Among the day-to-day workings of the Studio, I always endeavour to make time for new projects and research that will ‘bring something else to the party’.
You may have caught these posts from last year (after clicking, scroll down), when I first started working with HP’s Large Format Digital Negative Application.
Well, ever since, I have been in regular contact with an aficionado of the Alternative Process, Richard Freestone, and initial testing is now underway.
Currently, we are working with Callotypes, or Salt Prints, with a view to ultimately producing Platinum/Palladium Prints.
As Richard describes, “These are Salt Prints, or ‘Callotypes’ as Fox Talbot named them when he announced the process back in 1840.
“The paper is first soaked in salt water and dried thoroughly. It is then coated with a Silver Nitrate sensitizer and again dried. After exposure with the negative under an Ultra Violet light, it is washed and fixed with Hypo before being washed again and dried.
“Longevity-wise, it is worth noting that some of Fox Talbot’s original prints are still as good as the day they were made.”
HP’s process is comprised of two stages to achieve the Digital Negative…
Firstly, a Target Print is created to enable us to assess how the digital file should be treated. This has a beauty all of its own:
The second stage involves the production of the Digital Negative itself, made on the basis of the Target, printed with HP’s DJz3200 onto a specialist film, suited to Alternative Printing Processes:
“But why is it green?”, I hear you ask…
Well, this is the beauty of HP’s process; researchers and engineers on the project have found the green channel on the DJz3200 to act as the perfect UV cut for making Alternative Process Digital Negatives, hence their green appearance.
When the final print is ready from the above negative (an image from my own archive) you will be among the first to see a digital photograph of it! I’ll keep you posted…
Finally, while we’re in ‘analogue mode’, I thought you might also like to see this topical video clip on the demise of the photographic darkroom:
It’s always a joy to get a glimpse into the world of those with a good work ethic. The following clip from Creative Review is a fine example.
As I suggested on Twitter earlier this week, “Slow down, pour a hot drink of your choice and take a visit to Mr. Smith’s Letterpress Workshop”:
Thank you to Richard Freestone for sending this clip my way…
Ahead of tomorrow’s award ceremony for the Northern Art Prize, I wish Alec Finlay the very best of luck—I’ll be there in body and spirit!
Alec, a long-standing client of Jack Lowe Studio, is one of the four shortlisted nominees.
A piece within his nominated body of work is a collaboration between the two of us, ‘Apple Wheel‘. The print I made looks perfectly splendid in the show alongside his other work…
As a reminder, you may like to spend a moment or two reading these three previous posts from 2010:
This post is for my Antipodean family…
A year ago today, I nervously closed the studio for a month and journeyed to New Zealand with my wife and boys.
This beautiful short film (11 minutes) by Taika Waititi sublimely encapsulates elements of modern Maori culture and will stay with me forever:
Regular visitors to these pages last year will be no stranger to a special client of mine, Paul Kenny. His roots lie in the Manchester suburb of Salford and this post coincides with an online interview.
This week, I’ve been printing with Paul on the beginnings of a new body of work – ‘Field of Vision’.
The first two pieces comprised of Hosta leaves are now made and, on this Friday afternoon, I thought you might like to share in them.
The Archival Pigment prints look as gorgeous as ever with HP’s Vivera Pigment inkset on Hahnemühle Bamboo 290gsm (do take a look in the sidebar on the right for links to further information)…