07. Cyanotype

Introduction:
cyanotype: a photographic process which produces a cyan blue image.  The cyanotype was an inexpensive and easy way to reproduce work efficiently.  The process was used in the 20th century by engineers for this reason.  A negative image is produced by the process.  Sir John Herschel invented the cyanotype process in 1842.  He envisioned the cyanotype to be used for reproducing notes and diagrams.  This was how the process was used until Anna Atkins began creating cyanotypes for aesthetic reasons.  She documented botanical subjects and made many books.  Anna Atkins is considered to be one of the first female photographers for this reason.
  

Anna Atkins: born in 1799, she was an English botanist and photographer.  She was the first to make what can be considered a "photo book." 

Process:
1. First we chose and cut down our paper (100% rag).
2. We then coated our paper with the cyanotype solution.
3. Next, we put our paper and negatives in the printing frame, negative facing outward.
4. Our paper was then exposed for about fifteen minutes.
5.  The print was then just washed in water for a half hour.


Cyanotype Recipe:
Solution A:      25 g Ferric ammonium citrate (green)
                        100 ml. water
Solution B:      10 g Potassium ferricyanide
                        100 ml. water
 Mix equal parts of both solutions to form the final cyanotype solution.

**The generic cyanotype recipe of today is not much different than the one created by Herschel.


Toner Recipes:
Weak Ammonia solution:   5% ammonia
Strong Ammonia solution: 250ml ammonia
                                           1qt. water


1) tea: tea and water
2) reverse: tea then strong ammonia
3) redevelopment: weak ammonia, rinse in water, tea

Experience:
I only made one cyanotype in lab and it did not turn out the way I wanted.  I started off on the wrong foot because I had a thin negative.  The print is very dark and over exposed by about two or three minutes.  After a wash in the water some pigment came off but still there was little to no detail in the shadows.  Another reason for the print being so dark is that I could have put too heavy of a coating on the paper.  After my image was washed and dried I tried three different toners on my image.  The results are more noticeable in person but overall I think the image is just too dark to see a huge difference.

 

 Negative used for cyanotype

Summary:

To produce better results I need a better negative.  I also need to experiment with exposure time more to make sure I do not over expose my image.  I still want to play around with toning too.  It was hard to really see a whole lot of difference between the three images.

Links:

http://en.wikipedia.org/wiki/Anna_Atkins

http://en.wikipedia.org/wiki/Cyanotype

http://www.alternativephotography.com/wp/processes/cyanotype/cyanotype-classic-process

http://www.mikeware.demon.co.uk/cyano.html

Images:

06. Van Dyke

Introduction:
Van Dyke Print: based on the first iron-silver process, the argentotype, invented in 1842 by Sir John Herschel.  Both processes use light action on ferric salts.  The process gets its name from the similarity in color to brown pigment used by the Flemish painter Van Dyck. Image color and contrast can be dependent on paper type

Sandstone, Jamie Young

Process:

1. We used 100% rag paper for printing.

2. The paper was coated with one coat of the Van Dyke solution and then dried with a hair drier.

3. After dried, the paper and was put into a printing frame with the negative facing outward.

4. Our exposure time was about five minutes.

5. The prints were then put in a fresh water wash for five minutes and then two hypo solutions.

6. The last water wash was forty minutes long under running water.

Van Dyke Recipe: 
Solution A: 
     Ferric Ammonium Citrate: 9.0 gm
     Distilled Water: 33.0 ml
Solution B:
     Tartaric Acid: 1.5 gm
     Distilled Water: 33.0 ml
Solution C:
     Silver Nitrate: 3.8 gm
     Distilled Water: 33.0 ml

Combine Solutions A and B and slowly add C while stirring.  The solution should be put into a dark container and aged for a few days.

Experience:
I created two prints in lab.  The first print turned out well.  There was an even coating on the paper but some brush marks showed up in the image.  There is detail in the darkest of the darks and highlights.  The image is a little under exposed and could have standed to be out in the sun for another two minutes.  The second print I made was a better exposure and had good detail.  There are brush marks visible in this one too.  There is also some sort of speckling happening either from abrasion or the paper soaking up the solution differently.

First Van Dyke print

Second Van Dyke

Summary:

I still am not happy with my print quality.  Although the papers are evenly coating the brush marks are not desirable.  I am getting the hang of exposure time though.  Hopefully, the perfect print is near!!  I found the Van Dyke process to be the simplest and quickest of all of the processes this quarter.  The brown color is pleasant and it only takes one coat.  The detail quality is high but the matte image is something I don't like too much.  This would have to be my favorite and most successful process so far.

Links:

http://www.alternativephotography.com/wp/processes/kallitypes/vandyke-notes

http://www.flickr.com/groups/1409567@N23/

http://www.behance.net/gallery/Alternative-Process-Cyanotype-Van-Dyke-Salt-Prints/873736

Images:

05. Albumen

Introduction:
albumen print: invented in 1850 by Louis Desire Blanquart-Evrard.  It was the first commercially successful method of producing a photographic print from a negative.  Albumen is considered to be a salted printed out paper process where albumen (egg whites) is the coating under the light sensitive silver nitrate layer.  The image that results is a warm reddish brown before toning.  The albumen process improved the photographic print to where the industry was able to produce and distribute it commercially.  Therefore allowing not only the wealthy elite to benefit from it but also the middle class.  The albumen after drying becomes a hard, glossy surface.  With multiple coatings the gloss can be increased.  The hard surface also yields high detail in the image.

"...the Journal of the Franklin Institute reported that the new process produced prints that were, 'unalterable to the light, lose none of their qualities however long the time they may be used ,are capable of being renewed if by accident they should be lost provided that one proof of the lost matrix remains and lastly can at all times and under all temperatures and variations of light furnish satisfactory results.((Philadelphia & Pa.), 1850)'" (Goings, Albumen)

Between the years 1850-1860 two technical improvements were made to the albumen process: alkaline gold toning and improved coating techniques (better gloss).

 Louis Desire Blanquart-Evrard: credited with the invention of the albumen printing out process.  Blanquart-Evrard began experimenting with albumen for both negative and positive printed out papers but found that the process was most successful as a positive print (1850).  His first formula consisted of beaten egg whites and salt.  The solution was made by beating the whites of eggs until a froth and then adding 25% (by weight) salt to the froth.  This solution then sat overnight.

 

Process:

1. First we chose and cut down our 100% rag paper.

2. The albumen mixture was made by the class.  Separating eggs and saving the whites (500 mL), adding vinegar (3 mL), and salt (7.5 g).

3. The solution was shaken up in a container until a froth was formed.  The solution then sat for a couple of days to ferment.

4. Before coating the paper the albumen was strained through a cheese cloth.  The papers where then coated by letting them float on top of the soltution.

5. Each person made two papers with one coat and two papers with two coats of albumen.  For two coats the first coat was air dried, then dipped in an alcohol bath, dried, and lastly coated with albumen again.

6. After all of the papers were coated with albumen and dried they were then coated with the light sensitive silver nitrate solution.

7. The paper was then exposed to the sun with a negative (created outside of class) on top.  Exposure time was about seven minutes.

8. The images were then put through washes and fixed in hypo.

9. After class I put my images into a fresh water wash for another thirty minutes.

Albumen recipe used in class:  500 mL egg white

                                                     3 mL vinegar

                                                     7.5 g salt 

Generic Albumen recipe:         15 g ammonium chloride

                                                    2 mL glacial acetic acid

                                                    30 mL water

                                                    1 L egg white

**It is important to avoid air bubbles when putting solution into the tray for coating and while coating the papers.  After one coat is applied the paper should be hung to dry by a corner (allows access to drip off evenly).

Toning:  the print can be toned before fixing in hypo.  Toning with a gold toner produces a more desirable image color and was discovered in 1855 by James Waterhouse.

Gold Toner Recipe:                   10 g borax

                                                     40 mL 1% gold chloride solution

                                                     60 mL water

Experience:

Overall I had issues creating a successful print.  The negative I used originally was too thin and therefore there was little to no detail in the darks.  I then created a paper negative by oiling the paper to get a velum texture (translucent).  This resulted in a better overall image.  My silver coating was pretty good for the albumen coated papers but a little streaky when it came to the arrowroot paper.  When comparing the two surfaces I find the albumen to be more desirable because of the gloss of the paper.  Scratches on arrowroot print are from classmates while in washes.

 Albumen image

Arrowroot image

 

Paper negative

Summary:

Overall, I was successful in creating an image but not in making a good print.  My negative must have more detail and contrast to yield better dynamic range in the print.  My coating also has to improve.  Lighter pressure and more silver could be the key.  I also need to keep a close eye on my prints while they are in the fix and wash to protect them from angry spatulas.

Links:

http://en.wikipedia.org/wiki/Albumen_print

http://books.google.com/books?id=ezVDAAAAIAAJ&printsec=frontcover#v=onepage&q&f=false

http://www.alternativephotography.com/wp/processes/albumen/albumen-printing

http://studioq.com/

Images:

Quinn Jacobson

 4"x5" Wet Collodion Negative - Waxed Albumen Print

Anthotype (update)

Beet juice anthotype after two weeks.  A lot more fading of negative space but still barely any tonal variation on the step wedge. 

04. Camera Obscura

Introduction:
camera obscura: is Latin and directly translated it means: "darkened chamber/room." The dark box or room an optical device that projects an image of its surroundings on a screen.  The principles of the device have been known and experimented with by scientists and philosophers since the 4th century BCE.  "Camera obscura"

 Process:
1. I chose to use two different sized cereal boxes as the body and the lens provided in class to create my camera obscura.
2. I used the bigger of the two boxes as my fixed body and cut a hole in the bottom for the lens to fit.
3. The lens was glued and taped into the hole from the inside of the camera.
4. I then taped some cardboard runners inside the box to allow the smaller box to fit snugly inside.
5. The smaller box's top and bottom were cut off leaving just a hallow space.
6. I also taped cardboard runners on the side of the smaller box.
7. Waxed paper was taped to on end of the box creating a plane for the image to be projected on.
8. The smaller box was cut down to size until the correct focal distance was found by a focused image being projected on the viewing plane.

Links:
http://www.rleggat.com/photohistory/history/cameraob.htm
http://www.abelardomorell.net/
http://www.essentialvermeer.com/camera_obscura/co_one.html

Images:

03. Photogenic Drawing Pt. 2

Introduction:
salted paper prints: a salt solution is applied as a base coat on the paper and a photosensitive silver nitrate solution is then coated on to the paper.  The image is created by laying a negative (paper or film) or object (lace or flowers) on top of the paper and then exposing it to sunlight.  Exposure time will depend on the strength of solutions, paper type, and strength of light.

Henry Fox Talbot: invented the salt process in 1833.  He began first by coating the paper only with silver nitrate.  Only a faint image was produced.  Talbot found by coating the paper with a salt solution first, the resulting image would be much stronger.

Sir John Herschel: invented hypo in 1839.  This solution was used to permanently "fix" Talbot's photogenic drawings and other photosensitive surfaces.

Process:
1. First we chose the paper that worked best in our last experiment which was watercolor paper.
2. We coated our papers one time with 2% salt solution and dried them completely.
3. The papers were then coated with a 12% silver nitrate solution twice (The paper was dried in between coats).
4. We also coated an extra paper to use to experiment with yellow, red, and blue filters.
5. The extra sheet was exposed to sunlight with yellow, red, and blue filters put on certain sections of the paper.  My sheet was exposed to the sun with different keys placed on the paper.
6. The exposure time was about 3 minutes in direct sunlight.
7. The images were ten washed with water and then put through 2 hypo baths to fix (about 3 minutes per bath).
8. They then were washed in a running water bath for 30 minutes.

Experience:
I used keys to create an image for my photogenic drawing.  In the image you can see tonal variation between the parts of the paper that received direct sun, where the keys were, and the shadow around the keys.  The paper was exposed for 3 minutes in the sunlight and although it seemed to be long enough, the image lightened up in the hypo baths.  I think a few more minutes in the sun would produce a darker black and therefore more tonal separation in the image.

The paper that tested the filters was also exposed for 3 minutes.  The blue filter produced the darkest value (almost as dark as without a filter).  The blue filter allowed the shorter wavelengths through to the paper, therefore exposing the silver.  The red and yellow filters did not let as much light through and therefore resulted in lighter tones.

Links:
http://www.alternativephotography.com/wp/processes/saltprints/a-dash-of-salt
http://www.flickr.com/groups/1335034@N20/
http://www.loc.gov/pictures/search/?q=%22salted%20paper%20prints%22%20and%20%22lc-dig%22&st=grid

Images:

Anthotype (update)

Beet juice anthotype after one week.  Barely any tonal variation on the step wedge.