relaxed happenings of a photographic and mixed media sort

Posts tagged “alternative process

Chemigram Landscapes, Cameraless Photography

 
 

berry_03_a_fond_memory_of_the_future

“a fond memory of the future”  2015                                               20″ x 16″ Chemigram Silver Gelatin Print

                                        Tabitha Berry

 
 
 
 
 
 

berry_02_the_tide_came_in_to_listen

“the tide came in to listen”  2015                                                       20″ x 16″ Chemigram Silver Gelatin Print

                                        Tabitha Berry

 
 
 
 
 
 

berry_01_we_all_fancy_things_unreal

“we all fancy things unreal”  2015                                                     20″ x 16″ Chemigram Silver Gelatin Print

                                        Tabitha Berry

 
 
 
 
 
 

_DSC0065_2

Untitled, 2015                                                                                    20″ x 16″ Chemigram Silver Gelatin Print

                                        Tabitha Berry

 
 
 
 
 
 

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Printing Color Passes

Gum Bichromate printing is an alternative process that allows you to print as many or few colors as you prefer, using watercolor pigment.   Here are a few trial prints and how they look after each color pass.   Each pass consists of coating the paper with sensitized pigment solution, drying, contact print exposure under UV light, development, and drying.

 

 

“silhouetted posies”

Cyan Pass using Cyanotype & Yellow Pass
(with Gum Bichromate printing you can use Cyanotype for the Cyan Pass in lieu of a blue pigment)

silhouette Cyan Pass

silhouette yellow pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Magenta and Black Pass

(The Black Pass tends to stay very light. You can build any color up with multiple passes)

silhouette-magenta-pass

silhouette black pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Final Cyan Pass with Cyanotype
(In a smaller print the cyanotype responded nicely, these were 3″ x 4″.   The cyanotype can have a tendency to bead up on larger surfaces that have a lot of gum built up).

silhouette-cyan2-pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“summertide”

This is a trial print in which I was working with curves and a different method for preparing my digital negatives in attempt to get more detail in the hair and face.

Cyan Pass using Cyanotype

Cyan Pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Yellow Pass

Yellow Pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Magenta Pass

Magenta Pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Black Pass (The method I was trying did not work well on this seperation negative.   It did not block the highlights and muddied down the print).

Black Pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Final Cyan Pass (Cyanotype.   This is an example on how the Cyanotype may not work well on larger prints.   This is around 7″ x 11″ and you can see areas in which the cyanotype beaded up).    You will also be able to see that this method compared to the image below, can produce flat flat/dull results.   I have not tried to build the colors up with multiple passes … that may be the answer to producing a richer look.

Cyan x2 pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This is the “summertide” print using gum for each layer, including the Cyan pass.   The exposure time was a lot higher as well.   While I find the rich quality to be absolutely gorgeous, I lose the detail because the pigment layers begin to block up.   In the mean time, I’ll continue to work to find a happy medium between the above print and this print.

Caitlyn004


Gum Bichromate over Cyanotype (Trying Something Completely Different)

Tabitha Berry_Entry2_flux, AP_cyanotypeovergumbichromateonwatercolorpaper_2013 “flux” A/P

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Tabitha Berry_Entry1_speckled avis_cyanotypeovergumbichromateonwatercolorpaper_2013 “speckled avis”

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TabithaBerry-catalogue “catalogue”

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Cyanotype Development and Toning

This first set of Cyanotype prints are developed in a water bath for five minutes, water and a couple capfuls of peroxide for 2-5 minutes, and a wash for five minutes.

4004

5005

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The two sets of Cyanotpye prints below are developed in vinegar for 1 minute and washed in water for about 20 minutes.   Iit takes a lot longer for the water to clear with this method, but the vinegar  brings out the mid-tones and intensifies the prussian blue beautifully.   (5% glacial acetic acid to 95% water yields identical results).

12012

11011

13013

14014

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The following two sets are toned with tea.   Note: I have not yet toned any cyanotpe prints that have been developed with vinegar.

This set was wet, bleached with Arm & Hammer sodium carbonate, washed, toned with black tea (8 bags of Lipton tea to 2 quarts of water, boiled and cooled to room temperature) and washed again until water ran clear.   The second image was coated again with Cyanotype, exposed and developed with the water/peroxide method.

10010

3003

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The next two images were wet, bleached with Arm & Hammer sodium charbonate, washed, toned with black tea (8 bags of Lipton boiled in 2 quarts of water and cooled to room temperature), washed until water ran clear, placed in bleach bath for a second time and washed, back into the tea for a second time as well, and a final wash until water ran clear.   The second image was coated with cyanotype again, exposed and washed with the water/peroxide method.

7007

6006

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Finally, here is a set that I toned in coffee.   The steps were the same as the tea tone.   I wet, the cyanotypes, bleached in sodium carbonate, washed, toned in coffee (1/2 cup of cheap black coffee brewed to 12 cups of water and cooled to room temperature) and a final wash until water ran clear.

9009_coffee tone

8008_coffee tone

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Excellent sources worth noting (I didn’t follow any exactly, but researched and gleaned information from each before setting out to work on my own prints):

http://www.trollop.com/cyanotype-toning.html

http://mpaulphotography.wordpress.com/2011/04/01/cyanotype-toning-the-basics/

http://www.alternativephotography.com/wp/processes/cyanotype/vinegar-developed-cyanotypes-non-toxic-midtone-contrast-control

http://www.flickr.com/photos/fbfotografie/7110895809


Must have resource! —–> The Book of Alternative Photographic Processes by Christoper James <—–

 

 

 

 

Thank you very much for visiting my photo blog!

 

 


Gum Bichromate Beginnings

Here are my beginnings of the experience that IS: Gum Bichromate.

Original Image:  B&W Medium Format

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Digital Image Design (The texture is a result of how the image was translated after being cropped)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The following images were taken with my cellphone, so pardon the quality.

Tricolor print from one greyscale negative.

 

Magenta Pass (In the wash — bad light)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Yellow Pass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Final Pass: Cyan (Blue pigment)  I think the pigment mixture was too thick.

I smoothed the layer with a Hake Brush, but it still bubbled. I do, however, love

the rich sepia tone!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CMYK Separation

“K” Pass – Black

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“Y” Pass — Yellow

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“M” Pass — Red

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“C” Pass — Blue

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I’m not sure why there is more “Magenta” reading through than the “Cyan” separation (compared to the digital design that I did the CMYK separation negatives).  I also think I need to run another “K” pass.  I’m thinking either some of it washed away after developing the other passes, or it just looks too weak compared to the other color passes.

All in all though, I feel that these are pretty successful for my first Gum Prints.  I also realize that I have to embrace the results — that I cannot totally control the results, but learn from them …


Nude Study (Cyanotype on Watercolor Paper)

These are still a work still in progress. I want them to all have the same tonal quality.