ABOUT TINTYPES Tintypes or ferrotypes are positive images created by a wet plate process. The black “tin” plate is coated with collodion, exposed in a large format camera and processed in a darkroom before the plate is dry. HISTORY OF TINTYPES The tintype was (more…)
ABOUT AMBROTYPES Ambrotypes are under exposed negatives that appear as positive photograph. The black or clear glass plate is coated with collodion with added salts, light sensitivity is created by “dipping” coated plate into silver nitrate bath. The plate is exposed in camera and processed in a darkroom before the plate is dry. Each photograph is unique – “one (more…)
ABOUT CONSERVATION FRAMING The decision you make and the materials you use in framing makes a profound effect on the future of your artwork. A professional framer should create not only a great presentation for your work but also offer a protective environment. Outside a museum type environment artwork and photographs are constantly bombarded with (more…)
ABOUT WET PLATE NEGATIVE A glass plate is coated with collodion emulsion and sensitized, exposed in a large format camera and processed in the darkroom. The name wet plate is used as the solution must remain wet during the whole process. It loses its sensitivity to light when it is dry. The activity of preparing (more…)
ABOUT DRY PLATE NEGATIVES When photographing In the field silver gelatin dry plate negative process can be more practical than the wet collodion process. Emulsion is poured on the glass plate and dried before taking it out in the field. The blue-sensitive emulsion gives the unique feel of 19th century photographs. They are also more sensitive to (more…)
ABOUT THE ALBUMEN PRINT: Albumen is a salted paper print with an albumen binder. Albumen from egg whites holding the photographic chemicals to the paper. Cotton paper is first coated with a salted albumen solution, followed by a silver nitrate solution to form light-sensitive paper. Exposure to light changes the silver chloride to image forming (more…)
ABOUT CYANOTYPE This process requires no other chemicals, can be exposited in sunlight and developed simply in water. Cyanotypes provide a beautiful image in stable Prussian blue pigment. The image colour may be easily modified by a variety of toning agents. THE CANOTYPE HISTORY Sir John Herschel’s traditional cyanotype process, now practiced for 166 years, (more…)
ABOUT NEW CYANOTYPE This process provides an image in stable Prussian blue pigment, from a ‘single-bottle’ sensitizer solution having a long shelf life. Requiring only a short UV exposure, it yields a superbly graduated tonal scale, on a matte paper surface, having a maximum density verging on black. The image (more…)
ABOUT CARBON PRINTING The carbon printing process uses colour pigments producing one of the the most permanent coloured photographs. The use of pigment allows any colour photograph on almost any surface. The beautiful tonal scale resolves fine detail. It relies upon the ability of sensitized gelatin when exposed to U V light becoming insoluble in (more…)
Four Colour Carbon Transfer Printing ABOUT THE CARBON PROCESS The carbon process, initially a black-and-white process using lampblack (carbon black), was invented by Alphonse Poitevin in 1855. The process was later adapted to color, through the use of pigments, by Louis Arthur Ducos du Hauron in 1868. Carbon photographs were the preferred process of the (more…)
