New 8x20 ULF Ultra Large Format Adox Lupex Silver Chloride Contact Print

July 28, 2022  •  Leave a Comment

8x20 Ultra Large Format by Tim Layton - www.timlaytonfineart.com8x20 Ultra Large Format by Tim Layton - www.timlaytonfineart.com

In the previous article and video, I created a new 8x20 Ultra Large Format Ilford RC Glossy paper negative, and I shared all the details of how we did that.

In this new video today, Tim Jr. and I used the Ilford MGIV RC glossy paper negative and created a silver chloride contact print using Adox Lupex paper and Ilford Multigrade developer.

We are making this new ULF contact print using different developers to show you how much impact your developer choice has on your final image.

For this print, we used Ilford Multigrade paper developer diluted at the standard dilution of 1:9 at room temperature. Then, the normal stop bath and neutral fixer along with a 1:25 Kodak Rapid Selenium Toner bath for 5 minutes to finish off the print. 

Ultra Large Format Photography Newsletter by Tim LaytonUltra Large Format Photography Newsletter by Tim Layton

For the paper negative, we used Ilford Multigrade diluted to 1:30 and developed by inspection.  The developer was followed by a quick acidic stop bath and a neutral fixer and a final wash. 

Watch the previous video we shared our process with you.

As you may already know, paper negatives, meaning silver gelatin darkroom papers, can be a good choice for many ULF photographers.  I have a playlist dedicated to paper negatives on my YouTube channel that you can check out and maybe find some inspiration.

Ultra Large Format Photography Forum - forum.ultralargeformatphotography.comUltra Large Format Photography Forum - forum.ultralargeformatphotography.com

MY FOUR PILLARS THAT DRIVE EVERYTHING I DO

Ice Princess 30x40 Silver Gelatin Fine Art Wild Horse Print by Tim LaytonIce Princess 30x40 Silver Gelatin Fine Art Wild Horse Print by Tim Layton My handmade Wild Horse Platinum & Palladium Fine Art is based on four guiding principles: Truth, Justice, Difference, and Identity.  

These core principles run like a ribbon through my artwork from beginning to end.

TRUTH: I see truth as a primary objective when I create a new body of work.  Truth is the one thing that stands the test of time; without it, we have nothing or no purpose. I seek the truth about wild horses in America and tell their story through my handmade artwork. 

JUSTICE: There are many injustices in the world.  I am drawn like a moth to a flame to tell the stories of wild horses because they have no voice and are under relentless attacks in the 21st century.  Wild horses in America are in the fight of their life, and without help, they will quickly become something future generations only read about in history books.

DIFFERENCE: I sincerely want to help make a difference for wild horses and fight for their right to live wild and free.  I have been forever changed because of wild horses. I am on a mission to raise awareness about their current issues and challenges, so people can come together and find lasting and reasonable solutions to the current crisis.

IDENTITY: When I got my first camera in 1975, everything changed because I realized that I had a voice that was much bigger than myself, and I could inspire and motivate people to make a difference in the world. I have always been drawn to the awe of nature and wildlife, and when I started following wild horses regularly in 2015, my eyes were opened, and I realized I was where I needed to be, and they needed my help. My path forward is clear and filled with purpose and joy.

Ultra Large Format Photography Newsletter by Tim LaytonUltra Large Format Photography Newsletter by Tim Layton


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