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  • in reply to: Plates for sale #7874
    CasedImage
    Keymaster

    Great galvanising on the plates Eric, my question is, how much polishing do you give the plate post galvanising – should all tracesof the milky blue be gone and its a mirror with deep blacks again?

    Also how are your plates cut to size – guilllotine or metal shear? ( I have a concern about the slight warping that the guillotine imparts on my current plates). If I order your plates do you think the plate sizes can be accurate to within 1/32 of an inch? Oversize plates play havoc with my case interiors as your saw at Dag soc.

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    in reply to: Your latest dag! #8512
    CasedImage
    Keymaster

    My latest, more of a test plate but worthy enough to be trying out the new forum and site…

    2009.01-Muse.1.jpg

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    in reply to: Obtaining process chemicals #7459
    CasedImage
    Keymaster

    Hi Corey
    It is hard to come buy as the sale of it is restricted as it is used in illegal drug production. Resublimed Iodine seems to off-gas much less than the crystals but I have known folk to use it for making dags.

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    in reply to: Your latest dag! #8504
    CasedImage
    Keymaster

    Here’s a couple of my latest, some tinkering evident in the galvanising I have been trying. One is of my mother in a case I made for her and the other is of my nephews who at approaching 2 years were never going to sit still for the three second exposure.
    Jon, as well as liking the image I like the circular passe partout, quiet the original.

    Image
    Image

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    in reply to: CDagcon #8500
    CasedImage
    Keymaster

    For piece of mind and honest confidence in dealing with the border control people the best option is to post chemicals and mercury ahead to your destination. But otherwise there is no reason you should have a empty mercury pot, fuming boxes and gilding stand in your check in luggage. I always have a dag at the ready to explain and after a few minutes about me droning on about the process they are glad to be sending me on my way.Mercury itself is on the big no-no list for items to be taken aboard a plane. Apparently in the past, nefarious individuals have poured out mercury into planes from there passenger seats. The result is that the mercury makes its way down through the fuselage and eventually eats through it (Mercury has dissolves aluminium over time) rendering the plane a write off.As to a time of year to be meeting, the detailing of the process makes a momentous anniversary date though this may be not without problems. August can be unbearably hot in Paris and the Parisians leave on mass as they head off for the holidays so many business are not open, but then maybe accommodation might cheaper.There is also the first week of June – the most fantastic of all photography flea markets occurs in a little town just south of Paris – Bierves. The town has a Photography museum that has 15000 cameras, most on display. The streets of the town are packed with photo dealer tables from all over Europe. See attached images of this years meet. Not that I’m suggesting a different location for CDagcon but it would give a great daytrip from the "Dagbase" of Bry.Later than August and the meet will compete with peoples big trip of the year to the Daguerreian society symposium, which this year coming is going to be in Philadelphia.ImageImageImage

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    in reply to: Your latest dag! #8485
    CasedImage
    Keymaster

    Gee I don’t know Eric, the subject looks a little wooden… đŸ™‚
    Thanks for posting its a handy sort of thing to have on the forum.

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    in reply to: Cutting glass covers #7432
    CasedImage
    Keymaster

    "Water white" glass low in iron. With normal framing glass it has a green tint easily visible on the glass edge. This is because of the Iron oxides present in the glass, to remove these arsenic is added to the production process making it not so environmentally friendly and more expensive. Locally the only source of water low iron glass comes in a minimum thickness of 4 mm, which is a little much for a cover glass. Not uncommon in vintage dags though, the heavier cover glass lending a nice weight to the feel of the cased image.
    The "museum glass" I have seen has a coating which I didn’t like the look of in natural light and since I reverse paint my cover glasses for passe partout I don’t want anything to interfere with the paint layer.
    You can get Pyrex glass in sheet form I have a contact for that from a conservator so will get it and post it here.

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    in reply to: hong kong isp #7430
    CasedImage
    Keymaster

    Hmmm, sounds like phishing or spam to me. People can just register a domain name if its availbale – why would a domain name register need to ask your permission if they were registering a related domain name ? A smell a con and would steer clear of it.

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    in reply to: CDagcon #8479
    CasedImage
    Keymaster

    I think Biennial would be the way to go and for practicality locations within the US, but the 170th anniversary beckons Bry. Indeed facilities for Practitioners to ply there art would be a priority.I think there is a bit of history to meetings of Cdagists outside of Daguerreian Society gatherings, I even have a aging tshirt from one:Image

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    in reply to: Exhibitions in England #7418
    CasedImage
    Keymaster

    continuing the off topic talk – cold weather eh? Sweltering day here here in NZ as we head into summer, I have taken breaks through the day (have been scanning a Ken Nelson article – now in the resources section) by going for a dip in the pool…
    All the best Chris for the exhibitions.

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    in reply to: Your first daguerreotype… #8471
    CasedImage
    Keymaster

    and the process loves you too it seems! Great work Richard.
    Perhaps a new thread to compliment this one will be in order – " your latest Dag" so we can keep up with developments.

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    in reply to: Anne Darwin #7381
    CasedImage
    Keymaster

    Thinking of the bright lights of Hollywood, next time your renting a DVD try "Amistad" it has a scene in which a Daguerreotype is being made – by the hands of Grant Romer.
    Any other cinematic depictions of the process?

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    in reply to: Fuming Box Design #7374
    CasedImage
    Keymaster
    My "darkroom" is a corner of the studio that I have masked off with thick black plastic painter’s drop-cloth. All of these little quirks serve to remind me that daguerreotypes can be made with fairly loose standards and still come out looking great. It’s no Castle Daguerre but it’ll do.

    A man’s darkroom is his castle… ah the urban legend of Castle Daguerre… <img decoding=” title=”Smile” />

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    in reply to: Fuming Box Design #7359
    CasedImage
    Keymaster

    A recent addition to flickr is a set images of a commissioned Iodine box. It is very nicely made but the design leaves me wondering. I think it has been made without a glass vessel to hold the iodine, finding one that will fit will be difficult. Without one the iodine will eat through the box in no time, but since the darkslides are plywood that will happen anyway. Another thing that puzzles me is that it has two darkslides that perform the same function, both below the plate position. If it is for test strips as described it could give a grid of varying iodine exposure, but given there is a airspace between the plate and darkslide it won’t give a defined area of exposure between the grid sections.

    http://www.flickr.com/photos/21138021@N06/sets/72157607506611654/

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    in reply to: Fuming Box Design #7358
    CasedImage
    Keymaster

    A recent addition to flickr is a set images of a commissioned Iodine box. It is very nicely made but the design leaves me wondering. I think it has been made without a glass vessel to hold the iodine, finding one that will fit will be difficult. Without one the iodine will eat through the box in no time, but since the darkslides are plywood that will happen anyway. Another thing that puzzles me is that it has two darkslides that perform the same function, both below the plate position. If it is for test strips as described it could give a grid of varying iodine exposure, but given there is a airspace between the plate and darkslide it won’t give a defined area of exposure between the grid sections.

    http://www.flickr.com/photos/21138021@N06/sets/72157607506611654/

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    in reply to: Mercury pot #7357
    CasedImage
    Keymaster

    Reducers aren’t so much of a problem, can be made of sheet acrylic, the main concern i would think would be something that doesn’t absorb the mercury and pass it on to you when your handling the equipment eg wood.

    Generally speaking the larger the format the more the hassle and I would think that goes doubly so for a mercury pot. Large format daguerreotypists feel free to drop some pearls of wisdom here.

    A large mercury pot (say 8×10) with a darkslide drawn out will take up quite a bit of room in a fume hood so thats something to bear in mind. With my mercury pot it uses a modified vintage (C20th) darkslide, maybe that is the way to go – offer 4×5 or 5×7 mercury pots.

    With the heating, since the pot can be raised or lowered, it could be set down on a small electric hot plate, like in one of the images on the Mercury pot page in the galleries. The inverted pyramid makes for a simple design for the fabrication, having a larger "foot" to the pot itself for a thermocouple, complicates matters a bit.

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    in reply to: Astrodaguerreotypy #7348
    CasedImage
    Keymaster

    I have added another link to the "Daguerre Online" section on the resources page. It is a link to biographical page on Daguerre on the Met’s website and makes mention of Daguerre’s early efforts in this area;

    "Even Arago, director of the Observatoire de Paris, was reportedly surprised by a daguerreian image of the moon.
    Neither Daguerre’s microscopic nor his telescopic daguerreotypes survive, for on March 8, 1839, the Diorama—and with it Daguerre’s laboratory—burned to the ground, destroying the inventor’s written records and the bulk of his early experimental works."

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    in reply to: Mercury vs Becquerel #7336
    CasedImage
    Keymaster

    Hey Andy
    Q1.- I had a engineering workshop fabricate the basic pot based on vintage examples, out of stainless steel. The square base of the pot was a 1/2" square and the top matched my format with an extra inch on all sides. I provided them with a polder thermometer sensor so they made the cylinder insert just the right size. I then had a darkslide moded by replacing the velvet strips that light seal the darkslide with neoprene strips to make it airtight. The interior of the darkslide and the pot was sealed with black paint – easier to see mercury globules on the surface. The darkslides were replaced with stainless steel ones.
    Q2. – Development can be a controlling factor in image formation and the double darkslide allows you to shut off the plate to the pot interior then open the outer darkslide to gain access to the plate. Done under the safelight of your castle darkroom you can then either put it back for more development or drop it into the fix.

    I’ve had a few enquiries about the mercury pot, but format needs vary and they are quite an investment to make, so I don’t think I would go to the effort of making them a standard casedimage.com product. Also I think that if desired folk will go through the same fabrication process that I did rather than buy them off the shelf.

    Hope this helps

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    in reply to: Mercury vs Becquerel #7334
    CasedImage
    Keymaster

    With Mercury Pot design, what are peoples thoughts on sealed versus open mercury pots? Because as individuals we operate under the radar of Health & Safety and Environmental regulatory bodies the onus is on us to develop standards that protect both ourselves and the environment. As a modern practice Daguerreotypy needs to be a respected name by such governance’s as the last thing we all need is to be perceived as environmental rogues that need to be legislated against.

    A double darkslide arrangement (see attached image) provides airlock access to a lethal atmosphere. Contained within the mercury pot the danger will pass through the cooling down and condensing of the vapors, post plate development. A small amount of airspace around the plate itself is exchanged with the fumehood environment but this is a tiny fraction of what mercury vapors must escape from a heated open pot when the developed plate is removed. While judicious use of a good fume hood may protect you those vapors are still being released into the environment. Fans failing, backdrafts or power outages also present an unmanageable situation with a non sealed mercury pot.

    The facility for measuring the temperature of the heated mercury is also important, over heated mercury means more being released into the atmosphere and will play havoc with your development also. thinking of mercury pot design I might also add to avoid Aluminium since mercury can dissolve it.

    Reading various blogs, I get the feeling that there are many people heading towards mercurial development at the moment, some with the best features in mind (see attached image), so perhaps its an opportune time to remind everyone of our duty not only to ourselves but to the environment.

    Image
    Image

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    in reply to: Your first daguerreotype… #7832
    CasedImage
    Keymaster

    Hey congrats Jon, the achievement of doing it on your own is something quite special. I had done a workshop a few years before hand but the first one I had made on my own was this one, its a grave in Pere Laichase cemetery in Paris. Mine actually looks worst to some extent in person as I was a bit generous in photoshop with it.

    Image

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    in reply to: Becquerel Color Cycles? #7301
    CasedImage
    Keymaster

    Definitive indeed but yes also hard to find a copy of. I feel the great gulf and divide between me noting in my field notebook that a plate that was sensitized to "red/purple" and exposed at 40 secs came out looking ok and Irv documenting his iodine thickness in nanometers… I am also reminded that when he did that I was one year old..
    For someone started out with the process though I would say there’s enough to tackle with out jumping in at the deep end of heavy iodine coatings. Those long development times abate trial and error learning as by the time you’ve learnt you error of the morning, the sun has gone and it is time to go to bed and sleep on it. Gerald Meegans article is a good read though and I will see about getting a copy for the resources page, I imagine everyone would like to see Irv’s study there too.

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    in reply to: Becquerel Color Cycles? #7298
    CasedImage
    Keymaster

    Hi Richard, when I first started making becquerel I tried the thick Iodine coatings of more than one color cycle and with not much success towards getting decent images. I found my best results for Becquerel came from taking the Iodine coating color to first cycle to a red with tinges of purple. My development times were ranged from 1-3 hours. I built a developing frame that kept the light out but left the back of the plate exposed, so that sitting in the sun developing, the plate could cool rather than heat up and fog the plate. Trial and much error is the only sure fire way to find out what works for best you though.

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    in reply to: Heliochrome – The Color Daguerreotype #7288
    CasedImage
    Keymaster

    Here is a larger pic of the Davids heliochrome, I saw one David had made in 2002 when David, along with Jerry Spagnoli visited me at the Fox Talbot Museum. David’s Heliochrome is a baffling thing for a Daguerreian to view – so I could see the image better he rubbed the plate vigorously with a soft cloth! I have a paper David presented to the Royal Photographic Society, Holography Group, 28th February 2004, which I will ask him permission to put on the resources page of the site, it outlines the methodology used.http://www.cdags.org/wp-content/uploads/e%20Heliochrome%20Burder%20Feb004.jpg

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    in reply to: London Exhibition, July #7264
    CasedImage
    Keymaster

    Unfortunately I have been swamped by case work and have had to scale back my travel plans, no london and no paris this month or next.
    Al the best Christopher for the exhibit, hopefully I’ll see your next one. Enjoy London Jonathan

    Alan

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    in reply to: Contemporary Stereo Daguerreotypy #7259
    CasedImage
    Keymaster

    Newly added to the Stereo Daguerreotypes gallery (http://www.contemporarydaguerreotypes.info/?page_id=118) are whole plate stereo images by Mike Robinson. Due to the size of the plates they can only be viewed in a special viewer – the 19th century original of this was the Grand parlor stereoscope (http://www.contemporarydaguerreotypes.info/?page_id=366). Also in the galleries section are modern reproductions of the stereoscopes (http://www.contemporarydaguerreotypes.info/?page_id=370).

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