CasedImage
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CasedImageKeymaster
Hi Todd, do you have a contact email or website for Tim Merrite?
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CasedImageKeymasterAnother macro shot this time on ninth plate format
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CasedImageKeymasterHi Tyler, I think the blue tint is underdevelopment but the black spots are another issue. I had always thought that it was caused by exhausted fixer, but it can be the fixer only being sodium thoiosulphate or just by being old fixer can cause the problem. The addition of sodium sulphite to the Sodium thiosulphate fixer resolves these issues. Put more eloquently by a more informed source:
“My understanding is that sodium sulfite is an oxygen scavenger. The image in Becquerel dev’ment is made up of very small silver particles. As silver particle size decreases its surface area increases dramatically and therefore its reactivity. Dissolved oxygen in the hypo solution allows the sod. thio. to dissolve the Becq. dev’d silver of the image. Sodium sulfite takes up the dissolved oxygen thereby preventing the dissolution of silver and weakening the image. If you have a weak Becq.-dev’d image due to underexposure or underdevelopment the image may disappear. This is because in such a weak image the silver particles are extremely small. With Becq-dev’ment, silver image particle size increases with dev’ment time and the image gets stronger. If you leave a “conventional” paper print in hypo for a very long time (hours) it will “bleach” the image.
Second reason:
Sodium sulfite in a hypo solution also prevents the sodium thiosulfate breaking down to sulfur and sodium sulfite. If you mix a liter of of hypo sol’n (w/o sulfite) over time it will break down into sulphur and sodium sulfite and this can lead to black spots of daguerreotypes from the sulphur. Kodak Rapid Fix also contains sodium sulfite among other chemicals.”
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CasedImageKeymasterAnother dag by Marc Kerun on ebay france:
http://cgi.ebay.fr/DAGUERREOTYPE-contemp-1-4-plq-Langres-porte-Sud_W0QQitemZ180334156200QQcmdZ
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CasedImageKeymasterAnother offering from John Hurlock on ebay:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=290299631519
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CasedImageKeymasterSome from Rob McElroy up on ebay, – Cone flower no. 2 (whole plate) and Daturian (4×5);
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310125823697
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310123314841
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CasedImageKeymasterHey Larry, long time no hear, nice to see you back here. I haven’ done a single becq. plate since going mercurial. I don’t rule it out, but would rather continue the learning curve and get the mercurial plates to where I would like them to be.
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CasedImageKeymasterOut and about in the sun again today with a portrait of a writer to show for it.
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CasedImageKeymasterLast one of the day, I have labored long enough on these guys, I shot them one day in bright light but lost the quality of the plate in the darkroom. I have been trying to get back to that level of contrast but haven’t quite made it before my patience ran out. Its interesting that with the lens fall off the trees at the sides have a different hue than the one in the center.
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CasedImageKeymasterSo today I had a go at macro daguerreotypy, by fooling around with the lens elements I managed to get quite up close and abbreation laden. Not overly optimistic I used an old plate that had seen better days but was happy to get a result. The subject was a wasps nest that I had liberated from their presence. First exposure was on a white background and was not kind to the imperfections of the plate so second went black. First exposure was barely a second in very strong sunlight and the second was 5 seconds as the sun was skulking behind a cloud.
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CasedImageKeymasterBack view of Walters Rilex camera
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CasedImageKeymasterCasedImageKeymasterCasedImageKeymasterDoes anyone know anything about these items, I’ve seen them on ebay before and wonder if some 20th century daguerreotypist was actually making them, maybe copy dags of prints or is it just the terminology being borrowed?
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CasedImageKeymasterSomething more genuine but with alas no nudity, is this pinky ring with a hidden daguerreotype in it:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MEWAX:IT&item=160312727916
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CasedImageKeymasterThe main indicator I found that if it wasn’t looking promising in the first 10 mins then it wasn’t going to be a great plate and thus maybe not worth worrying about too much. It is hard though peering though the rubylith to decide what is underdeveloped and what is over developed. Most of my development times were one hour sometimes 2 or 3 if I was keen. I must admit so far with mercury I haven’t achieved the whitest whites that I got with Becquerel (see attached). But as the family motto says – ” Do and hope “
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CasedImageKeymasterSo for plate cooling in becq. development this is what I came up with for my plates, which are thin clad plates so are probably easier to cool. The frame is made of black acrylic sheets so it would have some light trapping aspects. The back of the plate remains exposed so it can cool down in the sun but because of the stepped frame, light can’t get to the front of the plate. It worked very well, though working with strange modern materials the frame itself wasn’t the most well polished production, more of a prototype.
It can’t be seen in the images but under the rubylith I bevelled back the acrylic so it wouldn’t cast a shadow. The top part of the frame that has the rubylith is two sheets of acrylic with different sized windows to give the ledge which the plate sits on.
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CasedImageKeymasterThanks DrDag, its nice to know we are getting it right, more improvements and features in the pipeline as well. I’ll go for the beer, though I understand Mercury can be a good colonic..
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CasedImageKeymasterthere’s a link on the gallery page, oops maybe I didn’t make it clear
http://www.powrgrip.com/cgi-bin/powrgrip/PU0950.html
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CasedImageKeymasterIn the galleries section there is a page for plate handling. I find the power grip is invaluable for transferring a plate over sensitising boxes and mercury pot, without touching the plate at all.
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CasedImageKeymasterThe majority of 19th century plates show buffing lines to some degree so perhaps the hint of them should not be feared, it seem to didn’t impede them from making fine dags. I must admit I like looking at a Daguerrotype seeing the evidence of the hand of the maker and the fact that it is a Image object not a paper print.
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CasedImageKeymasterAttached are some images of my darkslides. Recently I made a format reducer to shoot ninth plate in my sixth plate camera. It was a quick fix job as I was shooting on that day. You can see its just a insert of card with a window the size of ninth plate. A thin backing to that with a smaller window opening gives a shelf for the plate to sit on. I would avoid using tape inside the darkslide as residue can find its way on to the plate surface in processing, also its best to keep handling to a minimum.
The back of my sixth plate darkslide has a brass tongue that holds the plate flat in the film plane. In my larger format camera that wasn’t good enough I use thin clad plates that get warped in their production. To keep them flat I put a sheet of acrylic behind them which fortunatley works well with the depth of the plate holder. I mention the tongue and plate as with holders that are made for glass plates, the depth is an issue to be resolved and I find these solutions work for me.
www.CasedImage.com
CasedImageKeymasterAttached are some images of my darkslides. Recently I made a format reducer to shoot ninth plate in my sixth plate camera. It was a quick fix job as I was shooting on that day. You can see its just a insert of card with a window the size of ninth plate. A thin backing to that with a smaller window opening gives a shelf for the plate to sit on. I would avoid using tape inside the darkslide as residue can find its way on to the plate surface in processing, also its best to keep handling to a minimum.
The back of my sixth plate darkslide has a brass tongue that holds the plate flat in the film plane. In my larger format camera that wasn’t good enough I use thin clad plates that get warped in their production. To keep them flat I put a sheet of acrylic behind them which fortunatley works well with the depth of the plate holder. I mention the tongue and plate as with holders that are made for glass plates, the depth is an issue to be resolved and I find these solutions work for me.
www.CasedImage.com
CasedImageKeymasterIts known as “buffing with the horizon” and I’m Jon on this one. My dags now and in the future are about being in cases or passe partout, basically a dag in the hand, rather than on the wall and I think horizontal polishing is best suited to that. In all the dag exhibits I’ve seen I’ve not wished for buffing against the horizon to better view the image.
Generally though I have found if in doubt to err on the side of C19th daguerreian practices as even though often it may not seem obvious but they did things for a reason and with something so uniformly adhered too back then, even more so.
Reason: They made over 40 million in the Daguerreian period, I just don’t think that the modern dag industry will ever surpass the best output from back then as the industry is so small now, it stands to reason.
www.CasedImage.com
CasedImageKeymasterIts known as “buffing with the horizon” and I’m Jon on this one. My dags now and in the future are about being in cases or passe partout, basically a dag in the hand, rather than on the wall and I think horizontal polishing is best suited to that. In all the dag exhibits I’ve seen I’ve not wished for buffing against the horizon to better view the image.
Generally though I have found if in doubt to err on the side of C19th daguerreian practices as even though often it may not seem obvious but they did things for a reason and with something so uniformly adhered too back then, even more so.
Reason: They made over 40 million in the Daguerreian period, I just don’t think that the modern dag industry will ever surpass the best output from back then as the industry is so small now, it stands to reason.
www.CasedImage.com
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