View allAll Photos Tagged alternativeprocessphotography
The region in north eastern Tasmania that surrounds the town of Scottsdale is rich pastoral land. This one is a view from a lookout near Scottsdale and facing east towards the fertile valley and the mountains beyond.
As with all my infra reds, I am looking for an impression (a bit like early photography). In fact during this series I will show you some examples where infra red makes the best use of the light. That's not so much the case here, although the infra red did cut through a very thick haze that covered this valley in the morning.
Because I am using a converted compact camera the resolution is much more akin to a pinhole camera, and my framing of this one alludes to that idea.
Creating this cyanotype was an inspiring, meaningful process for me which deeply relates to my healing journey. The flowers were gathered along the road we live on and I “patiently” waited while I pressed them. I placed this cyanotype print where I see it each day and it is a beautiful, helpful reminder that though I was alone, without necessary support for most of my life, things are different now (though it feels like I’m still “back there,” alone and “not allowed” to accept help). I am grateful for the ways—one of them is creating cyanotypes—I can cope and help my body and brain learn that I now have some support and help. I can’t do this alone and there are a few trustworthy people who are willing to be together with me throughout this challenging process.
If you’d like to see more images of the process of creating this cyanotype, you can check out my Instagram stories titled Cyanotype.
Kodak Ektacolor paper (unfixed)
1hr exposure
I’m in a bit of a slump with film so I thought I’d try lumenprints instead.
I put my @TheSolarCan up on 21 June & took it down on 21 December. I’m ending my year with a rainbow 🌈 Weird & wonderful #solarcan #Solstice2020 #talesofisolation
Cyanotype N°144 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Pentax SuperA + 28mm - Pan400
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Cyanotype N°110 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - fuji xe2 + 55-200
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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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Cyanotype N°136 - Tonifié au maté + café/ yerba maté + cofee toned
prise de vue durant une projection du film "Renault 12" de Mohamed El Khatib
Papier - Moulin du coq - le rouge
Prise de vue - Leica M5 + ultron 35mm - trix
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Cyanotype N°61 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Leica M5 + 35mm - agfa apx400
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Cyanotype N°146 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Leica M5 + ultron 28mm - Ilford Pan400
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Massif du Sancy - juillet 2024
Cyanotype N°464
Tonifié au maté, café et acide tannique / yerba maté, cofee and acid tannic tonned
Papier - Canson Montval
Prise de vue - Empire junior 6x6 (Holga like) + Bergger pancro400
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8"x10" cyanotype on Canson Montval watercolor paper.
First attempt with digital negatives. I used Permajet digital film, which worked really well. It gives a dense negative with a lot of detail. This image was exposed in indirect sun for 3 hours. It was washed in acidified water. The following day, it was toned in black coffee and washed in a vinegar bath a few times, then left to sit in the black coffee for about 15 minutes. The coffee turns the blue into a more navy color, which I like a lot.
Things I learned here (for those who might be interested in making cyanotypes themselves):
1. I read a tutorial that suggested using the rougher back side of the watercolor paper. I tried that, and the paper didn't take the emulsion evenly. Next time, I will use the correct side.
2. I need to make my borders wider when using these large negatives. The edges aren't as sharply defined as I would like.
3. Coffee toning without bleaching first gives the colors that I prefer. I will definitely do that again.
4. I used a curve to create my negative, something based on the one created by Peter Mahar. This worked really well to maintain a variety of midtones. I will continue to use that when making digital negatives in the future.
Side note: This is an amazing mélange of technologies. The image was shot with a medium format camera on film, the negatives were scanned, processed digitally, given the special cyanotype curve, reversed to create a negative. The negative was printed on digital film and then used to make the contact print. It's an incredible process! I am glad to have all the tools that permit me to explore the possibilities that exist within this type of printing.
Cyanotype N°153 - Tonifié au maté / yerba maté toned
Papier - Moulin du coq - le rouge
Prise de vue - mamiya c220 + 55mm - foma200
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Cyanotype N°460- Tonifié au maté + acide tanique / Yerba maté and tanic acid toned
Papier - Canson Montval
Prise de vue - Rolleifleix wide + Ilford HP5+
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Cyanotype N°93 - Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - fuji ga645w + infrared400
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Cyanotype N°71 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Yashica mat 124G + Fuji Pro400H (conversion NB)
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Cyanotype N°141 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Leica M5 + 50mm canon + agfa apx400
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Massif du Sancy - Juillet 2024
Cyanotype N°461- Tonifié au maté + acide tanique / Yerba maté and tanic acid toned
Papier - Canson Montval
Prise de vue - Minolta freedom Vista + Kodak trix400
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Cyanotype N°130 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Bristol Fabriano
Prise de vue - Mamiya Six K2 + HP5
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Cyanotype N°138 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Olympus OM10 + zuiko 50mm - agfa apx400
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Cyanotype N°92 - Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - Leica M5 elmarit28mm - trix@800
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Cyanotype N°69 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Olympus OM10 + 28mm - Agfavista400 (conversion NB)
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Cyanotype N°149- Tonifié au maté + café/ yerba maté + cofee toned
Papier - bristol fabriano
Prise de vue - ?? + APX400
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Cyanotype N°152 - Tonifié au maté / yerba maté toned
Papier - Moulin du coq - le rouge
Prise de vue - Rollei 35T + fuji c200 (conversion NB)
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Cyanotype N°134 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Bristol Fabriano
Prise de vue - Bessa R3A + 40mm rokkor - Trix
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Cyanotype N°81 - Tonifié au maté + café / yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Yashica mat 124G + Portra 400 (conversion NB)
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Cyanotype N°115 - Tonifié au maté + café / yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Bronica EC + 150mm + Portra 400 (conversion NB)
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Cyanotype N°151 - Tonifié au maté / yerba maté toned
Papier - Moulin du coq - le rouge
Prise de vue - Yashica mat 124G + fuji pro400H (conversion NB)
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Cyanotype N°128 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - pentax MZ5 + zénitar 16mm - foma100
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Cyanotype N°57 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Pentax P30T + sigma 28mm - tmax400
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Cyanotype N°65 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Yashica mat 124G + portra160 (convertie en NB)
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Cyanotype N°67 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Yashica mat 124G + portra160 (convertie en NB)
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Cyanotype N°48 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - Le rouge
Prise de vue - Bronica EC + 50mm - Foma 200@400
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Cyanotype N°130 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Bristol Fabriano
Prise de vue - Mamiya Six K2 + HP5
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Cyanotype N°56 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Pentax P30T + sigma 28mm - tmax400
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Cyanotype N°77 - Tonifié au maté + café / yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Yashica mat 124G + Rollei RPX400
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Cyanotype N°104 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Olympus OM10 + 28mm - Agfavista400 (conversion NB)
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