Lot Mixed
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 RARE ANTIQUE ANSONIA CRYSTAL PALACE 1 MANTLE CLOCK GLASS DOME COVER RUNS NR  US $1,250.00
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 VINTAGE ROBERT RENSIE RHINESTONE ALARM CLOCK DIAMOND JEWELED ORMOLU VANITY US $225.00
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 10 Mixed Black Forest Cuckoo Clock Birds Regula Heco Herr Schmeckenbecher US $42.00
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 Mixed selection of 9 watches in need of batteries US $25.00
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 NICE Seth Thomas Treasure Chest Electric Alarm Clock 1950s Art Deco w inst WORKS US $24.99
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 VINTAGE 1950s VIM SNIDER WEDGEPORT MANTLE HORSE CLOCK US $175.00
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 Synchron 620 Chart Recorder Clock Motor 8 RPH 220V 3W US $137.49
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 ONE OF A KIND FRENCH ART DECO CLOCK WITH SATYR US $975.00
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 Just Janet collectables hand painted grape clock US $50.00
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 CLOCK HAND WASHER ASSORTMENTFrench American Repair Restore Swiss Made US $10.50
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 OLD CLOCK KEYS and PARTS US $4.49
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 Westclox Lot Baby Big Ben Big Ben US $25.00
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 VINTAGE 10 ROUND FACE OCTAGON FRAMED OAK SESSIONS WIND UP WALL CLOCK FOR PARTS US $29.65
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 Vintage Collection of Clock Wheels Gears US $26.02
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 Clock parts Lot No 2 13oz of parts US $3.95
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 Clock parts Lot No 3 14oz of parts US $3.95
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Media: Mixed-A Photographer's Guide to Moving Beyond the Traditional Photographic Print
Are you a recent "digital convert" who has been shooting for a few years now, and now wants to move on a bit, maybe stretch youself as a photographer, to try something new? Are you itching to try out a new techniques or move beyond the traditional photographic (or digital) print? These are some ideas and suggestions that can help you do just that-move beyond the normal, ordinary world of the basic digital (or photographic) print, and try out something new-do a bit more with your photographic prints.
Printing on canvas is great, and a lot of photographers are starting to do it again, thanks to the lower costs of doing it digitally, but, in order to move into the world of more "hand worked" prints, try Marshall's oils or painting on top of your images.
There are many ways to paint on top of photographs, and mix painting with photography. Marshall's photo oils have been around a long time and allow you to paint on top of your images, but, in the days of the digital age, you are no longer limited to these. You can use any transparent oil paint actually to paint atop of a photo and you can write to someplace like Daniel Smith (or your favorite on-line vendor of art supplies) to get a brochure detailing which of their oils are transparent. Transparent oils allow you to use your image basically as an underpainting-you can apply the oils directly on top of your image to give your work more of a painterly look. They also sell specific oil-based pastels suitable for using on photo canvas. This gives you an interesting look, because it's a more softer, shaded look coming from the pastel, rather than the more "hard lines" of the photographic image.
Decoupage is an often overlooked way of mixing images with paint. If you are serious about combining your oil painting and your images, you might look into decoupage as a way of doing it. Decoupage would allow you to start with a painting, say an oil on canvas or board, and then add a photo to the mix, rather than doing things the other way around (paint on top of a photo.) There are reasons artists traditionally did not apply oil paint to paper, but instead choose wood or canvas-the paint sticks better. By using decoupage, you can let the paint stick to where it wants to adhere (a canvas or board) and sort of "play" in its natural home, while adding a photo to the mix.
With most digital (inkjet) printers, you can print directly onto watercolor paper of some kind. Outlets like Atlex.com provide watercolor paper suitable for direct printing. Once your image has been printed onto the watercolor paper, it's fairly easy to apply watercolors, either light bodied or gouache.
Collage is always a method you can use, and you can combine it with some of the other methods here to get a unique look. You can, for example, print several smaller prints onto watercolor paper and then paint in-between them to get a unified look.
Encaustics and transfers are other ways of mixing up your media. Encaustics involve adhering your image to a board (usually a wooden board) and then painting on top of it using a beeswax-based paint made from pigment and melted wax. This is a fun way to make, essentially, a 3-D photographic print, since you can also sculpt the wax (and sculpt things into the wax) as you do it.
Transfers allow you another way to move your image from the inkjet world to the watercolor paper or canvas backing. You can do transfers using both acrylic and water-based mediums to get the look you want and you can combine the transfer techniques with traditional painting, once the image has been transferred to the newer surface.
Liquid emulsion and emulsion lifts are other ways you can sort of "play with" photographic emulsions to get them to look more unique. There are also other ways of hand working your prints-you can use some kind of solarization process or a technique like Mordancage. Many alternative processes give you a foothold into hand-worked prints. For example, creating a Burkholder negative and printing a cyanotype or a bromoil print, or even printing platinum palladium or lith will give your work a distinctive look and these techniques can give you the opportunity to work in more of a mixed media.
A lot of photographers are getting into varnishes. You can see some examples of this by looking at something like Jack Spencer's portrait series. I've never been a big fan of the varnish technique myself (I don't like to play with the chemicals) but it works very well when used correctly. If you're going to try something like this, follow the directions very closely on the products that you select. There's also a lot you can do by printing onto different materials, such as printing on silk or fabric directly, and painting from there.
One of the downsides to many of these techniques, besides time and expense, is that, in the end, you will have a unique print. This can make them harder to show and sell, since you will be dealing with "one off" prints, rather than just going to your "inkjet factory" and spitting out another one. This is both their appeal and their downside in a lot of ways-people are more willing to pay for a handmade unique print, but you cannot show such unique prints in multiple shows at the same time (for example.) You'll have to keep much better track of your work, since each print will be unique, and, once it's sold, it's sold, so don't get too attached (or learn to put very high prices on things so they do not sell when showing.) Of couse, the upside here is that, since each print is unique, your pricing structure can reflect that-expect to raise your prices when selling hand worked prints. These techniques also separate you from your local competition a lot as well, as it's a safe bet you just might be the only one at your local art fair showcasing a hand worked image and, even if you are not, nobody else's prints will look quite like yours.
I hope this has given you some ideas for what you can do with your work-how you can move beyond the traditional print and into the world of the unique hand worked image. By hand working an image, you're creating a unique piece of art, not just another print, and these techniques can provide you a fun and profitable way of branching out from your traditional photographic images.
About the Author
New York born Carol Schiraldi is a fine art photographer currently living outside of Austin, Texas with her curly black dog, Chase. A master of shooting architecture in all its many forms, Carol loves the detail, form and structure of buildings and man-made constructs, often contrasting them with her natural surroundings. Her passion for experimentation has given her work a dramatic signature style. Since her first public exhibition in a local ice cream parlor in Austin, her photographic work has gone on to be exhibited in galleries and museums around the world as well as included in publications and many sites on the web.
Carol's Little World, the award winning website she created, showcases what critics often call her quirky creative style.
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