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Giorgio Bordin
เข้าร่วมเมื่อ 2 ก.พ. 2012
The sparrow – Vernis bois and acquaforte
Il passero
Cera molle e acquaforte.
La tecnica a “Cera molle” (Vernis boule) consente di ottenere segni morbidi, simili a matita. Utilizza una cera che non indurisce, stesa in strato sottilissimo sulla lastra. Con l’interposizione di una carta velina (qui due strati, per sicurezza) si disegna con una matita o qualche altro strumento.
La velina viene pressata contro la cera e quando si rimuove la “strappa”, lasciando dei segni nei quali l’acido della morsura penetra con una texture simile a un segno di matita. Il retro della velina infatti riproduce il disegno, con la cera che è stata asportata.
Si passa alla morsura, nella quale con il passare del tempo l’acido nitrico rende i segni scuri sul fondo brillante dello zinco.
Asportata la cera, si inchiostra e si passa alla stampa di prova.
Il primo stato: un po’ povero di segni di piumaggio.
Con la velina a registro ha rifatto altri segni, soprattutto nelle piume dell’addome.
Nuovamente in acido, per il secondo stato.
A questo punto copro la lastra con la cera tradizionale e pratico un terzo intervento, in acquaforte, che aggiunge tratti più fini e più netti, intensificando le ombre e migliorando alcuni dettagli.
Prima della stampa finale occorre bisellare i bordi e renderli lisci per poterli pulire senza residui di inchiostro.
Il terzo stato è quello definitivo
The Sparrow
Soft ground and aquaforte etching
The "Soft ground etching" (Vernis mou - boule) technique allows for soft, pencil-like marks. It uses a wax that does not harden, spread in a very thin layer on the plate. The drawing is made on a sheet of thin tissue paper placed on the plate that sticks to the paper wherever the pencil passes, leaving the copper metal exposed in broad soft lines. The back of the tissue in fact reproduces the drawing, with the wax that has been removed.
Next comes the biting, in which over time nitric acid makes dark marks on the shiny zinc background.
With the wax removed, it is inked and printed in the press: the first test print is made.
The first state was somewhat poor in plumage marks. With the tissue in close register, more marks, especially in the feathers of the abdomen are made and the process is repeated. Again in acid, for the second state.
The 2nd state is somewhat better, but not completely. At this point I cover the plate with traditional wax and practice a third intervention, etching an aquaforte, which adds finer and sharper strokes, intensifying shadows and improving some details.
Before the final print the edges of the plate need to be beveled and made smooth so that they can be cleaned without ink residue.
The third state is the final one
Cera molle e acquaforte.
La tecnica a “Cera molle” (Vernis boule) consente di ottenere segni morbidi, simili a matita. Utilizza una cera che non indurisce, stesa in strato sottilissimo sulla lastra. Con l’interposizione di una carta velina (qui due strati, per sicurezza) si disegna con una matita o qualche altro strumento.
La velina viene pressata contro la cera e quando si rimuove la “strappa”, lasciando dei segni nei quali l’acido della morsura penetra con una texture simile a un segno di matita. Il retro della velina infatti riproduce il disegno, con la cera che è stata asportata.
Si passa alla morsura, nella quale con il passare del tempo l’acido nitrico rende i segni scuri sul fondo brillante dello zinco.
Asportata la cera, si inchiostra e si passa alla stampa di prova.
Il primo stato: un po’ povero di segni di piumaggio.
Con la velina a registro ha rifatto altri segni, soprattutto nelle piume dell’addome.
Nuovamente in acido, per il secondo stato.
A questo punto copro la lastra con la cera tradizionale e pratico un terzo intervento, in acquaforte, che aggiunge tratti più fini e più netti, intensificando le ombre e migliorando alcuni dettagli.
Prima della stampa finale occorre bisellare i bordi e renderli lisci per poterli pulire senza residui di inchiostro.
Il terzo stato è quello definitivo
The Sparrow
Soft ground and aquaforte etching
The "Soft ground etching" (Vernis mou - boule) technique allows for soft, pencil-like marks. It uses a wax that does not harden, spread in a very thin layer on the plate. The drawing is made on a sheet of thin tissue paper placed on the plate that sticks to the paper wherever the pencil passes, leaving the copper metal exposed in broad soft lines. The back of the tissue in fact reproduces the drawing, with the wax that has been removed.
Next comes the biting, in which over time nitric acid makes dark marks on the shiny zinc background.
With the wax removed, it is inked and printed in the press: the first test print is made.
The first state was somewhat poor in plumage marks. With the tissue in close register, more marks, especially in the feathers of the abdomen are made and the process is repeated. Again in acid, for the second state.
The 2nd state is somewhat better, but not completely. At this point I cover the plate with traditional wax and practice a third intervention, etching an aquaforte, which adds finer and sharper strokes, intensifying shadows and improving some details.
Before the final print the edges of the plate need to be beveled and made smooth so that they can be cleaned without ink residue.
The third state is the final one
มุมมอง: 491
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Fra Ivano, intagliatore
มุมมอง 392 ปีที่แล้ว
Friar Ivano lives at the Franciscan Shrine of La Verna. An organist (Bach enthusiast) and wood carver, he also makes sandals in typical Franciscan style. He puts his skills at the service of the community, working tirelessly whenever free from the liturgy of prayer or the duties of his priestly ministry. A little bit Franciscan and a little bit Benedictine. His workshop is a place of meeting, f...
Printing an Etching, just for fun
มุมมอง 892 ปีที่แล้ว
Yesterday, Matteo, a friend of mine, came to see how works printing an etched plate of metal. He took some clips of the process and this is the result. To see a good print of the same zinc plate, watch here: www.flickr.com/photos/gbordin/52166299439/in/dateposted/
Manuela: la vita è perfetta
มุมมอง 1883 ปีที่แล้ว
It is not about photography today. The clip of a gift made by a friend of mine, during a toast for my new job, and the farewell to my old colleagues, who otherwise doesn’t stop to be my friends. Friendship is the Neverending story.
Making wet plate alabastrines
มุมมอง 5103 ปีที่แล้ว
How to make Alabastrine wet plate collodion positive
The old phone. Wet plate tintype alabastrine
มุมมอง 2804 ปีที่แล้ว
Alabastrine are usually wet plate collodion positives on glass, treated with Mercuric Chloride to become white like alabastro, hence the name. Here the process is shown using an aluminum plate for tintypes. Mercuric chloride is a potent poison, be careful.
pure palladium print
มุมมอง 4024 ปีที่แล้ว
From Bergger Print film, exposed in camera and developed with HC110 dil E. Not too much DR, so contrast has been raised with Na2.
A weird tea party
มุมมอง 4086 ปีที่แล้ว
Collodion is definitely total war. Almost everything has gone wrong. But bad things are hidden in this video. No time for going back home, fix problems and come back for a new shot... When things go this way you need to make do with what you have in life.
Margherita Wet plate Collodion negative
มุมมอง 3.1K6 ปีที่แล้ว
Wet plate collodion negatives are processed like an ambrotype, overexposed and developed with diluted and more acidic developers, to increase density. A negative like this can be easily printed in Silver gelatine paper. But if you want print with older techniques, like salted paper or Albumen print, the Density has to be further increased to fit the tonal range of these techniques. There are tw...
collodion negative: the hats
มุมมอง 8977 ปีที่แล้ว
Copper intensification of a new Guy clear glass negative.Resulting DR 3.0, printable on salted paper or albumen print. Hard to print in vandyke and Kallitype. Perhaps new chrysotype?
vandyke gold thyourea Clerc toner
มุมมอง 6K7 ปีที่แล้ว
Toning a vanDyke brown print with Thiourea Gold toner (L.P. Clerc's recipe). It gives a brilliant blue-purple-black color (it depends also upon the paper: here, a Hanhemühle platinum rag paper has been used to print a collodion negative on glass). It tones very deeply and is fast. Really rewarding.
il torrente
มุมมอง 4398 ปีที่แล้ว
Hanhemühle platinum rag paper. Digital negative on Ferrania clear print. Scan fron a 4x5 analogic negative Shot with Linhof. Superangulon 50 mm. Ilford 4X5 FP4 plus. 125. Development in Pyrocath 2:2:100, for 15 min at 20° Pure palladium print. Palladium 10 drops, Ferric Oxalate 10 drops, Na2 1 drop. Developed ammonium citrate
Jon plays Pachelbel: Ciaccona.
มุมมอง 2168 ปีที่แล้ว
Jon plays music in the streets and squares of Parma for many years. He is a really skillful and sensitive musician. I'm a bit disappointed, when looking to my video: I think that my lens was dirty, so the image is blurred and lack of definition, but the music is that. Hi Jon.
more on wet plate neg copper intensification
มุมมอง 1.5K8 ปีที่แล้ว
more on wet plate neg copper intensification
wet plate negative copper intensification
มุมมอง 8K9 ปีที่แล้ว
wet plate negative copper intensification
Washi pure palladium print: The Pepper
มุมมอง 4.9K10 ปีที่แล้ว
Washi pure palladium print: The Pepper
I stopped using this technique a long time ago because of higher silver prices and also because if the plate is over exposed but still not enough density the intensification will be too much. I now develop the plate as far as it will go and then intensify by using the same developer with a little silver bath added until it looks right then rinse, fix and wash. Or, develop as usual, fix and wash, then use developer and silver to build up density, wash, dry and varnish as usual.
So I tried this today, and it looked similar at first. Once it dried it looked awesome, but then I did my typical hand burnishing and it dulled (the opposite of when I normal do a regular wetplate). I only burnished a portion of the test, then when I shellacked with the ultra pale it dulled significantly again where it’s less drastic normally. Maybe toning bath did not get hot enough to react deep enough. I did the hair dryer under the tray. Anyways any insight would be appreciated. Thanks
thanks for making this great demo! would love to see a demo on the iodine and pyro redevelopment 🤞🤞🤞
can u make a video on the iodine / pyro redevelopment?
Super! :)
Always important when you want to show the copper intensification to also include how you collect the sand and bring it to the glass factory to produce your plate.
Oh Jesus. That caption "I um, acetate...cold" really got me! I have spent 2 years deep in air conditioning mumbo jumbo and was (for the 397th time) looking for the latest in cutting edge cold tech and TH-cam figured you'd be right up my alley. Not so much for the content, but damn, yeah. That caption really hit me good!
Very nice!! thanks for the share
hi, great video. whats the role of nitric acid. i cant seem to get it here in my country but ive got all the other ingredients to intensify a plate. can you think if any other alternatives or substitute for nitric acid? thanks
nitric acid has the role of lowering the pH. Acetic acid can perhaps be used. However, since you use silver nitrate, nitric acid is the better choice. Furthermore, is the one traditionally employed since the XX century, at least according to old books. But you can give a try. Let me know.
@@giorgiobordin7779 thanks for the reply. i do have glacial acetic acid. i read somewhere that nitric acid helps with the flow and prevent streaking on the plate when intensified. i will try. thanks again
Did you tone before or after fixing? It's exquisite. Thanks--------
before. Always before. Unique exception selenium toning, but it shouldn't used with antique techniques because the metallic silver has nanomolecolar size, and silver selenite has a Mae (Tindall) effect which can reduce tone in the shadows, with a visual outcome like a sort of bleach.
That type of intensification was used for line art using various bleaches and silver but also sulfides. It’s a one shot deal and not variable. You should give redevelopment a try. The plate is made sensitive to light by a quick wash in dilute iodine. After washing in water it is exposed to daylight and then you pour pyrogallic acid developer with drops of silver onto the plate. The process takes about ten minutes with repeated applications of the developer but it doesn’t streak like intensification and the build up of density is gradual. You can do a just little as needed or even more than the intensification process.
I know very well that kind of intensification, and is my main method. Check my book for specs if you want. www.amazon.it/collodio-collodio-positivo-negativo-illustrata/dp/8869272141/ref=sr_1_1?__mk_it_IT=ÅMÅŽÕÑ&crid=HC7Z46POOXY5&keywords=Giorgio+Bordin+fascino+collodio&qid=1664745667&sprefix=giorgio+bordin+fascino+collodio%2Caps%2C88&sr=8-1. Copper is a valuable alternative, especially when you make negatives in open spaces. Quick and simple.
👍👍👍!!!
The music sounds as a canon from kunst der fuge but still not. More like an free variation of the canon. How is playing?
i dont see the point of a whole video on dissolving a metal salt
The resulting white substance is silver and mercury alloy?
I'n not sure but I think that mercury replaces silver, like in many toning processes. Excuse me for the great delay in reply, but I lost your comment.
This time Bleach requires a few minutes？
it is not a bleach, but the substitution with other kind of metal, more white and shining.
It wasn't clear in the video or subtitles -- was this bleach and intensify process done while the collodion was still wet, in that fifteen minute or so working time frame, or after the collodion has dried but before varnishing the plate?
the steps are done as they are shown. Bleach is done after washing the fixed plate.
@@giorgiobordin7779 Thanks. I thought so, but wasn't sure.
This video starts where everyone one else stops! wow process. It needs lot of precision and patience to get such results.
Can this technique be used on silver dry plate????
Silver gelatin dry plates are actually like modern films, the main difference being the support (glass vs polymer) and the composition of "emulsion". There are ways to intensify silver gelatine negatives, and could be similar at a glance because both are two-step processes, but they deeply differ. With silver gelatine, you bleach the film and then redevelop. However, the first step whitens the image but is not a bleach. You confer Bromide to the image and then add silver nitrate. The new formed silver bromide precipitates and makes the image stronger, adding new silver. You work with a film of collodion still wet, and it will never work after drying, because dry collodion is a plastic sheet which no longer allows chemical reactions to happen inside. In modern silver gelatin films you bleach in the first step the negative and then redevelop with strong developers (paper developers, just to say). Gelatine becomes soft and spongy with water and can allow chemical modifications, when wet. They are two very different processes. I don't think that the former could work in dry silver gelatine. I can't also imagine why it should work. Try. If it it works, let me know.
@@giorgiobordin7779 Thanks for the reply. What's the formula for a bleach tho? I've read some that uses potassium. dichromate and sulphuric acid. I have the dichromate but I don't really want to bother with sulphuric acid. Do you have other suggestion for bleach that's easy to make? Also for redevelopment I've been thinking about pyro developer lately since it stains proportionally. I have all the ingredient to make ABC pyro but haven't tried it yet. You think that will work? Thanks again!
@@Stop4MotionMakr sulphuric acid is less dangerous than potassium bichromate, and is needed, in all formulas. Redevelopment is rough and doesn't require refined developers. A simple Kodak Dektol works fine. I would also be a bit worried about pyro staining for some unexpected odd result.. Another think to try.
Thank you for this demo!
you're welcome
oh, forgetting: The solution can be stored for a limited time. I prefer make it fresh, and use in a limited range of time. I remember a solution very old and rotten. But I have never done tests.
Hi Krisztian. HgCl2. It is called corrosive sublimate. I don't know what happens in very cold rooms. but it is the solution that has to be kept warm, like when gilding a daguerreotype.
It's a dangerous material... What mask do you use? The gas is comming from powder in warming...
@@Nagy_Krisztian I use FFP2. The powder has not to be warmed, only the solution.
@@giorgiobordin7779 unfortunately the powder is sublimation - solid will be gaseous. I think the FFP2 is insufficient protection. Take care of yourself! :)
Perfect! Thank You for sharing! Is the Mercuric cloride HgCl₂ or Hg₂Cl₂? Is Working prrocess with cold - room temperature - solution too? Or is this very slowly? How to store the mixed solution?
Top effect , Thank you for receipt and showing technic
thanks!
Sorry. I ask you a question about the language. Is it correct to use 60% silver nitrate solution and 6 drops of nitric acid in the last step?? What% purity should nitric acid be used?
Woah
Fab video. Want to make some ambros with more density so I can try salt contact printing. Is there any alternative to the Nitric Acid?...I can't get it where I live.
I've never tried without or with other acid. Where do you live? You can buy from international sellers, I'm sure someone can ship to you, even at the North Pole.
@@giorgiobordin7779 Hong Kong. They are very strict about chemicals here I guess because of the density of people living in massive towers. It's very challenging just doing tintypes. 😥
@@isuckatguitar6252 oh my... since it uses Silver nitrate, some nitric acid lowers the pH without introducing new chemicals. I think that Choridric acid could be used as well. However I don't think it is easier to find. Acetic acid? Maybe... You should try with little pieces of glass so you need little amount of chemicals and don't waste too much money if it doesn't work; start without nitric acid, so you can just add in a second time. Nitric acid is used also to etch zinc or copper plates for gravures. It could be found in fine art supplies.
@@giorgiobordin7779 Thanks for your input.
@@giorgiobordin7779 you probably don't want to introduce more anons into solution-- I don't think any acid other than nitric will work
@Giorgio Bordin bravo, bravissimo! Great job! I will be soon trying to shoot plates for the first time! My intention is to print the plates on albumen, maybe Van Dike. So I understood that the appropriate density to print those processes is not achievable straight out of the camera and is better to intensify the negative? Grazie!
very nice result indeed. may i ask - how would this compere to coating the paper 2 times (and without silica) .. in case you've tried it. thanks
Silica is a pretreatment of the paper. Nothing to do with coating in itself. Over the paper you coat as you want. By the way, double coating is advocated from someone but it is only wasting time and money. A totally different thing is double printing (or more than two layers), as Irving Penn did in his platinotypes. An example here: www.flickr.com/photos/gbordin/24530183358/in/photolist-29Pawi1-25HxMCp-Hr58Be-2729Mhm-ZqgPGh-DnDATQ-DdcPYE-9bhjQb-6R17y3-6AqDLX-6wL6HK-6AuMA5-6fCNpe
@@giorgiobordin7779 thanks Giorgio. i thought double coating can serve as a black enhancer, similar to silica treatment, but apparently not worth it.
Exquisite
Holy density
magnifico !!!!
Very nice!
Nice tonal range good job. Nice and snappy too. What paper did you use?
thanks to you
Great video, thanks! I just started some alternative processes and I am uploading videos on my TH-cam channel!
Thank you for informative video. Does anyone knows if it's possible to use acetic acid instead of nitric acid?
it can be reused several times.
Greetings, is it possible to reuse the KCN solution after fixing a plate? or it has to be fresh solution every time
Totally inspiring. I will try this soon. Thanks for posting it!
You're welcome
Is it Poe Boy? New Guy? Old Workhorse? wich one is the best? wich one you prefer to work with?
Ahhhh....yes. Stravinsky. Good choice.
It is not a bad idea to sub around the plate edges, I usualy do not sub unless I am using a pyro developer otherwise subbing should not be needed if using iron developer unless you want to really make sure you do not loose the film. When I do sub I sub the entire plate. Intensifying with iron developer with silver bath added is a way I have started using more rather than iodine and pyro, the iron and silver can be done while developing or after fixing and washing. The draw back to bleaching and intensifying as shown here is that you cannot control the density, if it is over done there is little to help it other than reducing after. Good video.
Shocking transfer from A-typical to luxurious unique beauty
shocking, I agree. It is the fastest and most impressive toning process in old techniques
Fantastic! Could you give me any info on your lighting for this shot?
Sono le 22e 47 ed ho appena visto il tuo video e mi hai emozionato, grande Giorgio
grazie luigi
Eh
It is amazing,, but the music annoying
turn off the volume...
Fascinating! I’ve never seen redevelopment like that
Well, see more @: th-cam.com/video/I4p3ihXoskA/w-d-xo.html th-cam.com/video/-qwxUb0zTIA/w-d-xo.html th-cam.com/video/jTYAOoYQkhg/w-d-xo.html Best