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Second negative
Pomegranates Toned Cyanotype
Original Exposure:
7th October 2024, 3pm
Indoors, north-facing natural light, EV 5.5, and exposing shadows at front of back fruit at -1.5EV, and indicating N+1 development. Subjects placed on white baking parchment for lack of reflections.
Chamonix 810V, Rodenstock Apo-Sironar S 240mm f/5.6
10x8 Ilford FP4+ ISO 64, 25 seconds at f/8
440mm bellows extension, no movements
Film Development:
12th October 2024
Stearman Press SP810 daylight tray
5 min water prewash to remove purple stain from film base
Pyrocat HD at 1.2:1.2:100 dilution (leftovers), N+1 development for 11’38” at 20ºC - a darker print with far less contrast even with the extended development time (NB I used my dev time for 2:2:100 anyway to see what would happen)
1min acetic acid stop
6mins DIY TF2 fix
1min Sodium sulphite hypo clear
6mins of washes (9x 500ml tap water agitated 10 times and then discarded)
Ilfotol rinse
Base Cyanotype Print:
Hahnemühle Platinum Rag 15x11" paper
Classic cyanotype, 31 drops part A + 31 drops part B + 1 drops Tween20 mix (2 drops Tween per 10 drops distilled water)
Coated paper dried two hours, 20.8ºC, 55% relative humidity
Exposed UV 42mins until edges well solarized and details showing through in all areas
Developed in 3/4 tsp citric acid in 1.5l tap water/2x tap water washes (2mins+2x3mins), followed by 1min in 1l distilled water (I added this to prevent any bleaching from the tap water)
Full Bleach before toning:
face down in 0.75g Calcium Carbonate powder + 1.5l distilled water, approx 24hrs +
Tone with Purple Smoke Bush leaves:
Brew for print one reheated to 80ºC, re-restrained
Tone face down 26mins (agitating for first couple of mins to avoid bubbles), followed by 10min soak in tap water face up
Digitized with Nikon D800E/85PC-E tilt-shift, stitch of three frames
Don't run so fast, there will come a time when you'll need to stop, take a breath, look at what's next, and get on your way.
Gumprint, Gum bichromate print, gomdruk.
Original Nikon D80, digital negatives with paint shop.
Paper Fabriano Artistico HP 300 gr.
6 layers:
1: Paris blue
2: Gamboge gum (gummigut)
3: Kraprood (madder red)
4: Lazur yellow + Gamboge gum
5: Alizarin Crimson
6: Pruisisch blauw (Prussian blue)
Platinum/Palladium-toned Kallitype print on Hahnemuhle Platinum Rag paper (5x7"). Original photo made with a Nikon FM3A on Agfa APX 100 film, developed in Kodak HC-110.
Gumprint RGB, North coast of Curaçao.
1: Phthaloblue contrastnegative
2: Azo yellow contrastnegative
3: Krapprot light contrastnegative
4: Gummigut modern detail negative
5: Krapprot dark detailnegative
6: Paris blue detailnegative
Wood sorrel (Oxalis sp.).
I made a contact print of this plant on Ilford Multigrade fiber-based paper, exposing to the sun for 20 minutes, and scanning the print. No developer or fixer was used at this stage.
Gomdruk, Gum bichromate. Gumprint.
Papier Fabriano Artistico HP 300 gr.
Maat 38X26 cm..
Pigmenten:
1: Parijs blauw
2: Gummigut
3: Kraprood
4: Gummigut
5: Kraprood
6: Phthalo blauw
Ratio: 1 t/m 3: 1:1,5
4 t/m 6: 1:1
tijden: 1 t/m 3: 1'
4 t/m 6: 1'30"
Platinum-toned Kallitype on hand-coated Hahnemuhle Platinum Rag watercolor paper (5 x 7 inches), contact-printed using a digital internegative made with Adobe Photoshop, and printed on Pictorico Ultra Premium OHP transparency film using an Epson P600 printer. Original photo made with a Nikon FM3A on Ilford FP4 film, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.
Another plate from my first session of 2013. This is actually the first plate. Pretty underexposed, but I was able to coax the image up in the developer.
Platinum/Palladium-toned Kallitype (5.5 x 6.5") contact printed from a 4 x 5" negative. Original photo made with a Graflex Crown Graphic on Ilford HP5+ film.
Platinum/palladium-toned Kallitype test print, 5.5" x 8.5", on Hahnemuhle Platinum Rag paper. In this series of test prints I'm trying to perfect my digitial negatives before I start to make large prints.
The original pinhole image is here.
Transaquatype. Canon ChromaLife100 ink, on Xerox Premium Mulitpurpose Paper, 96 Bright, 24lb.
Platinum/Palladium-toned Kallitype print (5x7"). Original photo shot with a Nikon FM3A on Ilford Delta P3200 film @ ISO 1600.
Cyanotype N°96- Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - konica hexar af + trix
Inter-négatif numérique
#cyanotypes #cyanotype #cyanotypeprint #cyanotypeprocess #alternativeprinting #alternativephotography #argentique #analoguephoto #blueprint #ishootfilm #alternativephotographicprocesses #alternativeprocesses #alternativeprocessphotography #todaysalternative #analogphoto #analogphotography #fisheyelemag #blackandwhite #blackandwhitephotography #cianotipia #cianotipo #experimentalphotography #konicahexaraf #citetapisserieaubusson #tapisserieaubusson #bnwminimalism #incredible_minimal
I spent a couple hours making these platinum/palladium-toned Kallitype prints today. The photo size if 5" x 7" on 8" x 10" Hahnemuhle Platinum rag paper. As you can see, each print is unique, and I never know exactly how each will look. I made the original photographs with a Fuji X-T2 camera and a Fujinon XF23mm f/2.0 lens.
Galapagos | December 2006
Cyanotype on Rives BFK
32" x 40"
Limited Edition of 30
© JOHANNA EVANS
all rights reserved
Platinum-toned Kallitype on hand-coated Arches Aquarelle watercolor paper (5 x 7 inches), contact-printed using a digital internegative made with Adobe Photoshop, and printed on Pictorico Ultra Premium OHP transparency film using an Epson P600 printer. Original photo made with a Fuji X-T1 and post-processed with Adobe Lightroom.
First loading of 8x10 sheet film! FP4+ for Chamonix 810V in Harrison Jumbo 11x14 changing tent (that thing is absolutely massive!!)
Cholla entrance
Pure palladium print
Fabriano Artistico EW
Digital negative on Arista OHP
QTR - Epson 3800
7 minute sun exposure
UV index 4-5
so I decided that squeezng out questionable amounts of paint pigment from tubes wasn't helping me nail down a level of precision I want to have in my gum bichromate printing so I decided to try to make my own standardized liquid pigment (paint) stock solutions. I purchased several quality dry color pigment by Utrecht. I mixed burnt Umber and Ultramarine blue dry pigments with a solution of honey, glycerin, water and gum arabic. This was mulled with mortar and pestle quite easily. The 1st coating test failed miserably and floated right off the paper during water development in but a few minutes because it was simply to thick. This print represents the second test. This is a single coat gum print. I was floored by the depth of tones, contrast and sharpness of detail. I was happy about the first multi-color-coated print I made of this negative espacially the duo-tone appearence. This version appeals because of the clarity and contrast. This was done on the same paper and the same clear Gesso sizing as the 1st print also. So, with one stock pigment color under my belt I move on ...
A really nice holiday in the north of Spain in September 2010.
Gomdruk, gumprint.
Paper Fabriano Artistico 300 gr.
Size: 40X26,5cm.
Pigments:
Layer 1: Paris blue
Layer 2: Gamboge gum
Layer 3: Madder red dark
Layer 4: Gamboge gum
Layer 5: Alizarin Crimson
Layer 6: Phthalo blue
Gum Print 5 layers 1 of Maimeri Blu Ivory & 4 W&N Burnt Umber.
This is a 1st print with a Ternes Burton system of (in this case 3 pins) using their register & assembly pins along with their mylar tabs. I do not use a punch but cut out the area where the tabs are positioned. It seems to be just perfect on this print.