STEAM Subject: Photography Lab: Cyanotype Printing
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Photograpmc MATERIALS CONSERVATION CATALOG
PHOTOGRAPmC MATERIALS CONSERVATION CATALOG The American Institute for Conservation of Historic and Artistic Works Photographic Materials Group FIRST EDmON November 1994 INPAINTING OUTLINE The Pbotographlc MaterIals CODServatioD Catalog is a publication of the Photographic Materials Group of the American Institute for CODBervation of Historic and Artistic Works. The Photographic MaterIals CoDServatioD Catalog is published as a convemence for the members of the Photographic Materials Group. Publication in DO way endorses or recommends any of the treatments, methods, or techniques described herein. First Edition copyright 1994. The Photographic Materials Group of the American Institute for CODBervation of Historic and Artistic Works. Inpa........ 0utIIDe. Copies of outline chapters of the Pbotograpble MaterIals CoaservatloD Catalog may be purchased from the American Institute for CODBervation of Historic and Artistic Works, 1717 K Street, NW., Suite 301, Washington, DC 20006 for $15.00 each edition (members, $17.50 non-members), plus postage. PHOTOGRAPIDC MATERIALS CONSERVATION CATALOG STATEMENT OF PURPOSE The purpose of the Photograpbic Materials Conservation Catalog is to compile a catalog of coDSe1'Vation treatment procedures and information pertinent to the preservation and exhibition of photographic materials. Although the catalog will inventory techniques used by photographic conservators through the process of compiling outlines, the catalog is not intended to establish definitive procedures nor to provide step-by-step recipes for the untrained. Inclusion of information in the catalog does not constitute an endorsement or approval of the procedure described. The catalog is written by conservators for CODSe1'Vators, as an aid to decision making. Individual conservators are solely responsible for determining the safety, adequacy, and appropriateness of a treatment for a given project and must understand the possible effects of the treatment on the photographic material treated. -
Cameraless & Alternative Photographic Workshops
Cameraless & Alternative photographic workshops All workshops listed below are tailored for your requirements, suitable for a range of ages and do no require any previous experience. Hannah Fletcher @hfletch www.hannahfletcher.com [email protected] Member of London Alternative Photography Collective @londnaltphoto Cyanotypes Lumen prints Workshops can range from drop-in 30 min sessions to 1 or 2 day classes and will result in finished prints to be taken away. The Cyanotype is a cameraless photographic printing process that produces a cyan-blue print. Absorbent materials -including papers, fabrics, woods and cardboards, are coated with a light sensitive solution and dried in a darkened space. Once dry, the material is layered with Workshops can range from drop-in 40 min sessions to full day classes objects or large format negatives and and will result in finished prints to be taken away. exposed to a source of ultraviolet light (either the sun or a UV exposure unit). Lumen printing is a cameraless photographic printing process that works Exposure time will vary depending on particularly well with organic materials. It can be done with any old, out of the strength of the UV light and can be date or fogged photographic paper or film. anywhere from 2 minutes to a few hours. Once thoughrouly washed in water, areas Materials and specimens are collected and picked for the workshop. These of the material that have been touched by are then placed onto the photographic paper or photographic film and light, remain blue, while any areas that weighted down inside a frame and exposed to a source of ultraviolet light were hidden from UV light source will (either the sun or a UV exposure unit). -
Photographic Reproduction Processes by P.C
The Project Gutenberg EBook of Photographic Reproduction Processes by P.C. Duchochois This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.guten- berg.org/license Title: Photographic Reproduction Processes Author: P.C. Duchochois Release Date: December 24, 2007 [Ebook 24016] Language: English ***START OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC REPRODUCTION PROCESSES*** Photographic Reproduction Processes A Practical Treatise of the Photo-Impressions Without Silver Salts By P.C. Duchochois New York The Scovill & Adams Company 423 Broome Street. 1891 Contents INTRODUCTION. 1 THE DESIGNS. 17 THE CYANOTYPE OR BLUE PROCESS. 23 THE CYANOFER. (Pellet's Process.) . 31 THE BLACK OR INK PROCESS. (Ferro-tannate Process.) 37 THE CUPROTYPE. (Burnett's Process.) . 41 THE ANILINE PROCESS. 43 THE PRIMULINE OR DIAZOTYPE PROCESS. 49 TRACING PROCESS ON METAL. 59 GRAPHOTYPY. 63 THE URANOTYPE. 67 THE PLATINOTYPE. 73 ARTIGUES' PROCESS . 85 THE CARBON PROCESS. 91 APPENDIX. 117 Illustrations A Tournette . 60 Chardon's method of coating . 94 Preparer's Note Please remember that this book was published over a century ago, long before today's chemical safety standards. Please get expert advice before attempting to perform any of the procedures described in this book. Authors Quoted Artigues. Bevan, E.J. Bingham Borlinetto Brasseur, Chs. Buckle. Burnett, C. J. Chardon Cheysson Colas. Cooper, H. Cross, C. F. De la Blanchère, H. De St. Florent Draper, Dr. John Ducos du Hauron Dumoulin, E. -
Cyanotypes Handout
Cyanotypes Background/Context Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. Equipment needed Ferric Ammonium Citrate Scales 3 containers for mixing (ideally brown glass bottles) Potassium Ferricyanide Measuring Jug Plastic Spoons Protective Equipment: Facemask, Brushes & Sponges Glass or Clear Perspex Gloves & Apron Sunlight or UV Source Water trays Heavy papers approx 300 gsm Found materials such as threads, Acetate/Tracing Paper Black pens/china graph pencils leaves, feathers, buttons etc Mixing the Chemicals Using a plastic spoon mix 25g of ferric ammonium citrate with 100ml of water. In a separate container mix 10g potassium ferricyanide with 100ml water. Mix the two solutions together with a 1:1 ratio immediately before use. Chemical solutions can be stored separately in glass brown bottles for months but ammonium ferric citrate will grow mould which will need sieving out. Coating the Papers Wear gloves when applying the solution. In a dark room or room with a low level light the solution can be applied to paper using a brush - or for even coverage use a sponge brush. Keep the coated papers in the dark and ideally leave to dry flat. Dry coated papers can be kept in a light sealed black bag until exposed in sunlight or using a UV light box. Exposing your Image Using sunlight: Place your objects or acetate image on top of the coated side of the paper and place a piece of glass or clear perspex on top. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
'Cyanotype and Anthotype: Eco-Patterning with Mineral and Natural Dyes.' Proceedings: International Textile & Costume Congress
Cyanotype and Anthotype: Eco- patterning with mineral and natural dyes Item Type Article Authors Wells, Kate Citation Wells, K. (2015) 'Cyanotype and Anthotype: Eco-patterning with mineral and natural dyes.' Proceedings: International Textile & Costume Congress. 2015. Between Worlds: Innovation and Design in Textiles and Costume. Marmara University, Istanbul: 145 Publisher International Textile and Clothing Congress ITCC Journal Proceedings of the 3rd International Textiles & Costume Congress - ITCC 2015 Download date 28/09/2021 17:18:38 Link to Item http://hdl.handle.net/10545/601182 ‘CYANOTYPE AND ANTHOTYPE: ECO - PATTERNING WITH MINERAL AND NATURAL DYES.’ Wells Kate University of Derby College of Arts Markeaton Street Campus Derby DE22 3AW Abstract: The paper outlines collaborative research between two different disciplines: That of textile design and early colouration methods with historical photographic imaging techniques. The project considers the symbiotic relationship between natural plant extracts with ‘Anthotypes’ and raised colours specifically ‘Prussian Blue’ with ‘Cyanotypes’. The aim of which, is to consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric for fashion and interiors? Looking at the substantive and the fugitive properties of the colouration materials along side different light wavelengths and analysing the success or failure of using Anthotypes and Cyanotype as an alternative sustainable surface design process can be attained: A form of Eco-patterning that relies upon light and natural substances/dyes not synthetic dyes as the colouring medium. 1. Introduction This paper discusses a research project, which considered the correlation between Natural and Mineral dyes with early 19th Century photographic processes ‘Cyanotypes’ and ‘Anthotypes’ as a form of eco-patterning that relies upon light and natural subsantnces as the colouring medium. -
The Fine Art of Photography Eighth Annual Juried Photography Exhibition 2018 Prospectus
THE FINE ART OF PHOTOGRAPHY EIGHTH ANNUAL JURIED PHOTOGRAPHY EXHIBITION 2018 PROSPECTUS Categories: • Color • Black and White • Non-Traditional (Please note that the Judges’ assessment of which category an entry will be judged is final.) AwarDs: • $500 Best in Show, • Each Category: $250 First Place, $100 Second Place, • Two Honorable Mentions per category Color and Black and White Categories: This is traditional photography. The image has conventional post processing techniQues that enhance the image appearance without changing the pictorial content. Edits and/or effects that changes an image’s appearance from being a normal photograph may be categorized as Digitally Enhanced. Cropping, sharpening, and removal of obtrusive artifacts such as dust specks are allowed. Black and White includes monochromatic and sepia tones. Non-TraDitional Photography (incluDes the following) • Digitally EnhanceD: An image that does not meet the stricter reQuirements for the Color or Blank & White categories, or which has been digitally enhanced beyond the appearance of a photograph. It may have subjects or lighting added, removed or otherwise modified to create the image. • Vintage anD Alternative Printing Processes: Despite having been pioneered decades ago, alternative- printing processes — the photogram, daguerreotype, tintype, collodion, Mordançage and others — are still widely practiced. The 21st century has witnessed increased popularity among these and other organic printing methods, as photographers gravitate to the uniQue, unpredictable and fascinating print characteristics achievable through these time-honored techniQues. This is the perfect opportunity to show off your darkroom skill and creative vision. • Pinhole/Plastic Camera Imagery: This category includes analog photography, e.g. pinhole cameras and plastic cameras like the Holga, Diana and Lomo. -
Making Photos with the Sun
MAKING PHOTOS WITH THE SUN For her exhibition at Storm King this year, artist Kiki Smith made this artwork, called river light. It is made up of nine brilliant blue flags arranged in a circle. Each flag is an image of sunlight sparkling on water. Kiki took these images from videos she made of the East River in New York City as she walked from her apartment to a nearby pool to swim. To make her flags, Kiki Smith used an almost 180-year- old photography process called cyanotype. A cyanotype is a kind of photograph made without a camera. It is made by coating paper or fabric in chemicals that change color when exposed to light. Then, an object or a transparent photo negative is placed on the treated paper and exposed to the sunlight. Everywhere the sunlight reaches, the paper turns deep blue, but everywhere that it is covered up, where the sun does not reach, stays white. Originally, cyanotypes were used to copy text and architectural drawings. Even though they’re no longer copied by cyanotype, that’s why building plans are still sometimes called blueprints! Anna Atkins was the first person to use the cyanotype process to record other kinds of things beside text and building plans. In 1843 she began placing algae and plant specimens directly onto cyanotype paper and exposing them to light to record their exact size and shape. She included over three hundred of these photograms, or photos made by placing objects directly onto photo-sensitive paper, in the very first book illustrated entirely with photographs, Photographs of British Algae: Cyanotype Impressions. -
What Is the Cyanotype Process?
Home What is the Cyanotype Process? The Cyanotype process, originally created by Sir John Herschel in 1842, is also known as a "blueprint" process. The final print is characteristically blue in color. The print is typically has a short-scale tonal range, making it somewhat "contrasty." The cyanotype print is also known as a "non-silver" process, since it employs ferric (iron) salts for its photosensitivity, from a combination of two solutions, one containing ferric ammonium citrate and the other solution containing potassium ferricyanide. Combining these complete solutions in equal parts creates a sensitizing solution which is then brushed or painted onto the surface of a substrate like cloth or hot-press watercolor paper. back home next http://www.cistercian.org/school/faculty/Fr-Mark/cyan/home.htm [3/17/2004 9:17:51 PM] Chem 1 Basic Chemistry of Cyanotyping (1) When iron ( Fe, from the Latin "Ferrum") is chemically combined with other elements, its atoms acquire a positive charge by transferring two or three of their orbiting negative electrons onto atoms of other elements. So each iron atom ends up in one of two states: "ferrous" iron - also called iron (II) or Fe2+ for short, "ferric" iron - also called iron (III) or Fe3+. This number 2+ or 3+ is called the oxidation state of the iron, and signifies the positive electric charge that the iron atom has acquired in the reaction. Oxidation makes an atom or molecule more positive (or less negative) in the electrical sense. So when iron forms compounds, it is oxidized. Reduction is the converse: making an atom or molecule less positive (or more negative). -
Cyanotype Faqs
Cyanotype FAQs FAQs What is cyanotype? Cyanotype is an antique photographic printing process distinctive for producing Prussian blue monochromatic prints. Developed in the mid-19th century, cyanotype was quickly embraced as an inexpensive method for reproducing photo- graphs, documents, maps and plans (hence the enduring architectural term “blueprint”). Famously, it was also used by Anna Atkins and other field biologists for indexing plant specimens—the first photograms ever made! Cyanotype is an extremely forgiving photographic process, easy to do, safe and inexpensive. As one of the earliest photographic pro- cesses ever developed, it is still favored among alternative process enthusiasts and is often the first chemistry explored in alternative photo classes. Is it permanent? Yes, cyanotype prints are archival. However, yellowing may occur if prints are exposed to phosphates or alkaline environ- ments so, cyanotype fabrics must be laundered in cold water using non-phosphate detergents. Over-washing may also cause the print to fade. Use care while handling cyanotype prints, as sweat and hand oils may also cause discoloration. If fading occurs over time, washing the print in a dilute bath of hydrogen peroxide can usually restore it to its original intensity. Is Jacquard’s Pretreated Cyanotype Fabric sided? Prints can be made on either side of Jacquard’s Pretreated Cyanotype Fabrics. However, being a cotton sateen, the sides are different. One side of the fabric is slightly reflective and shiny. This is the print side. Look closely at the fabric to determine which side is the print side. Can I make cyanotype prints on paper and fabric? How about wood? Yes, any natural surface can be treated with the cyanotype sensitizer, including silk, cotton, wool, hemp, linen, canvas, paper, leather and wood. -
Digital Photography- JB
COURSE OF STUDY UNIT PLANNING GUIDE FOR: DIGITAL PHOTOGRAPHY GRADE LEVEL: 9-12 PREPARED BY: CAROLYN WAGNER SUPERVISOR: JACQUELINE BELLO REVISED AUGUST 2019 Dumont High SCHOOL DUMONT, NEW JERSEY [Born Date: August 20, 2015] ALIGNED TO THE NJSLS AND B.O.E. ADOPTED AUGUST 22, 2019 Digital Photography – Grade 9-12 – Full Year – 5 Credits This course will explore camera functions and basic principles of photography. Students will use Adobe Photoshop to gain an understanding of post-production photography techniques. Students will also gain an understanding of digital file types and resolution for quality printing and online distribution. Major topics of study will include, lighting, composition, as well as various photography genres, such as landscape, portrait and still photography. An additional component of this course will be the history of photography and influential photographers, both historical and current. Grade Distribution Categories - Class participation 20% Teacher will make an assessment as to how well the student is prepared for class each day, attentiveness and energy to projects being created. Class participation follows through to project participation. Each student is expected to work to the best of their individual ability. Project grades 60% Students are expected to complete all projects assigned. Teacher will make an assessment as to students work based on their individual ability, following of directions, craftsmanship* and meeting the objectives of the given assignment. * The ability to demonstrate pride and neatness in one’s own work. Care/Use of Materials/Equipment 20% Students will be evaluated on their use of tools and materials in the art room. Care and safety will be followed at all times. -
Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, Laura [email protected]
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2017 Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Art and Design Commons, Chemistry Commons, Fine Arts Commons, History of Art, Architecture, and Archaeology Commons, Nonfiction Commons, and the Photography Commons Recommended Citation Michaud, Laura, "Alternative Process Photography: Beyond Digital and Film" (2017). Senior Honors Projects. Paper 545. http://digitalcommons.uri.edu/srhonorsprog/545http://digitalcommons.uri.edu/srhonorsprog/545 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Laura Michaud THE ALT PROCESS COOKBOOK A simplified way to making beautiful non-traditional photographic prints. THE ALT PROCESS COOKBOOK Laura Michaud Special Thanks to: Zoey Stites Ron Onorato Annu Matthew Jill Enfield Laurie Sherman Steve Michaud Brian Podgurski Casey Miller Alex Murdock Porter Dolan Kim Manjuck Corey Favino Heidi Allen Anna Sherman Thank you all so much for all your help and support. Table of Contents 1. A Brief Overview of Photography…………………………….………..1 2. Making The Negative…………………………………...……....….…..5