Having said that, I'd also like to ask from a moderator's perspective to discuss the question whether or not to post nudes elsewhere on the forum. Let's keep this thread dedicated to the actual prints.
Sanders, I don't find it coy to post behind a spoiler tag (even though it took me a moment to realise which picture you were talking about and that I had to actually do something to see the image - total noob, I know)... To me it seems like a pretty acceptable and sensible compromise...
Having said that, I'd also like to ask from a moderator's perspective to discuss the question whether or not to post nudes elsewhere on the forum. Let's keep this thread dedicated to the actual prints.
Seems to me you are thinking about it too much.
A more general question to your goals with these images.
Having said that, I'd also like to ask from a moderator's perspective to discuss the question whether or not to post nudes elsewhere on the forum. Let's keep this thread dedicated to the actual prints.
A response to your technique, rather than the images themselves, if I may...So now I am not sure what to do. I am printing the photos now as kallitypes, as an easy way to proof them and decide which to keep and which need work. My ultimate plan is to print the series as photogravures. But in the meantime I have a lot of kallitypes in the hopper. And I have no easy avenue for testing the response to these prints.
Nice salt print!Salt print.
Nice salt print!
Thanks Ned. I am like a blind squirrel. If I dig around enough, I eventually find something.
lesson from the blind squirrel (or any squirrel for that matter) dig around but don't dig in.
Agree with Ned. As far I can tell this is your first foray into salt. What paper and process did you utilize?
:Niranjan.
Niranjan, I used the Bostick kit. Paper was Fabriano Studio HP watercolor. It fogs unfortunately with the Bostick salt, but the fog worked for that image. I just salted some paper last night with a NaCl/Citric Acid mix I think you use (2%/5%) and the first print is much cleaner on the same paper. I just got lucky since the fog worked with the above image. You are right that I am new to salt prints so I mostly get crap. I've had issues with splotchiness so I decided to salt the paper by immersion instead of brushing. Seems to work better so far. I think I am also going to use a puddle pusher instead of a brush for the silver coat. I just need to make one. I have a big one but I don't make big prints too often.
Here is the print above next to the one from last night. The Citric Acid made quite the difference. Although the second is technically better, I think the foggy print in this case works better.
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I am like a blind squirrel
There were over thirty works on display. One was a straight platinum print. Mine was a platinum kallitype. All of the other photographs were inkjet prints. Nothing, that I could see, was printed in silver gelatin.
Patrick, this has a lot to do with the paper you're using. Fabriano Artistico is a very heavily buffered paper which makes it unsuitable 'out-of-the-box' for most alt processes. But I'm also one who really likes the surface texture of this paper and I am printing a series in Mike Ware's New Cyanotype on this paper. However, I have to pre-treat it with a soak in sulfamic acid. That sorts it out very nicely.Here is the print above next to the one from last night. The Citric Acid made quite the difference. Although the second is technically better, I think the foggy print in this case works better.
Okay, let me give this a whirl. Here's a kallitype, toned in platinum. I shared this with two other photographers. They gave diametrically opposite opinions. If you have thoughts, I would like to hear them.
Patrick, this has a lot to do with the paper you're using. Fabriano Artistico is a very heavily buffered paper which makes it unsuitable 'out-of-the-box' for most alt processes. But I'm also one who really likes the surface texture of this paper and I am printing a series in Mike Ware's New Cyanotype on this paper. However, I have to pre-treat it with a soak in sulfamic acid. That sorts it out very nicely.
As to your prints: when you posted your first version, I was very much attracted to the ethereal look of the image. The fogging and loss of contrast make it stand out - it genuinely looks like a 100-year old print. The version on the right might be a technically better print (and, to be honest, a print I personally would probably aim for despite my following remark), but the first one has much bigger impact on me. Despite or because of its flaws. The haziness, the softness - I love it.
I think it's lovely and tasteful. The cropping is good. I'd have liked a little more detail in the lower part.
move to my new place and figure out how to set my work flow all over again.
That sumac toner works wonders, @nmp! It's lovely.
I wonder if it would work well with a tricolor-approach too? Chroma is a little low, it seems, but this may make for a nice and muted palette.
Good luck! It always takes some time to get everything set up again, but it's also a great opportunity to make some improvements. In hindsight, I'm happy with the fact we moved a few years ago. My workspace is so much more practical and tidy now!
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