With a special toning technique called Silver Plating it is possible to convert a normal black and white print to a highly reflective mirror silver finish. There is a commercial product called Halo-Chrome by Rockland Colloid to produce silver plating, or you can mix your own toner.
Ilford MG IV RC paper toned with Halo-Chrome toner.
When viewing the print, colours may change and parts of the image may appear as positive or negative. The viewer will get a strong impression of a Daguerreotype — we nicknamed this the “Poor Man’s Daguerreotype” technique. The look of this faux Daguerreotype can’t be reproduced on the web or printed media — you really need to see the real thing to appreciate it!
Jalo Porkkala: Twin Columns, silver plating.
Silverprint Proof RC paper toned with an own mix of silver plating toner.
Jalo Porkkala: Chalon, silver plating.
Ilford MG IV RC paper toned with an own mix of silver plating toner.
P.S. Looking forward to trying the real Daguerreotype process this year.
I got a few decent bromoil brushes recently, and decided to have one more go at bromoil printing. Many people with whom I have discussed the bromoil can’t see the point in it… why bleach away the print and try to get it back with messy inks? Again, this is one of those things to be appreciated only when you are holding a finished print in your hand — the electronic media can reproduce only part of the viewing experience. To be able to feel the “body and soul”, you must get hold of the real thing.
I finally was able to hunt down Gene Laughter’s Bromoil 101 — a working manual for the bromoil printer. The little book really is stuffed with information, it is a valuable guide for a modern bromoilist. I used some of the tips and tricks offered there, e.g. trimming my bromoil brushes and mixing some dry pigments with my inks.
A low contrast bromide print on Bromoprint paper, to be used as a matrix for bromoil.
I also had a chance to use somewhat mysterious Bromoprint paper, ordered from Fotoimpex, Berlin, Germany. I have no info about the manufacturer (maybe Adox? — at least they have a paper called that too), it came in a blank package with no sigle word on it… Anyway it should be a non supercoted paper, and it did produce nice prints and was easy to ink.
A soaking and inking test on Bromoprint paper. The matrix was soaked for 5, 10 and 15 minutes, and then made a quick initial inking on each of the test strips. Soaking of 8 minutes was chosen as the final time.
Jalo Porkkala: Tree Eight, bromoil.
Bromoprint paper, inking with Senefelder’s Crayon Black.
I am closing the case of lith printing today. As I am writing a small manual of alternative printing processes, and there were just a few things that needed checking, I made a few more prints from digital negatives. I was trying Moersch Easy Lith developer this time, with different dilutions and developing times. With the Moersch chemicals it seems that starting lith printing is quite straightforward and fun… the instructions following the chemicals are clear and simple, and by following them there really shouldn’t be a reason why not succeed right from the first prints.
The first prints in a freshly mixed lith developer normally don’t look anything special, the developer has to age a little bit. I made a couple of “aging prints” on the Silverprint Proof VC glossy paper, a budget price RC paper. They actually looked quite niceÂ warm tone prints — even without the lith effect.
A print on Silverprint Proof VC paper, developed with Moersch Easy Lith developer, dilution A 2oml + B 20ml + water 1000ml.
Gradually, as the developer ripened more, I got some quite lovely pink, red and yellow highlight tones, while the shadows developed coarse and funky lith grain. I used Fomatone and Forte papers with Moersch Easy Lith developer and Lith Omega for stronger highlight colors.
Jalo Porkkala: The Power Station, lith print.
Paper: Forte PW FB, developer: Easy Lith 8 min. + Lith Omega 4 min.
Jalo Porkkala: The West Pier, lith print.
Paper: Forte PW FB, developer Easy Lith 10 min.
Here are the videos of my four-color gum printing method on Fabriano Artistico EW, glued on a sheet of aluminum. The full video is too long for YouTube, so I cut it in four parts. You can play them embedded, or you can watch them in larger size HD on YouTube by clicking the video image.
Oh… and if you find the music annoying, feel free to turn the sound off… there is no spoken info. The sound is compiled from iMovie’s short sound clips — not so great… I just felt there must be something ðŸ˜‰
Gum Printing I
Gum Printing II
Gum Printing III
Gum Printing IV