libretto ENG LabOldTech 11-2017

 

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L a b O l d T e OLD STYLE PHOTOGRAPHIC TECHNIQUES c h ® News for Old Style Photography Lovers! Here you can easily �ind methods, lab Calle materials and chemicals to create your prints through old techniques (as Platinotype, di Venezia- Collodion, Cyanotype, Van Dyke etc.). Visit our website and you will �ind ready to use kits, speci�ic chemicals and salts, printing frames, nlack glass end alluminium plates for collodion and daguerreotype. Arystotype ph. Giorgio Bordin English Version Edition 2017 www.laboldtech.com

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A QUICK VIEW OVER THE MOST COMMON OLD PHOTOGRAPHIC TECHNIQUES 1) CAMERA OBSCURA TECHNIQUES Daguerrotype and Collodion ey generate images that can be seen as positives, being in this case monotypes, or - on translucent supports such glass or paper - be used to produce several copies, therefore working as a negative. 2) NEGATIVE CONTACT PRINTING Photosensitivity of the compounds used in these techniques is quite modest and limited to UV emission. Since there are no UV emission enlargers, you can only print by contact, or by exposure to sunlight or UV lamps. Print's dimension matches the negative's. e negative can be made in-camera through analog procedures and large format view camera, or as a digital negative by printing on high quality acetate. ere are many techniques, but they can be divided in a few groups. e rst one consists of the ions (Iron, Palladium, Platinum) or pigments (Prussian Blu) precipitation on the support (paper) through chemical reaction of the compounds after the reducing e ect of the light. ey can also be divided into two categories: POP and DOP. Cyanotype, Salt Paper, Aristotype, Van Dyke, Ziatype POP (Printing Out Paper) prints e reducing e ect of the light completes the developing process by precipi- tating metallic pigments through exposure. Afterwards the image goes through a stabilizing phase and xing with iosulfate, which is a universal xer. It is pretty much necessary to use printing frames with a split back that allows you to check on your work without losing the alignment between the negative and the paper. Before xing you can tone the image usually with Silver, Palladium or Gold salts, which change the color, intensify the black therefore increasing contrast, extend image durability through time. DOP (Developed Out Printing) prints ere is only a partial reaction with light that produces a LabOldTech Antiche tecniche fotografiche Platinotype, Palladiotype, Kallitype latent image which is not the nal one, as the action will completed by the developer. Afterwards we have the xing. In most cases the image is visible and the split WHAT YOU CAN FIND ON OUR WEBSITE: back of the frame is again useful to check on your work. Reagents 3)AMMONIUM DICHROMATE PRINTS Ammonium dichromate reacts to light and Bicromatate Gum Carbon Print hardens, and makes gum arabic solutions or Equipment Photo gallery gelatin insoluble. When you color them with pigments and spread them on the paper, the exposure through a negative makes some areas insoluble while it makes others Printing frames Kits to get started Acetates and plates soluble and these will be removed once washed with water. In addition to photoengraving, two techniques became quite popular, Plates storage boxes Methods and instructions Precious metals special salts one thanks to its versatility (Gum bichromate) and the other to the beauty of the image (carbon printing). www.laboldtech.com

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Most Popular Old Photographic Techniques In-depth Daguerrotype 1) CAMERA OBSCURA TECHNIQUES Daguerrotype was the rst photographic process developed by french Louis Jacques Mandé Daguerre from the idea of Joseph Nicéphore Niépce, patented and publicly announced in 1839 by scientist François Arago, at the Académie des Sciences and Académie des Beaux Arts. Daguerrotype is attained by electrolytically applying a silver layer on a copper plate. e silver is sensitized under the light with jodine and bromine fumes (introduced by F. Goddard), which also reduce the exposure time. e plate must then be exposed within one hour and exposure time last many seconds, even in daylight and with bright subjects (or fast lenses). e development attained through mercury fumes at a 60º C which cause the areas previously exposed to light to turn whitish due to the formation of an amalgam. e surface that is not developed (the shadows) maintains its shiny aspect, and with the adequate light, appears dark: a positive image emerges if seen from speci c points of view. For the nal xing you'll need a sodium thiosulfate solution, which gets rid of the leftover silver halogens. Since the chemicals used to produce daguerreotypes are highly toxic, this procedure puts health in danger. Photo by Beniamino Terraneo. Collodion Kit 10/11/12/13/14 Also known as Wet Plate Collodion, this is a photographic process that allows you to produce images, either positives or negatives, on plates of di erent materials. To attain negatives you must use a transparent glass plate and then it print by contact. A reliable method was invented by Frederick Scott Archer around 1850s, but he never patented it. Instead, James Ambrose Cutting from Boston patented a sort of positive wet collodion, which he called "Ambrotype" from the greek word "Ambrotos", immortal. Ambroype nowadays normally identi es with a positive on glass. Positives on metal, regardless of the technique, became popular especially during the american civil war, and were called Tintype. is name describes, nowadays, positives on metal, mainly on black anodized aluminum and in almost all cases on collodion (even though they can be made on di erent supports and with layers of di erent material). e procedure is based on collodion, mixed with bromine and iodine and applied over a plate (usually glass or metal). While still wet, it is immersed into a silver nitrate solution that makes it photosensitive forming silver halides. Exposure time are lesser than in daguerrotype but still quite long, from a few seconds to a few minutes. e process must be completed before the plate dries up. After exposure come development and xing. Ultimately we apply on the plate a resinous varnish made with gum sandarac, typically used as nishing varnish in ne arts, which guarantees mechanical and chemical protection and durability. Photo by Giorgio Bordin.

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2) NEGATIVE CONTACT PRINTING DOP (Developed out print) prints Platinotype-Palladiotype Kit 01/02/03 Quite delicate procedure and a little more expensive for the use of noble metals. e images produced have an excellent stability over time. e procedure was arranged by William Willis between 1873 and 1879. Chemical process is the same as for the vanDyke's (ref.), only the nal product isn't silver but palladium and/or platinum instead, de nitely more stable and with intense, deep and warm toning, some of the most beautiful from these methods. A mixture of palladium and/or platinum salts and ferric oxalate is used for sensitizing, applied on the paper immediately before use. Solutions are mixed, and the mixture is used to sensitize the paper under dimmed light. e light generates a subtle image from the reaction of ferric salts, then the paper exposed is immersed into a saturated potassium oxalate solution, or in ammonium citrate, which replace the iron with platinum or palladium, instantly developing the image. It is then treated with clearing agents (EDTA, sodium sulphite) and doesn’t require xing. Platinum and palladium are expensive and ferric oxalate might cause problems the later it is not an exact chemical reagent but a molecules compound with an unde ned structure instead. is is why the quality of ferric oxalate is crucial to obtain a good end result. e same applies to the other siderotypes based on the use of ferric oxalate (kallitype, van Dyke), even though the platinotype requires a higher concentration making it more di cult to dissolve it and leading to more evident defects on the prints in case any problem occurs. Photo by Sergio Devecchi. Kallitype Kit 40 As well based on ferric oxalate, mixed with a metallic salt like in platinotype, silver salt in this case, after the exposure it gives a subtle image that the developer then transforms into the nal one by exchanging the iron for silver. Cheap but elegant, it can achieve a wide hue range by acting on the relative composition of some developing agents compounds, and it can also be toned so to increase stability. A well made Kallitype can hardly be told from a platinotype even to the expert's eye. Photo by Giorgio Bordin

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POP (Printing Out Paper) prints Ziatype kit 09 Ziatype is one of the techniques that better prove how these methods are not at all old. In fact it comes from and old technique arranged by captain Giuseppe Pizzighelli (Pizzitype), which also comes from the platinotype by Willim Willis. Adding ammonium turned a DOP into a POP (see below). e modern procedure was developed in Bostick & Sullivan labs and was named Ziatype from the name of the sun's symbol of an ancient Anasazi population in New Mexico. e new formula was able to pass the limitations of the Pizzitype, improving control over hues and contrast, improving paper tolerance, prints hues variations from cold grey to warm browns till purple, with a more strict and predictable chemical control over the results. It uses di erent platinum and gold salts, mixed with ferric ammonium oxalate and other compounds that do act on the end result. It does not require xing. It is basically the only technique that prints well medium density negatives, that can be printed at grade II-III, while all the other techniques require high density negative. Photo by Giorgio Bordin. Cyanotype Kit 30/31 is is one of the oldest POP prints, together with salt print. Invented by Hershel in 1842, is not based on silver but on ferric salts sensitivity instead. e nal product is ferric ferrocyanide, otherwise known as prussian blue. Easy to make, free from toxic material, it is available nowadays in two di erent versions, the traditional one and another (new cyanotype process), arranged by Mike Ware, that improves control over highlights, extends middle tones range and intensify the shadows depth, increasing image contrast value and tone separation. It is simple, cheap and non-toxic. It can be toned in many di erent ways, even with tea, which contains tannic acid and turns the hue brownish. Photo by Giorgio Bordin. VanDyke (brown) print Kit 40 Photographic process based on ferric salts (ferric oxalate) and silver nitrate used for negative contact printing. Patented in the second half of the 1800s by chemist W.J. Nichols. Ferric oxalate reacts with light and reduces from ferric to ferrous, it generates an unstable compound which returns to the ferric state causing the precipitation of metallic silver as a secondary reaction and creating the image. e name is due to the brown color typical of this technique, which reminds of the van Dyck brown, named after the emish painter who made it popular (slightly distorted to Van Dike in English). Simple and cheap procedure, it is a good start to familiarize with these techniques and it can give excellent results. Photo by Maurizio Pizzigoni.

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Salted paper and Albumen Prints -Kit coming soon on our website Salted paper printing is the rst photographic printing technique invented by William Henry Fox Talbot in 1833. e paper is immersed in saline solution, typically sodium or ammonium chloride, or in solution obtained with egg albumen; the solution can be stored before using, when it comes to react with silver nitrate and form silver chloride which is photosensitive. We have then the exposure, the optional toning and the xing. Photo by Sergio Devecchi. Collodion Chloride print, or Aristotype -Kit coming soon on our website is procedure was arranged by Liesegang around 1886 when he invented a paper that he named Aristotype. e Aristotype Company, in Jamestown, New Jersey, marketed the product ready to use. It can be made by applying the Collodion-Chloride mixture over baryta or polyethylene paper which are not sensitive to light. It is processed like other POP prints: exposure, toning, xing. It has got the highest storage durability of all techniques and it gives excellent and unique tone separation in the shadows of the most intense negatives. Photo by Giorgio Bordin. 3) AMMONIUM DICHROMATE PRINTS Gum bichromate -Kit coming soon on our website It requires gum arabic, colored with pigments and potassium dichromate. After exposure, the printing support is washed and the image is produced through a delicate process of forced development. e process can be repeated multiple times with one color or many colors, and also with the same negative or di erent negatives kept in register, attaining a four-color print CMYK or a multi-chrome. e end result can have a single density and aspect due to the multiple coating of gum arabic which can be visible to the naked eye. It can open the door to creativity. It can also work together with other techniques, typically superimposing to platinotype. Photo by Claudio Santambrogio. Carbon prints e pigmento in this case is dissolved in gelatin and then the bichromate is added. Once applied on a rst layer, it is exposed to UV lights. e gelatin modi ed by the light is transferred once (giving a mirrored image) or twice (giving a direct image) on the nal print paper. e layering process reveals the lights and leaves a hardened gelatin on the shadows. e hues - as in the Gum Bichromate - are achieved by variation of the thickness of a layer, more or less insoluble. Carbon prints have incomparable depth, presence and details. ey too can be processed in tone separation or in multi-chrome. Photo by Giuseppe Battaini.

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KIT READY TO USE TO GET STARTED L WITH THE OLD a PHOTOGRAPHIC b TECHNIQUES O l d T e c h PLATINUM/PALLADIUM PROCESS Kit01 Platinum print complete for beginners Kit02 Palladium print complete for beginners Kit03 Platinum/Palladium complete for beginners COLLODION PROCESS: Kit14 Wet Plate Collodion complete for beginners Kit13 Collodion Poe Boy complete for beginners Kit12 Collodion New Guy Formulation complete for beginners ZIATYPE PROCESS: Kit09 Ziatype complete for beginners CYANOTYPE: Kit30 Classic cyanotype complete for beginners Kit31 Cyanotype Mike Ware-only sensitizing GUM BICHROMATE PROCESS: Kit35 Gum bichromate (Coming soon on our website) KALLITYPE/VAN DYKE: Kit40 Van Dyke complete for beginners Kit45 Kallitype complete for beginners The complete kits contain all the pre-dosed reagents necessary for the process (sensitizing-development-�ining-�ixative) and the necessary equipment (brushes, beakers, containers ..).

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Kit 03 Platinum/Palladium print Beginner Kit02 Palladium print Beginner L a b O l d T e Kit contents: Kit contents: c Sensitizing: Potassium chloroplatinate 20% sol.A Se ns itiz ing : 10ml Sodium chloropalladate 17% sol.A 25ml h Sodium chloropalladate 17% sol.A Ferric oxalate 30% 25ml sol.B Ferric oxal. 30%+potassium chlorate 1% sol.C 25ml 25ml 25 ml Ferric oxalate 30% 25ml sol.B Ferric oxal. 30%+potassium chlorate 1% sol.C Developer: 25ml 25 ml Developer: Ammonium citrate 500gr Ammonium citrate Clearin g baths: 500gr Clearin g baths: Tetrasodium EDTA crystals 500gr Tetrasodium EDTA crystals Sodium sulfite Accessories: 500gr 500gr Sodium sulfite Accessories: Bottle amber PET 500gr 3 Bottle amber PET 3 Drop counter 5 Drop counter 5 Goat hair brush 30 mm 1 Goat hair brush 30 mm 1 Paper Canson Arche Platine 310grs 3 Paper Canson Arche Platine 310grs 3 Pair of plastic gloves 1 Pair of plastic gloves 1 Kit 09 Ziatype print Beginner Kit 40 Vandyke Brown print Beginner Kit conte nts: Sensitizi ng: Ammonium Ferric O xalate sol.A Ammonium Ferric O xalate contras t s ol.B L ithium C hloropalladate s ol.C Warm hue s toni ng Sodium T ungs tate Equipme nt Plastic pipettes Brus h 40 mm Devel opme nt Citric Acid Clea ri ng agent Sodium Sulfite I nstruc tion s et Kit conte nts: Sensitize r 25 ml 25 ml 25 ml Ferric ammonium citrate Tartaric acid Silver nitrate Fixer 2 5 ml Sodium thyos ulfate W ash 4 Citric acid 1 Equipme nt Bottle PET amber color 500 ml 300 gr Bottle PET amber color 1L t Brus h40 mm 300 gr G raduated beaker 100 ml 1 I nstruc tion s heet 27 gr 4 ,5 gr 12 gr 30 gr 20 gr 1 1 1 1 1

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Kit 45 Kallitype print Beginner Kit 12 Wet pl ate collodi on New Guy’s by Quinn Beginner L a b O l d T Kit contents: Kit contents: e Sensi�zer: Silver Nitrat e Ferric oxal ate Development c Sodium Citrate Ammoniu m Citrat e h Washin g 10g 20g 200g 200g Collodion 5% Ethyl alcohol Ethyl ether Cadmium bromide Ammonium iodide Silver Nitrate (for 500ml sol.) Developer - Standard Ferrous Sulfate (500ml solution) 240ml 160ml 160ml 3gr 4gr 50gr Citric Acid 20g Ferrous sulfate 42gr Clearin g agent Tet rasodium EDTA Fixin g Glacial acetic acid 40g Ethyl alcohol Fixer (1000ml solution) Sodium thyosulfate 40ml 50ml 500gr Sodium thiosulfat e 50g Equipments Concentrat ed ammoni a 50ml pH indicator paper strips 5 Accessories: Amber PET Bo�l e 100ml Amber PET Bo�l e 1000ml Brush 40mm Bottle PET amber color 1Lt 2 Bottle PET amber color 500ml 5 Beaker 25ml Instruc tions 1 3 1 1 1 Syringe 5 ml 2 Graduat ed Beak er PP 100ml 1 Kit 30 Cianotype print Beginner Kit 13 Poe Boy Beginner Kit conte nts: Ferric A mmonium C itrate Potassium Ferrycianide Paintbrus h nylon Plastic Bec her PP 1 Amber bottle PET 2 Syringe da 5 ml New Cia notype Mike Wa re : Ready s olution 60 gr 40 gr 40 mm 250 ml 250 ml 1 100 ml Kit contents: Collodion 5% Ethyl alcohol Potassium iodide Potassium Bromide Silver Nitrate (for 500ml sol.) Developer - Standard Ferrous Sulfate (500ml solution) Ferrous sulfate Glacial acetic acid Ethyl alcohol Fixer (1000ml solution) Sodium thyosulfate Equipments pH indicator paper strips Bottle PET amber color 1Lt Bottle PET amber color 500ml Beaker 25ml Instruc tions 240ml 300 ml 5gr 3gr 50gr 42gr 40ml 50ml 500gr 5 3 1 1 1

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Chemicals Collodium - Silver Nitrate Cadmium Bromide - EDTA Sodium Sol te - Acetic Acid Potassium Iodide - Ethanol Ammonium Ferric Citrate Potassium Hexacyanoferrate Labware Becker - Funnel - Cylinder Flask - Dropper Dark glass bottle Light glass bottle Plastic containers Plastic bottle Strumentation Balance - pHmeter Densimeter - Thermometers Magnetic stirrer - Gloves Brush - Filter paper Supports Fabriano paper - Washi paper Arches Platine Hahnemuhle Platinum Black glass plate Transparent glass Alluminium Plates SCiozentAa2ct/pAri3n/t fAr4ame L a b O l d T e c h

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L a b O l d T e c h ph C. Santambrogio Gomma Bicromatata ph G. Bordin Cianotipia ph G. Bordin kallitipia ph D.Cinciripini platino palladio ph M.Pizzigoni van Dyke su vetro ph G. Battaini platino palladio

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Our special salts Potassium Chloroplatinate (II) powd. (K2PtCl4) Palladium Chloride sol. 10% (PdCl2) Sodium Chloropalladate 17% Ferric(+++) Oxalate powder Ferric(+++) Oxalate sol. 27% Gold Chloride sol. 5% (HAuCl4) Sodium Chloroplatinate (Na2) Workshop place Products are available at the authorized dealer PUNTO FOTO GROUP by Karl Bielser S.a.s. Via Aristotele, 67 20128 Milano (MI) Tel: 02 27000793 www.puntofoto.eu www.laboldtech.com Promoted by LABOTECH 2000 SRL V.le Europa 72 strada D11-20090 Cusago (MI) tel. 0290394213 info@antichetecnichefotogra�iche.it All content is property of Labotech2000 SRL©. The information and images can’t be used, copied and / or forwarded to third parties without our written permission.

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