- Scanned to mush – The effect of CT carry-on luggage on color film
- Brownies get the blues – Combining Van Dyke brown and cyanotype
- A decades’ worth of brownies – Making some Van Dyke brown prints
- Adding it up – A new multi-channel UV integrator
- Silicon or gelatin – Look at the pictures
- Shades of brown – Controlling sepia toning hue
- Fade to pink – a brand new FerroBlend process
- Copping out – A brief foray into cuprotypes
- Unearthed – Running film through an old Kiev rangefinder camera
- On a Color Mission – Comparing two RA4 color papers
- Exxperiment – Getting to know Eastman Double-X
- Wrapping up – Attempted refurbishment of RCP20 rollers
- Hold tight – Operating an old Imacon SCSI Flextight Precision II scanner on Windows 10-x64
- Flipping the movie – Color negative inversion process video
- Wavy gravy – UV wavelengths for carbon DAS revisited
- Carbonized – Notes on carbon transfer highlights and tissue thickness
- Seeing the woods for the trees – some medium format shots
- Scales – Walkabout with Minolta
- Intermission – What’s up doc?
- 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
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