View allAll Photos Tagged alternativeprocesses
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
Wet Cyanotype No.3 and 4
I continue with my experiments, this time using lavender flowers on a sensitized paper sheet that is still damp.
On the left, treatment of the sheet with white vinegar and sprinkling of coarse salt, which created “sparks” by locally absorbing the sensitive solution.
On the right, treatment with washing soda and coarse salt; the latter reacted more violently in the alkaline environment, creating a sort of firework effect and a texture similar to a blue mineral. I love the result 😍
I exposed them simultaneously to have the same light conditions.
Watercolor Paper 300gr 240x300 mm.
2 hours exposure
5-6 UV sunlight
Saint Martin du Vivier - France
Summer 2026
(S)Light of Hand 2021. A Juried Exhibition of Alternative Photographic Processes. Opening reception was held September 18 at The Photographer's Eye Gallery located in Escondido, Calif. Juror for the exhibition is Jill Enfield.
Turmeric in isopropyl alcohol on watercolor paper, "developed" in washing soda.
There is no sun these days, so I exposed the paper under a UV lamp which turned out to be not strong enough and left some parts not properly bleached. On top of that, I increased the soda concentration for the development, and the color washed away while the paper was hanging to dry. Honestly, it’s a mess, but I like the final effect.
Next time, I’ll try spraying the soda on the paper laid flat, and I’ll let it dry without hanging it.
Rouen - France
Spring 2026
Wet Cyanotype No.1
Yesterday I sensitized a paper sheet and, without waiting for it to dry, immediately covered it with two branches with leaves, sprayed it generously with white vinegar (wet on wet), and added a few pinches of paprika and turmeric.
It was exposed in full sun (5-6 UV) for two hours so it partially solarized and the result went far beyond my most optimistic expectations, considering it was my first attempt.
I didn’t treat it with hydrogen peroxide for fear of damaging something.
This photo was taken today when it has dried.
It darkened, and the background unfortunately lost that beautiful cerulean color.
But it’s still beautiful 😉
Watercolor Paper 300gr 240x300 mm.
Saint Martin du Vivier - France
Summer 2026
Here the [Wet Version]
My first Cyanotype, a Robinia branch with its characteristic oval leaves arranged in symmetrical pairs.
Winsor & Newton Watercolor Paper 300gr 148x210 mm.
Saint Martin du Vivier - France
Spring 2026
Cyanotype No.3
Print using a laser digital negative from my photo shot on film in Australia in 2005.
Winsor & Newton Watercolor Paper 190gr 178x254 mm.
Saint Martin du Vivier - France
Spring 2026
Cyanotype No.2
An ivy leaf.
Winsor & Newton Watercolor Paper 300gr 148x210 mm.
Saint Martin du Vivier - France
Spring 2026
When the Uruguayan artist Fede Ruiz Santesteban [ @fede_ruiz_santesteban @espaciohiedra ] first began experimenting with sustainable photographic processes he had just become a father for the first time. Almost without him thinking about it, his first prints were of my new son, Valentín. When Valentín was two years old, he asked his father about the leaves that bore an image of his face. Light-heartedly, he replied: “it is the garden thanking you for looking after it”. And for Valentín, who found the whole world full of wonder, it seemed quite natural that these were the little gifts of the garden.
These images were made using the naturally occurring properties of plants in his garden. There are none of the chemicals or inks commonly associated with photography. These methods simply harness the way certain leaves and petals react in sunlight. While Fede Ruiz Santesteban began with a process invented in the early 1840s, he has since undertaken extensive experimentation, developing new ways in which plants may be used to create images in an ecologically sustainable way.
In his interview with Talking Pictures Online, Fede Ruiz Santesteban speaks about his gently poetic work, the sustainable photographic techniques that underpin it, and the community school he runs where he now teaches these skills to others.
talking-pictures.online/2026/08/12/fede-ruiz-santesteban-...
Wet Cyanotype No.2
Yesterday I created the same cyanotype as in my latest posts, under the same sunlight conditions, spraying with a very diluted washing soda instead of white vinegar.
The differences are remarkable: the alkaline environment attacked the sensitive solution, creating a light cerulean background that resisted oxidation, and the latter completely brought back the highlight areas that had been blown out.
Additionally, ochre/brown tones appeared around the leaves, and the paprika and turmeric are more golden in color (strange, I expected the turmeric to darken).
I must admit I’m having an absolute blast. 😉
Watercolor Paper 300gr 240x300 mm.
2 hours exposure
5-6 UV sunlight
Saint Martin du Vivier - France
Summer 2026