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contact printing on Fomatone fb classic (18x24). paper (18x24) , development Ilford PQ Universal. Selenium toner in a diluition 1+20.
Improvised landscape photography while under social distancing.
Shot with Rolleiflex 3.5T medium format TLR on Delta 100 film. Developed in Caffenol-C-H (15 mins @ 68F, normal agitation). Negative scanned on Epson V600 scanner. Post-processing in Photoshop. Cropped 4x5.
Darwin, Minnesota
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This VanDyke Brown print was made from a digital negative, and used the classic VanDyke Brown chemicals. The image is 5x7 inches (approx B6 size) made on 8x10 (approx A4) Bergger COT 320 paper. The digital negative was made using a hand adjusted curve based on Peter Mrhrar and his free Easy Digital Negative (EDN) process. The digital negative was printed using a Canon Pixma Pro-100 printer and generic inkjet transparency medium. The print was exposed in a home made enclosure containing ten 15-watt UV tubes.
Cyanotype - Tonification au café / Cofee toned
Papier - Canson Montval
Prise de vue Ricoh 500G + kodak triX
Fennel w. latex
Lumen print, 4 hour exposure on Kentmere VC Select paper. 5x7 inches. No fixer.
June 9, 2025. Scanned print, inverted with levels adjustments in APS.
Cyanotype N°45 - Viré au maté + thé noir / yerba maté + black tea toned
Papier - Moulin du coq
Prise de vue - Leica M5 + Ultron 28mm 1.9 - agfa APX400
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8"x10" coffee-toned cyanotype on Canson Moulin de Roy water color paper.
The learning continues...
Last week was a bit frustrating, as all of my prints were under exposed despite hours outside. That's par for the course in winter in Northern Europe, I suppose. This one is a bit underexposed, even after 3.5 hours, but it's promising. To help on the end, I ordered a UV lamp that is made for alternative process printing, which will make things so much faster and easier. Thanks to those of you who suggested that. It was good advice.
This print was immersed in a citric acid bath for about 5 minutes 36 hours after development. The day after that, it was immersed in a very weak bleach bath (1/4 tsp sodium carbonate / 1L water) for 5 seconds. After a 20 minute rinse, it was immersed in a strong coffee bath for an hour and a half. It's a toning technique that I will try again with a proper exposure. The next time I do some printing, I will use a different paper also. I prefer the Canson Montval. It has a nicer feel and texture, and it seems to absorb the cyanotype emulsion better.
Bromoil practice print 3.
on David W. Lewis paper.
A bit of Hanco's Dark Brown nicely warmed the 1796 Black litho from Graphic Chemical and Ink.
Martha's Vineyard.
Shovel, looking like it doesn't care.
Shot with Rolleiflex 3.5T medium format TLR on Ilford Delta 100 film. Developed in Caffenol-C-H. Negative scanned on Epson V600 scanner. Post-processing in Photoshop.
Seasons end.
Fall decay, ground cover and dying leaves.
8"x10" Lith Print on expired Kodak paper.
Delta 100.
Shen Hao 4x5.
Carbon Print.
Speedball India Ink- 15gms/liter of glop.
Yupo for tissue.
Single transfer to fixed out Rc paper as final support.
The print in reality is a tad bit darker then my very poor scan here but much of the reflective nature of this process was lost on a darker version. When held near a light the details just seem to jump right out so as to better represent what Carbon transfer process is capable of... this upload is a very little bit brighter.
Feel free to 'click-in' close. :-)
Park Hill Rotation - physical intervention on negative shot with Vivitar Ultra Wide and Slim camera.
My first ever cyanotype, a shot I took on film, developed and scanned myself, then got a digital negative made. I'm pretty stoked, it's been a long road but I'm hooked on this process!
Years ago I found a load of Canon inkjet photo paper at a thrift store for $2. I picked it up thinking I could print photos, even though I had no working printer.
One day on a whim I coated a sheet with Cyanotype solution and achieved a stunning, but forever slightly sticky print.