I think my schedule and the sun's schedule are finally working out, so I've mixed up some silver nitrate solution and plan to sensitize tonight so I can get some albumen printing in tomorrow for this exchange and alt-exchange #1. Sorry for the long delay, folks!
I wanted to publicly thank Joe Lipka who PMed me an outstanding critique. Joe analyzed my pic and give me an in depth review which I will take to heart. I am going to excerpt parts of it here, since I think his comments have merit to any noobie like me:
Deniser negatives are better
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Your negative needs to be denser. More robust. Thicker, bullet proof. You know what I’m talking about. How can I tell? Here’s how to tell. You need to print for maximum black through the clear edge of the film. You should not be able to discern between the black that is printed through the clear film base and the black that does not have film over it.
Expose for shadowsand develop for highlights
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Once you get to that point, then what you will find is that your whites are not white. They will probably be grey. Then, you need to increase your exposure and development to get the highlights correct. Remember expose for shadows, develop for highlights?
Use good paper
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Good paper than Fabriano.
Use a high quality synthetic hair brush and not a foam brush or puddle pusher
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If you wish to continue with alternative processes, get yourself the Richeson series 9010 brush. It really is a superior brush for coating. It’s also much more expensive. I was not a true believer until I actually used one. I will not go back to my puddle pusher (coating rod).
Use the negative to control contrast, not the chemistry
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From the Photographer’s Formulary web site, I see their kit contains two Ferric Oxalate solutions. One is used for the contrast control. This is not the best way to control contrast. My experience is that the negative has to be the primary controller of the contrast when using the second FO as a contrast agent. I have been told that if you make your solution a high contrast one, the FO as a contrast agent will cause grittiness in the highlights.
Use a sturdy contact print frame
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In terms of image quality, it looks a little bit soft. That occurs when the negative is not in complete contact with the paper all during exposure. So you need to be careful about the printing frame that you use. It doesn’t have to be fancy, just sturdy and very solid.
I think this is solid basic information to get noobs like me to the next level. Thanks Joe.
A nice PT from Jeremy Moore and an amazing one from Joe Lipka. Joe typed up an in depth disertation on how the print was made that is invaluable. One day, I'll make a print half as good.
OK I have finally got my prints together, and ready to post. Those in my group will be receiving this image soon. I have posted it into the Experimental gallery today.
I had a few wobbly moments with a new paper but the ever helpful John Brewer helped me through it. For his endevours he will receivea print as well. Thanks again John.
Carl, If you send me your address by PM I will send you a tea-toned tulip in recompense for the images you sent me last year.
Cheers
Phill
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