes but it's super easy to work with, it's a lot of fun to work with, there's a lot of options you can do with a Van Dyke print. I showed some examples of how Jean had some images where she had done a Van Dyke over a sienna type or vice versa, but today we're gonna kinda focus just on the Van Dyke process and some various on the Van Dyke process. So, I talked to you yesterday about how alternative processing is really about experimentation. And as you work, as you figure out, and as you develop your own process and your style, you're gonna figure out there's certain things you want to do, there's certain things you might want to change, and a lot of alter...

native processing is about problem solving. So we're going to go ahead and use the Van Dyke process to start to talk about how you would approach those various issues, ways to kind of subtly modify the process, pretty much everything is really easy to do, super easy to do, and hopefully everything's going to come out great, we're going to make some amazing prints. But, just like with it yesterday, we still want to make sure we have our safety in the dark room so we still have our surface coated. The Van Dyke process uses a couple chemicals which I'll talk about later, but one of which is silver nitrate. Silver nitrate is, it's a diluted form, so it's not a super concentrated form, but it's actually what creates the middle for the UV exposure to work with. So silver nitrate though will stain pretty much anything it touches. If it gets on your skin it'll actually turn kind of a dark gray, a dark brown. It doesn't come off unless you scrub your skin raw but it will just dissolve over time and it doesn't absorb or cause any problems through the skin but if it gets in your eye it can cause loss of eyesight, so it's one of the chemicals that we definitely want to make sure we have protective eyewear with. So I go ahead and put back on my safety glasses and as I said yesterday, once I'm in the dark room, and it doesn't matter if I'm doing silver gelatin or anything in the dark room, I just have on safety glasses. As a photographer, my eyesight is the most important thing to me, so I want to go ahead and make sure I preserve that. I'm also going to go ahead and wear my gloves for any process, like I said, I have nitrile gloves. One dopey trick for these, sometimes the gloves when they come they'll come in a box of like or whatever they'll get really stuck together. Sometimes you can just give it a little puff there and it'll make the glove actually easier to go on, except when you're doing a demo, and then it's harder to go on. So get the gloves on. Now, the Van Dyke process is also way more sensitive to ultraviolet light than the sienna types. So yesterday we left most of the studio lights on, everything ran great. When we actually start the coating process and start working we'll flip the studio into a state of being ultraviolet protected. So to do that, I've got ruby lith, which is a ultraviolet protective material over some of the studio lights. So the room's just going to go kind of a red color. So if you have ever watched a movie or been in a dark room you may be like oh that kind of looks a little familiar. It's the same kind of look. The only thing the ruby lith does is just block up ultraviolet light so it lets through the rest of the light and it doesn't cause the light to get particularly much, particularly darker, so you can work in as much volume of light as you want, as long as you've UV protected it. One of the cool things is, the chili pepper holiday lights the lights you can string up that have chili peppers you can get for the Southwest, they don't allow any ultraviolet light through. And so, just the red light in anything that basically blocks up with the color red. I have flashlights that I've got red caps for, I have a head lamp that's red, so when I'm doing processes, just anything that kind of gets you to a red light. The other option you can use, is you can go to any place that sells light bulbs, and they'll sell what are called bug lights and they're lights that are basically designed to keep bugs from coming to your house and so they have this kind of really weird greenish-yellow glow, those are also safe, and they actually just screw into a normal socket. So you can literally just get a bug light, screw in a couple bug lights into a normal lamp, turn them on, turn the other lights off, and you have an ultraviolet safe environment to work in. I am going to do the coating process, though, with the regular lights on, but you would not do that. I just want to show you the coating process is exactly the same. No actually let's turn the lights off. We'll coat them the right way. We'll coat the paper for the Van Dyke under the lights.

Class Description

In a world where most photos are captured digitally it’s good to remember the beauty of print and all of the creative options alternative processes have to offer. The history of printing photos introduces techniques and tools that can improve your eye in the field and open up doors to new perspectives. Fine artist and educator Daniel Gregory gives the steps needed to get you started in exploring the many formats out there. You’ll learn:

  • An overview of what alternative processing is and the many formats out there
  • How to create a digital negative
  • How to setup and test your curve
  • How to print a Cyanotype
  • How to create a Van Dyke Print
  • Chemistry, Safety and Developing techniques
  • Platinum and Palladium Printing processes

In this introductory course, you’ll be given the key elements to get you started in expanding your creativity and exploring alternative photographic processes.

Class Materials

Bonus Materials with Purchase

Alternative Processing Handout.pdf

Grayscale Percentage to RGB Values.pdf

MSDS Saftey Datasheets.zip

Bostick Discount Code.pdf

Matt Cutting Cheat Sheet.xlsx

Step Wedge Creation Spreadsheet.xlsx

Alternative Process Actions.zip

11stepwedge.psd

21stepwedge.psd

50stepwedge.psd

Ratings and Reviews

Student Work

Related Classes

Reviews

Diordna
 

For a long time, I have read, studied and tried alternative processing, mainly Platinum/Palladium printing. I want to create longest lasting prints and may be share the info at Creative Live. But this presentation saved me many a hours. A few minutes into the lecture, I purchased the class and as the class progressed, I was extremely glad. Thank you Creative Live, thank you Daniel Gregory.

SFX
 

Excellent class on Alt Process and fantastic bonus materials included with purchase!!! I have extensive digital printing and darkroom experience but haven't done much alt-process to date. This is perfect timing for me as I have several personal projects that I would like to re-visit using some of these techniques. Thank you Daniel!!!

James H Johnson
 

I have been making platinum/palladium prints for about 1 year. This is the 3rd workshop that I have attended. The first two were one on one. Daniel has done a fantastic job of covering the material and explained the process it detail and easy to understand. This course is fantastic and highly recommend it.