Introduction to Alternative Processing in Photography

 

Introduction to Alternative Processing in Photography

 

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.

Lessons

1Class Introduction
2Overview of the Alternative Process
3Overview of the Digital Negative Process
4Working with Black and White Digital: What You Need
5Working With Black and White Digital Images: Color Settings
6Working with Black and White Digital Images Lightroom
7Working With Black and White Digital Images Photoshop
8Working With Black and White Digital Images 3rd Party Plug-ins
9Avoiding Key Artifacts
10Creating the Step Wedge for Curve Corrections
11Organizing Your Adobe® Photoshop® Files and Curves
12Setting Up the Printer
13Lab Safety and Workspace Set-Up
14Setting the Maximum Black Time
15Getting the Initial Curve Test Numbers
16Correcting the Curve
17Printing the Curve
18Sharing Curves
19Caring for the Digital Negative
20Intro to Cyanotypes and Safety
21Paper and Brush Types
22Coating Process and Cyanotype Chemistry
23Making the Cyanotype Print
24Washing the Cyanotype Print
25Creating Cyanotypes Photograms
26Toning Cyanotypes and Cleaning Up the Darkroom
27Introduction to Van Dyke Printing
28Setting Up the Van Dyke Workstation
29Van Dyke Paper and Coating
30Van Dyke Exposure and Developing
31Van Dyke Troubleshooting and Resources
32Van Dyke: Split Toning
33Van Dyke: Wash Cycle and Drying
34Van Dyke: Clean Up Process
35Introduction to Platinum / Palladium Printing
36Platinum/Palladium Coating Chemistry and Safety
37Platinum/Palladium Paper and Coating Options
38Platinum/Palladium Exposure and Development
39Platinum/Palladium: Equipment and Supplies
40Ink Jet Negative Coating and Exposure
41Platinum/Palladium Chemistry Options
42Ink Jet Negative Development
43Platinum/Palladium Waxing Images
44Platinum/Palladium Troubleshooting and Resources
45Sharing Your Work Digitally
46Archivability
47Matting and Framing Options
48Editions and Signing Options
49Alternative Processes: Further Exploration