Having published 4 books in the last 10 years and seen radical transformations in not only the printing process but also in the selling of art books I decided to record this audio blog for anyone considering publishing their own book whether using a full scale fine art press, publisher or an online printing service. See the example images below for specific examples that are mentioned in the audio. Also, please comment on printing services you have used with your thoughts as well as suggestions that may be of interest/ help to our community.
Here is a nice online marketing badge provided by Blurb, for Free, so people interested in your book can have a direct link to its page on Blurb (note that I have one here in the right side bar and also on stephenschaub.com. Included are book specifications, cost, delivery options and a 15 page book preview (this is an option that you can decide to do or not do…you should do it) that I feel really helps sell your book.
Every photographer has his or her own “nightmare” print story- some more than one! In this audio blog I discuss how I (Stephen Schaub) work through a nightmare print at Indian Hill Imageworks- give a listen!
Hariku Paper, “Cloud Dragon Paper”, as mentioned in the audioblog as well as the “Nightmare” Print.
Many of the camera systems I have used over the last 2+ decades have been either custom made or modifications to older systems to “fit” newer capture devices. If the option of custom lens mounts, custom lens caps and complete from the ground up camera systems is new to you then give a listen to this audio blog (click on the AUDIO logo) recorded December 2007 with Adam Dau of S.K. Grimes.
I have also posted (below) an image of my Hexomniscope Camera by Abelson Scope Works with its newest custom accessories…custom made lens caps (or perhaps I should say Pinhole Caps) and .1 spacer rings to allow different controlled positions for the pinhole made for me by Matt Abelson of Abelson Scope Works. For me and my works the OPTION of custom configurations and accessories is essential as I find the out of the box systems and accessories most companies offer miss the mark time after time.
Also, stay tuned for an exciting audio interview posted early next week with Matt Abelson of Abelson Scope Works.
I’ve been testing a new film recently, Rollei Pan 25 (120mm) processed in Diafine (3+3) and the initial results are quite amazing! The film does have a bit of a nasty curl to it when dry but nothing a glass carrier or oil mounting for scanning won’t fix… Here is a sample image I made using this film (shot on a 1960 Rollei TLR “F” at f/11 at 1/8th, exposed at BOX speed 25!) as well as two detail crops…just click on the thumbs to get an enlargement.
Note: Z= Zone. Also, the usable dynamic of this film is huge…I have great shadow detail down into Zone II (easily) and the highlights are very clean with nothing blocking up and the grain is almost impossible to find!
The final full size image is 20.7″ x 20.7″ at 360dpi (optical scan resolution 3200, 16Bit). It is important to note that NOSHARPENING was applied in scanning or in post processing and NONOISE REDUCTION has been applied either…the file is au naturale! I will continue to refine this film/ process over the next few days followed by testing of Efke 25 and then a final comparison between Rollei Pan25, Efke 25 and Kodak Technical Pan Film (I have quite a bit of frozen Tech Pan). All images and tests will be shot on 120mm film. Stay tuned!!
Finally part 2! Here are some sample images made on my M7 Leica and my Rollei 2.8 (F – 1960) using Fuji Acros at an EI of 160.
The two square images of course were shot with the Rollei (120mm) and the hand and zipper image was made with my Leica M7. Full size the Rollei images are 18″ x 18″ (142MB, 16 Bit, Grayscale, 120mm Negative, 3200 dpi scan) and the hand and zipper image is 16″x 24″ (160MB, 16 Bit, Grayscale, 35mm Negative, 6300 dpi scan). The detail crop of the zipper represents approx a 3″x4″ section of the larger 16″x24″ print…amazing!
Here is how I processed it…
Fuji Acros 100…EI 160
Diafine Developer at 68-72 F
Part A 4.5 minutes (two inversions every minute…gentle.)
Part B 4.5 minutes (two inversions every minute…gentle.)
Water Stop 1 minute Fill and Dump (68-72 F)
Fix Kodak Rapid (5 minutes)
Wash 1 minute running water (68-72 F)
Perma Wash 1 minute constant agitation
Wash 5 minutes (65-75 F)
For more information on the process and testing conducted please listen to the audioblog link below….
TIP– When your developer starts to get dirty…say after 30 plus rolls just run it through a coffee filter to “clean” it…use a different filter of course for each solution.
This is a test in progress post but I feel really good (and excited) about my results so far and wanted to share…
Here is a difficult test image (huge dynamic range) shot with 35mm Acros 100 (Diafine EI 200) with my Leica M7 and a 50mm F1.4 Sumilux at F8.
The processing is very different than suggested on the box or in previous posts- I will be posting the developing “how to” after this weekend as I want to run just one more test. The full size image which was scanned at Indian Hill Imageworks on our Imacon at 6300 dpi, fluid mount, 16 Bit is 24.5″ x 16.2″ (optical resolution). The crop image is a 2.5″ x 2.5″ section of this larger file…do you see the bent nail?! The large file link at the bottom will download a scaled down version (Approx 10″ x 6″ @ 360, 8 Bit) so say around 8MB uncompressed (best for high speed users only) will give you an idea of what is possible with the incredible combo…the full file (98MB) is amazing.
OK, this is a quickie. I’ve been running some tests here at Indian Hill Imageworks to determine if using contrast filters such as:
Light Yellow 021
Light Red 090
Yellow Green 060
would cause a problem with this awesome film/ developer combo. Answer: NO. I personally like no filter or a ND if I’m shooting in bright light (remember TX in Diafine has an EI of 1250 to 1600 so unless you like F22 at 1/1000th its ND (Neutral Density) or Contrast Filter time!) I love the full gray tones of this film/ developer combo and find the “straight neg” is the easiest to scan and get every bit of tonality.
NOTE: On the Light Red 090 just be very careful with your shadow placement.