- Natural Intelligence – Why AI will save the artists who fear it the most
- Whither hybridia – The challenge of digital output for alternative printing
- Unpaper – Rutty photos will not be printed
- All over the place – The problem with color negative film scans
- Ghosted – When and how to clean an Epson 4990 transparency unit
- Fade to black – Why ‘modern’ Gossen light meters might drain their batteries
- Cheap chips from China – A brief look at the CH32V003 microcontroller
- Full bloom – DAS carbon starting to come together
- Extend your d… – Chromium intensifier for silver gelatin negatives
- Brilliant ID – In praise of ID62 all-purpose developer
- To a crisp – An extreme example of edge effects
- Solid as a rock – Fixing an old AC stabilizer
- The flipside – A closer look at printing color negatives
- Twister fries – More RA4 curves, now with a dichroic head
- Unsafe lights – The iffy business of RA4 safelights
- Sloppy slopes – Green and blue LEDs for variable contrast black and white
- Opposites attract – Salted paper and cyanotype curves
- Trans-mission – A parts bin transmission densitometer
- Perfecting primaries – Another look at LED wavelengths for RA4 paper
- Shine a little light – A brief note on UV output degradation in LED floodlights
- Photrio postcard exchange PCX#60
- Feet of clay – My first impression of Harman Phoenix
- Ogling curves – Comparing salted paper, Van Dyke and DAS carbon
- Shades of grey – A look at the tones of a salted paper print
- Skyfall – A first impression of 4×5″ Kodak Aerocolor IV
- Big ugly no longer big (still ugly) – RGB LED head for color printing revision
- Crossroads – A closer look at Kodak and Fuji digital RA4 crossover
- Upside down – How color film and paper are fundamentally different
- Who’s afraid of cyan, yellow and magenta? Using color C41 and RA4 chemistry at home
- Ginkgo leaves on expired Vericolor film
- Flipped – doing color negative inversions manually
- Not just muted – Vision3 250D colors
- Rem-oval: getting rid of the remjet on Vision3 ECN2 film
- How I broke my fixer
- Striking gold – An attempt at carbon transfer orotones
- Color potential – Remaining dyes in processed RA4 paper
- Getting organizized – A database for carbon transfer tissues
- Ciao from Sicily – Some postcards
- Don’t look down – Getting your film x-rayed when flying
- Rolling – Gearing up DAS carbon printing
- Ready, set, go – Stuff you need to get started with carbon transfer
- Knowing what’s right, but getting it wrong – Some silly color problems
- A ‘contrast ceiling’ of DAS carbon with continuous tone negatives
- Peaks or plateaus – Light sources for DSLR scanning color negatives
- Aching, flaking – A persistent problem with carbon DAS highlights
- Subtleties – Subbing intermediate supports for DAS carbon transfer and a note on pigment prep
- Balancing act – A brief look at ECN2 vs. C41 colors
- Puzzling paper problem – A carbon transfer print surface anomaly
- Creative possibilities in RA4 printing
- Collimated vs. diffuse light – a cyanotype example
- Kind of blue – A test with UV LEDs for DAS carbon transfer
- Creative RA4 – Bleach and redevelop
- A round roll in a square box – Cutting RA4 color paper sheets from roll
- Fixing Sekonic L-358 and NP spot meter wrong readings
- Composition target practice
- Different kind of print – Making PCB’s at home
- Pixels, not grains – Why RA4 paper is ‘digital’, and why this matters (not?)
- Between the lines – The importance of interlayers in RA4 color paper
- DAS right! – Solving the teething problems of DAS carbon transfer
- Color carbon made feasible part 2: sensitizer-incorporated tissue
- Color carbon made feasible, part 1: halftone screens
- Color carbon and digital inkjet negatives: challenges
- Potato, potato – Making an old Sigma lens work on every Canon EOS body
- Some images – Tractor tracks
- Easy way out – Inkjet on ‘DIY’ papers
- To stain, or not to stain – Acid and pyro developers
- Black is the new black – Pigments for B&W carbon transfer
- (T)issues – A note on pigment dispersion and chroma
- How to ab-stain? Dichromate stain issues in carbon printing
- Fascist or facilitator – some thoughts on forum moderation
- Fairy dust – Dry pigments for color carbon
- Color me purple – Some color developer formulas including C41 and RA4
- Roll another one…modifying the Durst RCP20 for RA4 processing
- Fade to grey – The pigment balance problem
- The curve is dead, long live the curve – the linearization game, part 3
- Straight ahead– the linearization game, part 2
- Kinky curves – the linearization game, part 1
- Beam me down, Scotty: a new ultra-simple UV light source
- More woes and some silver linings – digital negatives revisited
- Couleur locale – the search for color in carbon
- First light – at the end of a particularly long tunnel
- Baby steps – enter the torture test
- All ye who enter here, abandon all hope
- A litany of woes – digital inkjet negatives and a note on dot gain mottling
- Double transfer: going once, going twice
- Sickly colors – the crossover issue
- Some small prints and a note on Fomapan 200
- The Big Ugly, part 4: (im)perfect present
- The Big Ugly, part 3: proper SMD LEDs, but no cigar (?)
- The Big Ugly, part 2: the RGB COB LED approach to color enlarging
- The Big Ugly, or building a LED color printing light source. Part 1: the beginnings
- Tissue making – curl up and dye
- Making glop – and some words on sugar, glycerin and ink
- Why RGB LEDs suck for a color RA4 enlarger
- Some light to the darkroom
- What a 300W UV floodlight is not
- UV tube vs led: a quick comparison
- Corn print
- Relieved
- Making black, making white
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