relaxed happenings of a photographic and mixed media sort

Posts tagged “Alternative Processes

Chemigram Landscapes, Cameraless Photography



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

                                        Tabitha Berry



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

                                        Tabitha Berry



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

                                        Tabitha Berry



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

                                        Tabitha Berry



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 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).





















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.


Gum Bichromate over Cyanotype (Trying Something Completely Different)

Tabitha Berry_Entry2_flux, AP_cyanotypeovergumbichromateonwatercolorpaper_2013 “flux” A/P



Tabitha Berry_Entry1_speckled avis_cyanotypeovergumbichromateonwatercolorpaper_2013 “speckled avis”



TabithaBerry-catalogue “catalogue”



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.



















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).




































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.



















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.



















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):

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





Thank you very much for visiting my photo blog!



Senior Exhibit – Spring 2013

Senior Exhibit (2013)
Juried Exhibit — Each student is guaranteed that at least one of their pieces will be selected. I had a diptych, three cyanotypes and a packaging tape installation piece selected.
My packing tape transfer “The Context of a Man” was awarded Juror’s Choice.









……………….._DSC1781 _DSC1778




I ❤ Gum Printing

It’s been several months since I have been able process Gum Bichromate prints. I’m in love with the process and I’m ready to get back to it! Unfortunately, I’m still a student, so the equipment is only available during semester sessions. Thus, I’m in search of an UV exposure unit so I can continue processes such as this at home and explore with other materials. Here are my “successful” beginner prints (I say “successful” because there is obviously a lot to learn still, but I’m very happy with how they turned out):

I also had the privilege of showing these at a local gallery as well as a newspaper interview.

pinion 1



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 …