I used an 8 x 10 field camera on a calm day with nice even lighting.
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Aesthetic considerations.
Technical Details
Camera 8 x 10 Chamonix with 305mm f9 Graphic-Kowa lens. Aperture and shutter speed I do not recall, but on Ilford 400 ISO at 400. HC-110 1:10 for 8 minutes at 68 degrees in Jobo. Platinum print scanned here with mix for normal contrast, more palladium than platinum for warmth and cost. It might be noted for those not familiar with this old process that the uneven edges are due to the brush marks from the light-sensitive coating that goes out past th e negative area. This by many is considered a unique “signature” as it were for that print. Hence, no way to exactly duplicate any image.
There is something so alluring about platinum palladium prints, which I find to be quite interesting. There’s nothing like them. And this is something I have, personally, not seen on the site before (an upload of a scanned print).
The image itself gives off a rather calm quality to it, though there is a more overlying sense of chaos - as one gets, when in the forest or around it. Quite nicely done.
Thank you much, Cody. I noticed this tree many times passing by it on the trail. It really seems fairly nondescript; however, there’s something about taking such an ordinary scene and abstracting it that elevates it somewhat. Good reaction to it from you as to the chaos underlying the surface calm; that is pretty much the woods!!
Love this photo! love the border and the composition especially! only Critique would be to see the broken end of the branch. This makes me want to throw some B/w film in my medium format! thanks for the Inspiration!
Thank you! It’s possible the top of the branch was eclipsed in an effort to keep bright sky out of the top of the “frame” to draw the eye out of the picture area; I can at least rationalize it that way LOL.
Also, looking back now, it can increase the sense of separation?
The tonality of platinum palladium is fantastic. You’ve done a great job here, not only with the print, but with making the “mundane” look beautiful. If I had more money, I’d definitely be printing platinum palladium more. As it is, when I dabble in alt process prints, I stick with toning cyanotypes or salt prints.
Thanks, Terrel. I’m slowing down on this for the reason you mentioned. I have done a few cyanotypes, one toned in tea, and a Van D. Brown. Never done salt; it sounds challenging. I’d like to see some of your work here if possible, at least in showcase if you don’t want the critique workload for them.
Thanks Kerry! Van D (hah! can’t post that word) Brown is interesting as well as the toning capabilities of cyanotype. I don’t see salt as any more challenging than platinum palladium. It’s not as warm, but I prefer it over VDB and cyanotype. I’ve not had much time to dabble in alt process printing lately, but am getting the itch.
I’m just getting up to speed with this as I just joined, so I’ll get some images posted here at some point and make some requests on critiques as well.
I can’t comment on processing technique as I’m not a film photographer any longer and wasn’t a large format shooter or printer when I was. While I like this image for its lines and grace, I find the frame a bit jarring. The simplicity of the tree and the light that models it is so delicate that it’s a bit of an odd choice to me. But that’s ok, it’s not my shot. We are so used to seeing ultra-contrasty images these days that this is a nice change. I can see lots of informative detail in that trunk and the grain structure simultaneously obscures and emphasizes it. Nice change of pace here in Flora.
Remember. when composing these, I have to look at it upside-down and backwards with my face 8 inches from ground glass Thanks for the comment and noting the outstanding quality that sets Pt/Pd apart from the perfect digital image we are inundated with these days.
This is a wonderful image Kerry and I love the calming classic still life feel. I’m also really glad you chose to scan it with the border and that it is an actual part of the print and not a simulated digital one as I feel that really adds to the overall presentation.
I’ve been researching Kalitype printing and hope to get into that this winter. I’ve never done anything other than inkjet pigment on paper prints and I think it will be a fun thing to do. I don’t have a film camera like you so I will be making digital negatives from some of my digital files.
Thank you very much, Tom. I just get tired of cold digital perfection I use it for fauna for various reasons, but sometimes I get tired of the certainty of success. It gets boring. Best wishes with Kalitype. Never done it!
Thanks for the comment and noting the outstanding quality that sets Pt/Pd apart from the perfect digital image we are inundated with these days.