Tag: Elizabeth Graves

Preparing your image for cyanotype printing

An excerpt from Blueprint to cyanotypes: Exploring a historical alternative photographic process. Making photograms in the cyanotype process.

"Shanghai Shop," a cabinet-view sized wet collodion image of a Chinese-style dress on blue-painted aluminum (source of the detail above)
Blue plate special: Wet collodion images on blue aluminum

Elizabeth Graves satisfies her curiosity about straying from black to explore wet collodion on deep blue plates.

a black and white, aluminum and acrylic large format camera prototype
Acrylic and Aluminum Homemade Large Format Camera: Preview

Elizabeth Graves provides a preview of her recent large format camera-building experiments.

Image of a large format film holder modified to hold metal plates
How to modify a film holder for wet plate collodion: design #2: magical magnetic tape

Elizabeth Graves develops another impermanent, non-damaging way to hold thin metal plates in a conventional large format film holder.

Wet collodion ferrotype image detail of reflective CD Roms
Is what you see what you get? Sometimes.

Elizabeth Graves remarks on the perils of digital reproduction of analog media in a un-color-calibrated age.

Blog Elizabeth Graves
The mysteries of pricing art for distant shows: a plea

Elizabeth Graves on the mysteries of pricing art for distant shows, what research to do and guidance needed.

Blog Elizabeth Graves
Elizabeth Graves

From: San Francisco, USA.
Shows: Cyanotypes, Kallitypes, Photopolymer gravures, Vandyke browns, Vandykes over cyanotype and Wet plate collodions.
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Blog Elizabeth Graves
How “alt” is alt?

Elizabeth Graves on the alt. proc. label on art – loathing it or loving it?

Blog Elizabeth Graves
Imitation is the Sincerest Form of Flattery: Thoughts on Faux-Alt-Process Digital Images

Thoughts from Elizabeth Graves on why new digital imaging technology is often used to imitate the appearance of old, chemical photography.

Color Shade First Flush
Subtle blues: Impossible Color Shade

Elizabeth Graves reviews the first edition of The Impossible Project’s experimental color film, Color Shade First Flush and finds the aged prints resemble color photographs of earlier eras.

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