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the gate

I have scanned the negative together with wet ovenpaper to get the texture.

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fatma alrefaee 7 months ago

amazing processing loved the atmosphere of it

King Douglas 7 months ago

Excellent, Christofer. Unlike Codrin, I don't much care where the texture comes from so long as it is effective. Was the negative in contact with the wet paper? or separated by glass? What size negative was this made from?...large format would be easier to work with, I suppose.

Christofer Grandin Thanks! I'll try to explain. In the darkroom I sometime use wet ovenpaper during the exposure of the paper. I kind of missed that when doing scans directly from negative, so I tried to place paper together with the negative. After som tests I got the most intresting results when the paper was in direct contact with the negative. I mainly work in middleformate 6x6. If you are intrested to see more examples you can take a look at www.christofergrandin.se/remnants.htm and www.christofergrandin.se/short_stories.htm

All the best,
Christofer

King Douglas Thanks, Christopher, for the explanation. I looked at the pages you suggest--lovely work. I especially like the third from the last of the Remnants series and "At the London Zoo" of the Short Stories series. Although I'm not likely to try your technique myself, I'm curious as to whether you have any troubles in re-washing/drying your negatives after they have been in contact with the wet oven paper. Do you put the wet oven paper in contact with the emulsion or the base? Does it make any difference?

Christofer Grandin Hi, and thanks again :)

I have no big problems drying the negatives afterwards, I usually put the wet paper in contact with the base side. The emulsionside is a bit more delicate to deal with wen wet, so I try to not soak that side. It is also quite easy to dry 120 negatives compared to 35mm, because they don't curl up as much. I tried it on 35mm also but then I had to hang dry them, the 120 I just put on the side, and they dry nicely. I usually cut them three by three.

All the best,
Christofer

Codrin Lupei Hi King, always a pleasure to read your words even when we have a different opinion, though it's not the case this time because I wrote exactly the same, it doesn't matter for me neither how the textures were created. It's just that I am not that fond of them, my personal opinion is that they rarely add something for real, but I also know that I am between the very few who are thinking this way. Anyway, I love this image! Hope that all is well with you! Wishing you a perfect time!

Codrin Lupei 7 months ago

So very happy to see published another image from my favorite artist! Thanks Christofer! You know, I am usually not a fan of the aged images with 'textures', it doesn't matter if photoshoped or created with wet ovenpaper (your ideas never cease to amaze me :) ) but there are some exceptions where everything is working just perfectly tp create something fabulous. This is one of those images! I love it!

Christofer Grandin Hi Codrin and thanks for your very nice words! I use this technique from time to time, it is not mainly to try to make a photo look old actually. For me it has more to do with roughness in the surface and in some way loosing control in the afterwork and printmaking. It has the same charm as using plastic cameras, you can't have full control and you open the door to chance and magic. Thats what I like about it, I think.

Codrin Lupei Thanks for your reply Christofer, yes, I know that you're not trying to achieve the old look of an image I wrote about, it is just why people are usually using the 'texture thing', giving the aged, painterly look. I fully understand what you're saying about leting the chance and magic to take part to the process of creating something, I believe myself that it's a very essential part.