Originally Posted by Digidurst
Thank you. If you want to try vellum for pt/pd, I'd suggest Clearprint 100% Rag drafting vellum. Be aware though, that the vellum papers I've tried have been prone to producing black spots - probably from ferric contaminants in the paper.
Jane - Again, I've not used the Rockland product, but I doubt you will get a true white from it. If you look at period tintypes in antique stores, they tend to have a muted, grayish look to them. Which is the character of the process.
Ole - regarding the ferrous sulfate developer. I hadn't read about storing it in clear bottles as you suggest. I only make up enough at a time that I will use for a session, so I haven't really stored it for any length of time. And as for bluish tones, was that in reference to collodion images or is this developer also used for other purposes?
I have never tried this developer myself, but it is mentioned in all my old German books as a good plate developer - mostly "normal" silver gelatine plates and "lantern plates", where it is said to give "very good images with a beautiful blue tone". I'm currently at work in the North Sea, so I can't check my library for quite a while. But I found the information interesting, and that means I can usually remember it correctly
Just for reference - the relevant books are Eder's tables, and Dr. E. Vogel's 1910 book I've quoted here before.
-- Ole Tjugen, Luddite Elitist
Well, who da thunk it?!?
Originally Posted by Ole
While it may not be a hotbed of alt photography there are a few of us doing some interesting things in Manitoba. My specialty is Platinum/Palladium, Cyantoypes and Kallitypes. I give workshops a couple times a year on alt and large format photography at the PrairieView school of photography. In fact I will be helping a young lady try to figure out the tintype process this weekend.
Being up here in Manitoba, Canada, there's not much chance of learning tintype from a practitioner of the art. Large Format even by conventional means is pretty rare here. If there's any alternative photography going on, I have never heard about it.
There are others that do some fine alt work including a terrific photographer named Bruce Monk who does some very nice dance photography in Pt/Pd.
Calamity, why don't you drop me a line sometime at the school ( I own it) I would be more than happy to offer you what ever advice I can.
Thanks for sharing this Andy.
Well worth a look, Everybody... very interesting.
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Did you ever get this process down? I know the thread is a little old....wayne
Originally Posted by Calamity Jane
Just in case Jane doesn't see this -- over on the Large Format Forum she posted that replacement developer from Rockland solved the problem and she was getting much nicer plates now.
Yup, I got the Tintypes 90% the way I want them and very consistent. I'm quite happy with the whole thing.
My biggest problem was a bad batch of developer, which Rockland replaced. Once the developer was working, I was able to concentrate on the other aspect of the process.
I have come to learn that Tintypes are 80% craftsmanship (handling the plates), 10% photography, and 10% blind luck
You'll be hearing from me Craig!
Well, Jane, after seeing your pages chronicling construction of your 4x5 cameras, I'd have to say your craftsmanship is fine; your photography appears well in hand as well, so now you just have to contend with the "blind luck" factor -- and 90% odds aren't a bad bet, IMO.
Photography has always fascinated me -- as a child, simply for the magic of capturing an image onto glossy paper with a little box, but as an adult because of the unique juxtaposition of science and art -- the physics of optics, the mechanics of the camera, the chemistry of film and developer, alongside the art in seeing, composing, exposing, processing and printing.