Autographic

Gold toned salt print from calotype. Printed 6 March 2015 Sorry about the hot spots from my lighting... I'm still figuring out how to light these, but a digi-snap gets the color and texture better than my scanner. Too bad they whitewashed this neat old building. Details: Lana Aquarelle HP 2% Hawaiian Alaea salt, 0.8% gelatin, 0.5% citric acid Coated with 12% AgNO3 + 6% citric acid.

Bennett Valley Grange is the oldest still-active Grange in the United States. The hall was built in 1873. I would like to make a nice calotype and salt print of this Grange Hall to show at the California State Grange convention later this year. They have a craft exhibition, with a photography category. So this is a potential subject for a larger calotype. Greenlaw's process on Vidalon Vellum. Kodak 3A series II camera.

Salt print of a test calotype made in a Kodak 3A series II camera. Gold toned, and I think this was on Canson universal sketch paper. Printed in February 2015

Greenlaw process calotype. I wanted to make one with some water, and almost forgot that this wonderful nursery near my house has a lovely pond. The pond had some bluegreen algae growing which is why the reflections are muted, but I'm going to come back again with a big camera once I have this process under control. A real egret landed near the far trees just as the exposure was finishing. I'm aiming for more contrast and a denser negative and I think I'm learning how to better judge development. I believe this one will have good contrast for a salt print, which will follow soon. LV 11, F/8, 15 minutes. Kodak 3A camera, 122 format ( 3.25 x 5.5 inches )

Another Greenlaw process calotype on Canson Vidalon Vellum paper. LV 13, 3.5 minutes @ f/8.

Salt print of calotype. Canson Universal Sketch paper, 10 minutes in gold thiocyanate toner. Printed 29 January 2015

Greenlaw's process calotype on Canson Vidalon Vellum paper. Image is 3.25 x 5.5 inches on 3.75 x 6.25 paper. Made with a Kodak 3A series II camera, LV 12, 8 minutes at f/8. The scene is a little on the melancholy side, but I'm thrilled with the negative. There was a robin hopping around in the trees encouraging me as I made the exposure. It has been carefully drying since Monday between changes of blotters, and there are no wrinkles at all. There does not appear to be any fog or staining, we'll see how it does for salt printing! Quick digi-snap of calotype in a printfile sleeve on backlit white paper. In person it is a brighter reddish-gold color and the sky is more black. It was not completely flat and there is some keystoning, but I wanted to give an idea of the color and I don't own a transmissive scanner. It's really lovely held up to a window and reminds me more of a sheet of film than a paper negative!

Another experiment with overexposing then developing by inspection

View toward Sonoma Mountain from Willow Street near Cotati, California. Continuing experiments with overexposing and then developing with dilute cold developer. Not colored. Just scanned, inverted and some levels adjustment.