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Dandelion flowers and leaves on new Kentmere glossy paper. I dipped the flowers and leaves in very dilute washing soda solution and exposed them for 24 hours through night an the following day. Scanned with no adjustment to colour but increasing contrast has intensified the colour. I like the leaves with their toothed edges... I'm glad they were included! e
Cut tulip flowers diverted from the compost heap to a second life as a lumen. The white flowers are some sprigs of dried out Gypsophilia. I opened up the flowers and firmly pressed them into Photospeed glossy paper after thoroughly wetting. All day exposure in gentle light.
In camera lumen of garden junk taken with a stripped out Coronet 4-4 camera adapted for lumen photography. The small 4x4 negative size and poor quality plastic meniscus lens give this blurry, hazy vibe which I quite like. Over 3 hour exposure in intermittent sunlight.
A 'wind pruned' larch tree on a bend in the road on exposed moorland. Originally a digital shot given analogue treatment through making an acetate negative and twice coated cereal packet card. Exposed under home made UV light box for 10 minutes. I much prefer the cyanotype to the original colour print!
Beautiful memorial to the miners who died in a colliery accident in the 1950's. Shot in a local country park created on the reclaimed colliery site. I loaded an empty 126 cartridge with expired in 2001 Kodacolor 35mm film and shot the images in a very basic Photo Magic camera... a real trash-cam that actually gives good results!
Historic lake overflow at Newstead Abbey grounds, Nottinghamshire, UK. In camera lumen shot in bright afternoon sunlight and over 1 hour exposure on 20 year expired Jessops glossy darkroom paper. I love the way the motion of the water has been captured to preserve the way it falls rather than just becoming a 'foamy blur'. I must have loaded the paper wonky too but I don't mind those kind of mistakes!
Shot on Fuji Color 200, 35mm film with a Nikon F5 camera and a Nikon 105MM F/2.8D AF Micro-Nikkor lens and then sliced and diced. Final piece photographed with my phone.
Shot on Kodak Ektar 100 with a Nikon F5 and a Nikon AF Nikkor 28-80 mm 1:3.3-5.6 G lens. Printed on a 20"x30" aluminum panel and then physically edited and mounted on a 18"x24" canvas.
Shot on Kodak Ektar 100 with a Nikon F5 and a Nikon AF Nikkor 28-80 mm 1:3.3-5.6 G lens. Printed on a 20"x30" aluminum panel and then physically edited and mounted on a 18"x24" canvas.
Shot on Kodak Ektar 100 with a Nikon F5 and a Nikon AF Nikkor 28-80 mm 1:3.3-5.6 G lens. Printed on a 20"x30" aluminum panel and then physically edited and mounted on a 18"x24" canvas.
gum bichromate printing, chinese paper glued with gelatin, digital negatives on film photo output, three layers, watercolor saja gazovaya, supervised by photosecession
Scottish cows at the base in the vicinity of Moscow :) digital negative photo output, paper baohong S8, final treatment with gold toner , supervised by photosecession
gum bichromate printing, three layers, watercolor saja gazovaya. baohong paper glued with gelatin, digital negative photo output, supervised by photosecession
One of my favourite photos shot using a Victorian Magic Lantern condenser lens adapted to digital. Old hollow oak, now fallen printed from acetate negative, 10 minute exposure on twice coated mixed media paper.
In camera cyanotype shot in Braun Paxina 29, exposed 4 hours at f2.9. 6x6 negative single coated in new formula cyanotype sensitizer. Developed in tap water and citric acid bath. The digitally inverted negative changed to a shade of orange/sepia completely losing the cyanotype blue. I have desaturated the colour to reduce the orange which was quite strong. to
Mixed recycled packaging card used for experimenting with cyanotype to see whether it works and how the card affects the results... probably not archival but who knows?
'Harthill Stones' a small stone circle that is likely missing one stone that has been used as a gate pillar, Derbyshire, UK. Twice coated watercolour paper, 7 minute in home made light box to get a very slightly underexposed print to tone in green tea without bleaching. This gives a nice eggplant tone to the blue.
Old Oak from Bug's Eye Level. Digital photo transferred to acetate negative. Watercolour paper twice coated and exposed for 9 minutes in home made light box.
