Saturday, 25 August 2012

Nick Vesey's Cyanotype Prints


 I recently came across  a series of wonderful Cyanotype prints by Nick Vasey. Well known for his stunning x-ray imagery, these recent images of seaweed  have translated beautifully into this alternative printing process. They are a nice hark back to Ann Atkins Cyanotype photograms of  algae  printed over 150 years ago, which can be viewed at the V&A museum in London.


Recent Exhibition at the Joseph Bellows Gallery in the U.S


 
Codium Fragile, Cyanotype II,30"x22", Nick Vasey,2011



 Saccorhiza Polyschides, Cyanotype II,30"x22", Nick Vasey,2011



Fucus Serratus I, Cyanotype II,30"x22", Nick Vasey,2011



Ascophyllum Nodosum II, Cyanotype II,30"x22", Nick Vasey,2011




Ascophyllum Nodosum I, Cyanotype II,30"x22", Nick Vasey,2011





 Laminaria Hyperborea, Cyanotype II,30"x22", Nick Vasey,2011



Alaria Esculenta, Cyanotype II,30"x22", Nick Vasey,2011

 
Nick is using the updated version of the Cyanotype process created by Mike Ware, to learn more visit his site at http://www.mikeware.co.uk

Regular blog viewers will know that this is my favoured version of the process as it produces to my eyes a more pleasing blue tone.  They were printed on Herschel, a paper also designed by Mike which works well with many alternative processes to find out more click here


Nick is quite an incredible imagemaker you can see more of his work at  http://www.nickveasey.com/



Saturday, 18 August 2012

Platinum/Pigment III

More images of the series and studio


 St. Vincent Millay III, Wendy Bevan, 2010, Platinum/Palladium over Pigment


Colour Proofing- Warm tone, Cool Tone





Thursday, 16 August 2012

Platinum/Pigment II

Here is another print from series


 St. Vincent Millay II, Wendy Bevan, 2010, Platinum/Palladium over Pigment

A few have asked to see a before and after shot showing the pigment layer and then the platinum/palladium layer so i created a gif below. The image is initially stripped of all black detail, this is saved for later as this will be printed in platinum/palladium, the remaining colour channels are then printed. The black detail is then reintroduced by printing this seperation in platinum/palladium. At each of these stages there are ways of influencing the final outcome of the print.


online gif creator
Platinum/Palladium over Pigment Process 

Wednesday, 15 August 2012

Platinum/Palladium over Pigment

Over the last few years I have been experimenting with the Platinum over Pigment technique as I have always wanted to incorporate into a colour image the beautiful tones associated with the platinum/palladium printing process. Previous attempts to do this with three colour gum and inkjet pigment prints have looked rather muted and image resolution has not been as good as I would have hoped for.

However after an extended period of testing I have finally got to a stage where I am happy with the final dried down prints using this hybrid process.  Choice of paper seems critical for this technique to work well, together with pre-treating/debuffering the printing paper to make registration as accurate as possible and also making it suitable for both the inkjet layer and platinum/palladium layer.

 Below shows one example of a portfolio of prints I am currently working on with one of the most talented emerging fashion photographers Wendy Bevan. Originally shot on colour polaroid the prints have translated well into the alternative hybrid printing process. More to follow…

Edna, St. Vincent Millay, Wendy Bevan, 2010, Platinum/Palladium over Pigment

Friday, 10 August 2012

The Beauty of Wet Plate Photography

Recently published is an article I wrote for Black and White Photography Magazine on Mark Sink and Kristen Hatgi’s beautiful wet plate imagery.

To download a pdf copy click here

To view more of their work visit :

 http://kristenhatgi.tumblr.com

http://www.gallerysink.com/marksink/