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Scanned image of gerbera daisies contact printed on SUN ART cyanotype paper for 1 1/2 hours (before rinsing).
Nikon FM | Nikkor-H 50mm f/2 | Ilford HP5 Plus [Exp. 2006] | E.I. 160 ASA | Caffenol-C-M-(+i)
Dev.: Caffenol-C-M-(+i)
250ml Distilled Water
13.5g Sodium Carbonate
4g L-Ascorbic Acid
10g Instant Coffee (Nescafe Sunrise - Coffee 60% + Chicory 40%)
2.5g Iodised Salt
19°C | 15' 30" - 10 inversions - 1st minute + 1 inversion every minute
Stop: Tap Water (Potable/Treated) + Pinch of Citric Acid - 3'
Fix: Tap Water (Potable/Treated) + Hypo - 10'
Wash: Plain Water (Untreated) + Ultra-diluted Gylcerine - 15'
Scan: Epson V700 | 16-bit B&W | 1200 dpi | Minimal cleaning & Re-sizing.
Cyanotype printed on parchment using a dried ginkgo leaf.
30 minute exposure.
Toned in super-concentrated black tea for 2 hours.
Been doing something a little different and having a go at cyanotypes and trying different papers to see what effects I get, if any!! Printed digital negatives from digital files and then coated different papers in the darkroom with cyanotype solution.
These 2 out of 4 negatives came out the best. For Big Ben I used a bought pre-coated paper and for St Pauls I used a watercolour paper I had coated myself. Its very hit and miss but good fun as you never know what you're gonna get
Cyanotype printed on parchment using a hickory leaf.
2.5 hour exposure.
This print was washed in 6.4% tannic acid, but was not bleached before hand.
el negativo anterior en papel Foma fomatone 132 (mate) y coloreado al óleo.
Previous negative printing in Foma fomatone 132 ( matt) and oil colored.
Original 30x40 cm.
El nombre de Mediobromo proviene de otra técnica más conocida llamada Bromóleo. En el Mediobromo se emplea también una tinta grasa (óleo) y un papel bromuro ( aunque se puede usar cualquier tipo de papel fotográfico) pero no se hacen las operaciones intermedias de blanqueo especial que requiere el bromóleo. A este proceso se le llama tambien "coloreado al óleo" o "iluminado al óleo", pero en su época histórica se referian al mismo como "mediobromo" por ser éste un término más técnicamente fotográfico.
a wet plate image of my lovely daughter Robin...
this is robin trying to be still...
i m p o s s i b l e...
copyright ModernLight 2010
Galapagos | December 2006
Cyanotype on Rives BFK
32" x 40"
Limited Edition of 30
© JOHANNA EVANS
all rights reserved
Some nice ditch near Gouda with milkjars as ducknests.
gumprint, paper Canson Montval 300 gr.
Pigments:
1 Paris blue
2 Madder red dark
3 Gamboge Gum modern
4 Phthalo blue
My third platinum-toned Kallitype (5x7") on hand-coated watercolor paper. Original photo made with a Leica M2 on Ilford HP5+.
Gumprint, paper Fabriano Artistico HP 300 gr.
Pigments:
1 Prusian blue
2 Madder red dark
3 Gamboge gum modern
4 Phthalo blue
Cyanotype printed on parchment using fresh ivy leaves.
2 hour exposure.
Bleached overnight in a borax solution.
Gumprint RGB
Layer 1: Paris blue contrast
Layer 2: Gummigut modern contrast
Layer 3: Krapprot tief contrast
Layer 4 Azo yellow detail
Layer 5: Krapprot light detail
Layer 6: Phthalo blue detail
Cyanotype on parchment of a dried maple leaf, placed on top of a traditional cyanotype scrap. The Cyanovellum shrunk when dried in microwave.