Learning Center Auratone

Don’t you love the look of alternative photographic processes? They’re just so intriguing, so elegant, so…cool!

What were at one time customary albeit laborious means of processing images in the early days of photography have become esoteric, even arcane artforms. Daguerreotypes, bromoils, tintypes, Ambrotypes, Vandykes, platinum, palladium, and albumen prints (just to mention a few!) are lovingly and painstakingly created in darkrooms and studios around the world by master craftspeople who revere venerable technique…many of whom turn up their noses at the mention of the word “digital.” And now the digital age has gone and come up with methods for replicating the look of these processes with image editing filters, Photoshop actions, overlays, and more.

Some say, “Sacrilege!” I say, “We have choices, people!”

I fought digital tooth and nail. I remember my friend Mac Holbert of Nash Editions, the world’s first professional fine-art digital printmaking studio, exhorting me to “Come out of the darkroom, Barbara, and into the light!” Now I’m an avid electronic advocate, although I do have a tremendous amount of respect for traditionalists.

For me, the real fun lies in combining methods and materials to achieve new forms of expression. Thus is born the Auratone, my homage to Edward Sheriff Curtis’ Orotone (circa 1916)…and a fusion of traditional and digital technology. But as is my bent, I like to take it a step further. Why not combine it with digital infrared, another hybrid? Indeed, why not! Here’s how:

DANCING IN THE PARK – Digital infrared, a square crop, and vignetting a la Holga – it’s all about the myriad choices we now have at our fingertips!

My Digital Infrared Toolbox

Camera: Nikon D70

Lens: Tamron SP AF17-50mm F/2.8 XR Di II LD Aspherical (IF)

Filter: Hoya Infrared R72 (67mm)

Tripod: Manfrotto

Digital Filters (optional): NIK Software

Taking Your Best Shot

Shooting infrared is not an exact science, and there’s pretty much always going to be a fair amount of trial and error involved. In the “old days,” that meant anxiously waiting for film to be processed, and even then not being sure anything would actually develop. Today, thanks to digital, you can see results right away, then bracket exposures as needed.

Some cameras have a black-and-white setting; if yours does, select it. Mine doesn’t, and I don’t see my images as such until I convert them to B&W in Photoshop.

1. As a starting point, set your camera’s ISO to 400. Some shooters prefer 200, some 800…it’s all about the amount of grain (noise, actually) you prefer.

2. Set the color balance to daylight.

3. Set up the shot on your tripod.

4. Manually set the exposure starting with a fairly deep depth of field (e.g., f8 or f11) and a fairly long shutter speed (e.g., 2 to 5 seconds). Manually adjust the focus.

Carefully attach the IR filter without disturbing the position of the camera.

5. Take the picture.

6. Look at the histogram and then adjust the settings. There should be no spikes at either end, and not a heavy concentration at one end or the other.

7. Bracket as needed.

Post Production

8. Open the image in a digital imaging program like Adobe Photoshop or Photoshop Elements and convert it to B&W if you haven’t already done so in-camera. In Photoshop, this is easily accomplished by desaturating the image.

9. Adjust the contrast, ideally through Levels or Curves.

10. If you wish, apply a digital filter such as NIK Multimedia Sunlight or Skylight filter.

Creating an Auratone

To transform your photograph into an Auratone, you’ll need*:

- black-and-white or monochromatic digital photo

- transparency film for inkjet and/or laser printers

- clear clipboard

- AuraToner*

- shallow cup or jar lid

- foam brush

(*AuraToner and Auratone Print Kits are available at www.bsmithphotography.com)

1. For inkjet printers: In your photo editing software, flip a black-and-white photograph horizontally so that it will print backward or reversed, as in a mirror image. It will read properly when printed on the textured surface of the transparency and then turned over.

For other printers, you’ll be printing on the smooth side of the transparency, so there’s no need to flip the image.

Keep in mind that once the AuraToner is applied you’ll probably lose some detail in the shadow areas, so you may want to print a small test first and then adjust your image if necessary.

2. Print using best plain paper settings, and allow the ink to dry thoroughly.

3. Secure the transparency to the clipboard, textured surface facing up.

4. Working in a well-ventilated area, shake the bottle well, then pour just enough AuraToner to coat the bottom of a shallow container. Add more as needed.

5. Saturate (but don’t over-saturate) the bottom edge of a foam brush with AuraToner and daub, or stipple, to coat the image, varying the angle of the brush as you work. Avoid strokes as they will show and are pretty much impossible to remove.

6. Hold the clipboard up to the light to see any areas you might have missed. Don’t forget edges and corners. Use the corner of the brush to daub further as needed.

7. Allow the image to dry overnight. Trim the edges, if desired. Then mat or mount for final presentation.