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Continuing the Cyanotype Journey

The first is a standard botanical cyanotype and the second the same but toned with Tannic Acid.

last vestiges of fall-2.jpg


The Last Vestiges of Summer

dead leaves-2.jpg


Winter Gives No Quarter to Fall's Last Offering​
 

Asher Kelman

OPF Owner/Editor-in-Chief
Chris,

I really like the first for its openness and the second for its fullness and completion.

But the second is also extraordinarily rich and surprises me. Is it a crop of something much larger?

Asher
 
Straight 8x10 on HPR. The last one is a three toned image (cyan, yellow, and brown), bleached between each layer. It's complicated and takes three days as each layer must be dried for a minimum of 12 hours.
 
There is no "control" so to speak. Mostly what I do is hand apply specific areas with differing chemicals to get the desired effect I want - well, in so much as the process will allow my fantasy of my desires. I do know the straight cyanotype will give varying shades of blue and that the herb, turmeric will give off a bit of yellow. The browns are achieved by light to dark applications of tannic acid combined with black coffee and I can achieve a greenish hue through the bleaching process. I also use black Himalayan sea salt, paprika, Kosher salt, dill weed, soap bubbles and saran wrap for special effects....and a three to four hour exposure in the sun. Here is one more I processed today:

Forest Floor copy  for tpf.jpg
 
The ones I've presented so far are only 8x10. Today I am going to do some salt prints at 10x14. I will do much larger once I get my new print frames built. The actuality of paper costs is the larger the roll, the less expensive it becomes. I want to do 18 x 24's in all my processes, I just need larger contact print frames which are prohibitively expensive.

To do the botanicals, no issue with print frames, you just need large pieces of tempered glass and a wide outdoor space to work in with good, direct sunlight. I generally prepare four to six papers so I can take advantage of the direct, overhead sun for two to three hours. Once exposed, I can process them all at the same time, or one at a time, at least for the preliminary step to get a good, cyanotype image. Once they are all dried overnight, then I can have more fun with them as a good spritz of vinegar instantly revives the cyanotype chemistry. With all these processes, metal trays or tongs are a huge no-no. Plastic, glass or bamboo are the better choices.
 

Asher Kelman

OPF Owner/Editor-in-Chief
Can a frame maker store make custom frames for you?

….and would this work or it’s too expensive:

IMG_0474.jpeg



Certainly, 16”x20” is a great size!

Asher
 
It would work and I may indulge myself but for what you get, it's still expensive. I can buy it cheaper at B&H and don't have to buy from Adorama whom I detest! In Fact, just purchased from B&H for $211.00 and will get it Friday. Now I will have an 9x12, 11x14, and a 16x20 and may even indulge myself further and get the 20x24 for $239.00. I am surprised that the price has come down so drastically as this size in 2008 sold for close to $600.00.
 
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Asher Kelman

OPF Owner/Editor-in-Chief
I bet this is new old stock!

The folk couldn’t have sold a lot during the COVID epidemic and this is not a common need for photographers.

What does this mean for your processing trays? Do you have to buy larger sizes?

What’s the native width of your paper? Is it a roll?

Asher
 
The paper in rolls is between $135-$249 for 24" x 50' depending on the weight. I want to do some very long pieces that will require spraying on the sensitizer and silver but will have to find one really long piece of glass...but I am pretty resilient.
 
This is something I am going to have to work out though now thinking of some buildings downtown with large window-scapes that I could use. I would put it up at night, cover from the outside, then in the morning uncover and expose...indirect sun is not ideal, but will just require a longer exposure time.
 

Asher Kelman

OPF Owner/Editor-in-Chief
Beware mortgage condensation!

It might be better to prepare it inside and bring it out covered using two assistants!

If they are late, it doesn’t matter.
 
Mike,

That’s good info!

How do you arrange the lights so there are no hotspots?

Asher
There are tutorials all over the internet for making developing cabinets, the one I remember was from Photography online (excellent youtube channel) but I can't find the right one now so heres another shorter one (details start about 3 minutes)

Using UV LED strips spaced evenly & not too close to the paper gives a good even light :)

This works far better than British sunshine!
 

Asher Kelman

OPF Owner/Editor-in-Chief
Excellent. I would imagine that a plastic or diffuser would be help full but it is likely not needed as it would have been already added to the design!
 
This is a cyanotype print made in the above UV exposure box: I generally use a contact frame to get the best emulsion to emulsion pressure. The smaller unit will house an 8x10 or 11x14 frame whereas the larger unit (not shown) houses a 16x20 frame but with this unit, the light is mounted in the bottom because there is more width at the top. Even with the additional width, the box sits atop the frame. Remember, UV light can irreversibly harm your eyes. I always wear Orange safety glasses when the unit is in exposure mode. The bigger unit only costs about another $20.00 US

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