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Home , Anna Atkins, Banquet photography, Contact print, Cyanotype, Darkroom, Negative (photography)

6

The Process

OVERVIEW AND EXPECTATIONS The cyanotype (Ferro-Prussiate) is often the first process you will encounter in alternative/non- . The reason for this is the absolute of the nearly fail-safe technique and chemistry and the likelihood that you will make a successful print within a short time. This chapter begins with a little history to show you where it all came from, including introducing you to the first woman photographer, . You’ll learn about the chemistry and how to prepare and use it as a UV -sensitized and how to adjust the cyanotype formula for specific corrections. Also included is a discussion about substrates, sizing, coating, light sources, , and development in water or for additional control of the process. This chapter also deals with accelerated oxidation, highlight clearing, trouble-shooting, and many toning options for the cyanotype in the event that the blue just doesn’t seem like the right one for the subject in your print. This will prepare you for additional information on cyanotype fabric murals, Michael Ware’s New Cyanotype process, and combination processes with .

A LITTLE HISTORY The cyanotype was the first simple and successfully realized practical non-silver process. Discovered by Sir (1792–1871) in 1842, a mere three years after the “official” announcement of the discovery of photography, the cyanotype provided permanent images in an elegant assortment of blue values. Herschel is the same gentleman who coined the words positive and , , and . He is also credited, in 1819, with discovering that a solution of (which he referred to as hyposulfite of soda) had the ability to dissolve silver chloride and what that particular chemical’s role might be in permanently fixing a photographic image. This is an important bit of information that he passed along to Talbot. Curiously, Herschel did not officially announce this particular finding until 1839.

102 Figure 6–1 Christopher James, Self-Portrait with Pinhole, Maine, 1994 (Courtesy of the artist)

103 ocess. r an Dyke P Herschel was a gentleman scientist and his investiga- was a gentleman Herschel tions primarily revolved around the concept of experi- around tions primarily revolved sake rather than practical mentation for its own 1839 and 1842 he conducted hun- application. Between of separate experiments on the light-sensitivity of sil- dreds including an investigation vegetation, salts, metals, and ver was This aspect of his work of . in electrochemistry, work Smee’s Alfred Dr. augmented by the potassium fer- of version in a refined which resulted with enough to share was generous that he rocyanide con- Herschel chemistry, with Smee’s Working Herschel. of chemical and tinued his experiments with variations experiment he described a one such In light reactions. technique in which a piece of paper was coated with a solution of ferric ammonium citrate and exposed to light The exposed paper was then devel- image. under a positive in scientific terminology. It was this process he named the process was this It in scientific terminology. announced that Herschel Argentotype. A short time later, to its metallic state and silver salts could also reduce ferrous this phenome- to show a process that he had developed The Argentotype was later modified as the Kalli- non. type/V - - - on salts eloped in sil photographic e worth, or value” edients for a nice olved using crushedolved ocess inv subsequently dev e alent state) state. As a point of ction of Rays of the Solar Spec- ction of Rays of the Solar er eloped a charming and odd tech biv er and alternativ on in a trivalent state) salts to light state) on in a trivalent The Astronomer (Sir John Herschel, 1867) The Astronomer (Sir John That pr a is a term meaning “ . the A in ee of the key ingr n ere used to precipitate silver under the silver used to precipitate ere also dev alent on e v nthotype A ous (ir nitrate. H Herschel introduced the Anthotype in a paper mod- introduced Herschel Herschel was a very a busy gentleman who invented Herschel sunlight—thr ocesses, including the Argentotype in which ir ocesses, including the Argentotype in (Courtesy of the Royal Photographic Society) Figure 6–2 , (1815–1879) began her career as a photographer Julia Margaret Cameron Her work was cen- in 1849 shortly after returning to England from India. the Pre-Raphaelites, a tered on the ideals, and allegories, investigated by yearned for the return group of artists who despised industrialization and this por- of mythic heroes and romanticism. Her style, like she brought to trait of Herschel, is an example of the principal innovation of the subject the medium: the close and uncompromising psychology before her . er nique, which is described for you in another chapter, nique, which is described for you called the v flower petals, a little alcohol, and a 2 to 3 week exposure alcohol, and a 2 to 3 week petals, a little flower in trum on Vegetable and on Some New Photographic New Colors and on Some Vegetable trum on The initial portion historic paper con- of this Processes.” cerned itself with the Anthotype, describing the bleach vacation. estly entitled, “O to juices applied ing effect of sunlight on extracted flower The second part of his paper dealt with the photo- paper. sensitivity of ferric (ir number of non-silv pr (ferric citrate) w influence of light and w and how, on exposure to light, the ferric salts reduced to to light, the ferric salts reduced on exposure and how, the ferr information,

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 104 make stampsandmoneyduring thesiegeofMafeking in B Chr found intheclassiccyanotypeformula. in abluenegativ oped withapotassiumferricyanidesolutionthatresulted that hecallstheN lot ofwor Dr.your handatChrysotypes, Michael Ware hasdonea pr precipitated asapurpledepositover theimageindirect salts, cr the paperinaweak solutionofgoldchloride. The ferrous ammonium citrate,contactprintedandthendeveloped experimented withb B cerning thecyanotype that involved Lt.Col. neers andbuilders. P mercial useofthecyanotypewasinitiatedin1876at produced Ferroprussiate Cyanotype paper. The firstcom- schematic blueprintdrawingsthatwouldbeusedb application heraldedtheadoptionofprocess for hiladelphia CentennialE aden-P aden-P oportion totheexposure.oportion If you are interested intrying In stillanothervariation, whichHerschel namedthe The Cyanotype timeand waspopularforashort ysotype eated by exposure, reduced thegold,whichthen o o well ordered the cyanotypeprocess tobeused w k , ell, founderoftheBo on amore consistentvariation ofthisprocess he sensitiz e. ew Chrysotype. ew These are the two primary chemicals These are thetwoprimary Ther y ed asheetofpaperwithferric many e is anoddhistoricaltidbitcon xposition, andthisindustrial , thanks toacommer y Scouts. A ppar y ently, cially engi - - T the Boer War (1899–1902)between Great Britain andthe of lectures thatdefinedthecorrect, cil oftheP impr believed thatitwasaflexibleformofexpression and tilled intoasetofhar between thosewhobelieved photographycouldbedis- spent animpor landscape inred orincyanotype.”Emerson, by theway, (1856–1936), whosaid“…onlyavandal wouldprinta E curmudgeonly the cyanotypewasoutspokenandvery densities. In addition, they devised a theory ofcontrollingdensities. In addition,they devisedatheory ing themeasur measuring thesensitivityof photographicplatesinv (1848–1915) announcedtheir methodofscientifically when F as intheImpressionist painting movement. always aspir an unassailablepositioninwhichaphotographshould such asHenryPeach Robinson andattemptedtodefine appr ransv nglish physician/photographerPeter Emerson Henry Another person who placed himself into the history of Another personwhoplacedhimselfintothehistory E oach thene ession. In 1886,Emerson, asamemberoftheCoun- merson aal. er dinand H hotographic Society, begantodeliver aseries e ’ s to r idealism cametoanabr tant part ofhislifetormentedby thedebate tant part ement oflightintensities and r w epr urter (1844–1898)and urter Vero Driffield medium. H esent anar d and fast rules andthosewho and fastrules House, Rochester (Courtesy oftheGeorgeEastman scape inredorcyanotype.” “… onlyavandalwouldprintland- Peter HenryEmerson(1856–1936)said, (—plate#9from Peter HenryEmerson, Figure 6–3 Landscape ontheNorfolkBroads) Lilies, tist’s aestheticvision, true 1886 e trashed image-makers naturalistic , upt haltin1890 NY) Gathering Water , esulting Life and way to olv - 105

CHAPTER 6 THE CYANOTYPE PROCESS - Sun Gar- 1985. The book (1844–1846), a published work that is gen There are examples of Atkins’s work at the Harry There are examples of Atkins’s . Note: It is believed that Talbot was given an edition, and Note: It is believed that Talbot erally given credit by historians as the first to have achieved erally given credit by historians as the first this important milestone. Public personal copy resides in the New York Herschel’s Library by Anna Atkins, dens: Victorian is out of print but a simple Internet search at www.book- will find.com or Andrew Cahan at www.cahanbook.com likely lead to a copy. Pencil of Nature Ransom Humanities Research Center at the University of Museum, and public, institutional, and pri- the Getty Texas, vate collections in the United Kingdom and the United States. If you are interested in seeing this work in printed book, form, published Larry Schaaf’s pleting a three-volume anthology in 1853. These books, pleting a three-volume anthology in 1853. were the very containing hundreds of handmade images, system for first published works to utilize a photographic illustration. Signif- purposes of scientific investigation and to Talbot’s they were initiated and created prior icantly, - - British (1843–1853). University of , John George Chil- , c. 1843 (1843–1853). Atkins was the first woman oman Photographer mentor it is more than probable that she Cyanotype of Algae, s British Algae: Cyanotype Impressions Anna Atkins made thirteen known versions of her work dren, and Herschel were friends, and the Atkins and Her dren, and Herschel were friends, and the schel families resided only 30 miles apart in Kent, England. and when his Children was a member of the Royal Society, friend Herschel announced his discovery of the cyanotype (1842) Children quickly passed the news on to his daughter Anna. Although there is no conclusive evidence that Her- schel was Atkins’ learned the cyanotype process in the Herschel household. entitled Anna Atkins (1799–1871) was the first woman photographer. Anna Atkins (1799–1871) was the first woman historians, she Referred to sparingly by traditional photo ferns, feathers, made beautiful cyanotype images of algae, and waterweeds. Her botanist father In October 1843 Atkins began issuing published folios of her photogenic () drawings. In 1850, she began to publish more comprehensive collections of her work, com Anna Atkins: The First W exas–Austin) photographer and presumably learned the cyanotype process from photographer and presumably learned the cyanotype Herschel, who was a family friend. (Courtesy of the Gernsheim Collection, Ransom Center T Anna Atkins (1799–1871), images, From the first published book illustrated with photographic Figure 6–4 Algae: Cyanotype Impressions

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 106 Figure 6–5 Betty Hahn, Iris Variation #6, 1985 This piece of Betty Hahn’s has always been a favorite example of mine to show students how compelling the cyanotype process can be when mixed with other media—in this case watercolor. (Photo by Robert Reck/Courtesy of the artist) the development of the latent image. Emerson, convinced be degraded by something alkaline, such as sodium car- that his beliefs were now in doubt due to this scientific bonate or perspiration. It will also fade, like most things, proof, publicly denounced photography as a pure art, but if exposed to strong direct sunlight over a period of time. it was too late—many photographers had already become Should you experience this fading, your image can gen- disciples of the pictorialist vision. erally be restored to its original blue intensity by storing it in a dark environment for a short time. Contrary to popular lore, the cyanotype print can be

How Cyanotype Works S S

controlled in process to yield wonderful and technically E Cyanotype is an ultraviolet (UV) sensitive - C exquisite images. The prints can also be toned in a wide O R ing process that requires, as do most all of the non-silver P

variety of ways to provide alternatives to the color blue. E P

processes, a negative the same size as the final print. Of Y

Many of these toner options are described later in the ton- T course you can use transparent, translucent, or opaque O

ing cyanotype section of this chapter. Cyanotypes can N A objects to make cyanotype photograms as Atkins did. Y

also be employed successfully as first impressions in the C

The blue color of the cyanotype print is the result of E

or Blue-Van-Dyke processes and can H the reaction of ferrous to the photo reduction of fer- T

also be used to delicately intensify shadow details in plat- 6 ric ammonium citrate in combination with potassium R inum or palladium printing. All in all, a versatile and E T . The cyanotype image is highly stable but can P rewarding way to begin learning alternative processes. A H C

107 ed separately ed in normal ambient are’s New Cyanotype, is Cyanotype, New are’s W . r Sensitizing Formula The Cyanotype wing is a classic cyanotype sensitizer F) ° ception of D The follo tual lifetime supply of cyanotype chemicals and B cyanotype , if stor A water (68 t om raw chemicals. After buying the chemicals in om raw chemicals. After buying the glass or opaque containers with a good seal, ar k ts A and B can be separately mix 40 g 100 g ferric ammonium citrate (green type) period of time. Do not throw it away in the trash in a it away in the not throw period of time. Do ar 400 ml water (68°F) 400 ml can, however, be released as a hydrogen gas if it cyanide as a hydrogen be released however, can, avoid- so be diligent about , to a strong is subjected of potassium ferricyanide Any disposal ing acid contact. an excessive diluting it with accomplished by should be over of in small amounts water and disposed amount of a dry state. that, with the ex Add water to make a total solution of 500 ml P STOCK SOLUTION A Add water to make a total solution of 500 ml STOCK SOLUTION B Making a Sensitizing Solution Making a Sensitizing and two dark need a nonmetallic mixing beaker will You ml to 1,000 ml containers that will glass or plastic 500 to introduce The easiest way solutions. hold the mixed dry a premeasured is to purchase to the process yourself as Pho- a supplier such Kit from pack Cyanotype or wet are you If or Bostick & Sullivan. Formulary tographer’s many prints, frugal do large pieces or a great and intend to cost as much as any source keep in mind that kits from would a vir made fr will need is a gram scale and some basic lab bulk, all you equipment. majority of published - essentially identical to the vast otype formulas. light and will work best after a ripening period of 24 hours. light and will work The P in dar will keep indefinitely. When mixed together, their usable together, When mixed will keep indefinitely. - e ee any n ferric to a om of this chemical ough a coffee fil t potassium ferricyanide. on atom and is not fr ticularly toxic because the because ticularly toxic ou should avoid using it. using ou should avoid and Part B, B, and Part The cyanide par our cyanotype ambitions and can be owth is not something that should owth lumps and y compound that changes fr w decanting the solution thr e y ello oup is bound to the ir as a poison. e elatively short storage period. This moldy state is shortelatively storage period. ou to lose any sleep. In hot and humid weather, try hot and humid weather, In ou to lose any sleep. B—Potassium Ferricyanide t ll see y ’ esponsible for the blue color, when combined with the esponsible for the blue color, behav ent, this mold gr light-sensitiv otassium ferricyanide is not par ou mixing it into solution. cause y not to let the chemical sit out in the open too long befor ter. In extreme cases the mold can be simply skimmed off cases the extreme In ter. chopsticks. I the top of the solution with a pair of ev ferrous state when subjected to ultraviolet (UV)ferrous light. solution it is subject to mold growth into mixed Once after a r not detrimental to y (formalde- or two of Formalin adding a drop by avoided it is easily does appear, mold to the solution. If hyde) strained off b cyanide gr ferrous ammonium citrate. If the chemical is in good citrate. If ammonium ferrous sometimes a nice orange , condition it should have it is in bad condition If color. red,” to as “ruby referred y Potassium ferricyanide is the other half of the formula and ferricyanide Potassium is r Par Part Citrate A—Ferric Ammonium (Green Type) state, ferric ammonium citrate is powdered the green In a ferric ammonium citrate ferric ammonium citrate a serious health risk of these chemicals poses Neither one of the very are fewunless you may have people who ammonium Ferric to the chemistry. an allergic reaction supplements and and vitamin in iron citrate is often found if it becomes humidified and sticky. is mostly annoying compound that only ferricyanide is a stable Potassium 300°F or if it is com- becomes a risk if it is heated beyond bined with an acid. There are two principal chemicals employed in the tradi- in employed principal chemicals two are There in together mixed these are formula, and tional cyanotype that sensitizing solution a working equal parts to create A, Part They are: paper with a brush.will be applied to The Chemistry: The Formula and Sensitizer Chemicals P to

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 108 standar problems oftoohigh orlow contrast. are optionsyou mighttakeifyour imageisexhibiting stages,andthefollowing suggestions toning, anddrying significant lossoftonalgradationsduringthewashing, cyanotype tonalities.It iscommontoexperiencea fairly in thenegative translationandextendingtherangeof trolling thevisualassociationsoflightertodarker values Contrast control incyanotypeis,tome,oftenaboutcon- Solutions andControls Low Contrast/HighContrast v with r an increase inpotassiumferricyanidewillresult inaprint will oftenexperiencea“bleeding” oftheshadows, whereas ho has beencompromised by additives inmanufacturing.If, years,murals inthelastfew becausequalityofcotton fading pr density oftheblue. This solutionmaysolve thechronic ammonium citratetowaterwillresult inanincrease inthe por I density, beginningoptionsare andafew discussedbelow. of thecyanotypeformulainor It isanacceptableideatoalterthechemicalcomposition Nonstandard Solutions A has beenfoggedorthehumidityaffectedsensitizer. stageitislikelythatyour paperorfabric gray atthedry ing. If, afterusinggoodchemistry, you seeblueorblue- that your driedpaperorfabricshouldbejustpriortoprint- clear yellow-green chartreuse incolor. This isalsothecolor working sensitizer solution.Ahealthysensitizer willbe Stock Amixed with25mlofStock Btomakea50ml Mix ofStock equalparts Aand Stock B,thatis,25mlof Standard Working Solution having acombinedAandBsolutionalwaysavailable. ple toprepare thatthere really isn’t agoodargumentfor life isarelatively brief2to3weeks. The sensitizer issosim- ation isdependentonthetypeofpapery have foundthatgreatly increasing thepercentage pro- w Very BriefWord AboutMaking tions ofboththepotassiumferricyanideandferric A ever, onlyferricammoniumcitrateisincreased you educed densityinthosesamevalues. This lastobser- simple solutiontoreduce contrastistodilutethe d oblem thathasplaguedcyanotypeoncotton working sensitizer solutionwithasmallper- der toachiev ou are using. e v ariations in remarkable increase inthedensity ofthedarker values. By it withasecondapplication ofsensitiz a ing parametersthaty with thetestinguntilyou have establishedasetofwork- nium dichromate orwater, andmakeathird test.Proceed W of ittoaliterwaterandprocess asecondtestprint. ammonium dichr in plainwaterasacontrol. Then makeaspecificdilute lent, step-gradedtransparent scale. Process thefirstprint identical exposur that you electtouse.Begin testingby makingabatchof be effectiv range fr to theinitialwaterdev adding afe water mix 1gofpotassiumdichr tion ofthemiddletonalvalues. To makea1%solution, a modest additiontothesensitiz 2to4mlofthestandardevery A+Bsensitizer mix. This association. and thuscreates alower contrastimageby alighttodark vide alongertonalrangethandoesmechanicalUVlight UV source. Cyanotype exposedby sunlighttendstopro- trast appearanceinyour imageby usingthesunasyour thrill outofthehighlights. You canalsoachieve lower con- nique willoftenflattenthemid-rangevalues andtake the aware thatregardless oftheincrease indensity, thistech- will intensifydarks andextendthevisibletonalrange. Be paper you are anacidbath using,precoating, anddrying, 1% glacialaceticacid.In mostcases,dependingonthe variety ofweak acidsolutionssuchas1%oxalic acidora of controlling contrastisprecoating your paperwitha that isdescribedlateroninthischapter. Anothermethod developing theimageinawhitevinegarconcentration image. You mayalsocreate alower contrastimageby centage ofwater. The greater thedilution,softer to 6dr first coating of sensitizer dry thoroughly andthenrecoatfirst coatingofsensitizer dry poorly definednegativ rite do Contrast canalsobemanagedinotherways.If you let A A . higher contrastsolutioncanbemixed by adding4 similar contrastboosteffectcanberealized by ops ofa1%solutionpotassiumdichr om 1%to10%,andtheexactamountthatcan wn theinformation,addeithermor e w will dependonthestr drops ofanammoniumdichromate solution es through aStouffer T2115, orequiva- omate solutionandadd10to15drops ou canuseeffectiv elopment bath. e, butitmayalsodegradeapor omate with100mlofdistilled er willoftenlety ength ofthepercentage This per er , ely y ou willnoticea . centage can e omate to ou print ammo - - 109

CHAPTER 6 THE CYANOTYPE PROCESS . 24” when opened and consists of ן ecommends using a negative that ecommends using a negative ticular type will do well with using a stan- ticular type will do well ookie. I really do not have a specific gen- do not have ookie. I really abric Surfaces lot of advice that r aper and F P Almost any type of paper or fabric can be used in the cyan- on what type This is, of course, dependent otype process. reasons that the process is such a great one to begin learn- is such a great that the process reasons techniques with, because success comes ing alternative quickly to the r heard I’ve for a cyanotype negative. eral recommendation a a paper grade of 0 to 1 (indicating a on would print well density of about 1.5 to 1.7) fairly high-contrast negative and that this par This is true, but the same A + B sensitizing formula. dard that do not specifically negatives success can come from best advice is to make a My meet this recommendation. with it. learn the process and nice negative 1992 types and can usu- e Sun and Pressure, time. The best option is to make time. e tment of negativ twenty-seven double-page spreads of ink monotypes with cyanotype. It is quarter bound in linen and handmade flax paper twenty-seven double-page spreads of ink monotypes (Courtesy of the artist) Figure 6–6 Laurie Snyder, work in the genre of artists’ books. The piece is 15” This is a fine example of Laurie Snyder’s ed paper is exposed with sunlight or an ell enough to merit this option when you are experienc- are you ell enough to merit this option when great negative that can be specifically used for the process. negative great The Negative like a pho- The cyanotype is a contact printing process a processes, togram. As is the case with other non-silver cyanotype sensitiz ultraviolet (UV) light source and will require a negative(s) ultraviolet (UV) and will require light source had suc- intended print. I have as your that is the same size cess with a wide assor the darker value’s association with lighter values, both the association with lighter values, value’s the darker to be enhanced contrast and the clarity of the image appear w that the double coating will often aware Be ing problems. mean a longer exposur a ally get a good-looking print by adjusting the way I work ally get a good-looking print by This is one of the primary potential. to fit the negative’s

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 110 during manufacturing. or alkaline)andalready have agoodsizingbuiltintothem These papersar journey tions are withtheprintafterithascompleted itscyanotype of statementy W Fabriano Lana,Arches Acquarelle, Artistico, Saunder’s be aqualityhotorcoldpr erally speaking,thebestpapertouseforasingleimagewill willbeappropriate foryou.determine whichsurface Gen- ing, papersculptur ater for , that is,gumbichr d, S omerset Book,andC ou ar e neutral pH(inthemiddleof beingacidic e e, clothing,etc. Those optionswill going tomakeorwhatyour inten- They ar omate printing,collage,paint ess paperlikeArches Platine, e also specificallymadeto rane’s Platinotype. - the 22˝ withstand therigorsofw liquids. withstand therigorsofextendedimmersiontimes in befor stores, andIrecommend buyingsmallpiecestotest v was tenaciouslystr simply labeledOriental Rice Paper forSumi. The paper tion thatIr paper thaty ariety ofricepapersavailable supply atwell-stocked art O e ther paperoptions,someofthemesoteric,that committing tolargeamounts.O ן 30˝ Gampi Torinoko andHahnemuhl etching ead aboutwasaroll paper, 18˝ ou canpur ong inwateralmosttothe pointof chase b et processing are thosesuchas (Courtesy oftheartist) cyanotype wasfinished. mate processontopofitoncethe coloration byperformingagumbichro- cyanotype portraitandthenalteredits Sarah V Sarah V Figure 6–7 Wreath, y the r an Keurenmadethiswonderful an Keuren, 1996 oll. ne r There are awide Seth Holding ן ecommenda 50’, thatwas - 111

CHAPTER 6 THE CYANOTYPE PROCESS ® .” Hake Brush The heat will be detrimental, and the pos- that the paper is “bone” dry because any mois- that the paper is “bone” e sur coated dry a to print cyanotype will be and ready e B A Japanese hake, or Chinese jaiban, brushes are made of Japanese hake, or Chinese They are desirable for alterna- wood and stitched hairs. coating due to their lack of tive and non-silver process organic look and feel. metal ferrule and aesthetically ferrule is important, because it The absence of a metal for any metal to come into contact is often detrimental emulsion. The only problem with with an alternative is their tendency to shed hairs dur- these lovely brushes is simple. Take ing the coating. A solution to this shedding of Super Glue your hake brush and run a single bead with the along the hairs where they come into contact opposite side, wood handle. Repeat this step along the Do not smooth being careful not to use too much glue. “hake finger the glue with your finger or you will have coated fabric. light green-yellow color. Again, if it is blue prior to print- color. light green-yellow problem. a chemical or moisture have may ing then you coating) on the will see a mottling (an uneven you Often surface of the support, with fabrics, but this especially and develop- after exposure is often uneventful problem not to touch the print surface because the oils Try ment. fingertips in your may alter the chemical and moisture coating in those spots. excessive heat and focus on the back of the paper rather heat and excessive than the coated front. dur- left in the paper will become an instant developer ture is a water development this (remember, exposure ing your detail and clarity will be com- print’s technique), and your not use a clothes dryer with fog. Do for dryingpromised a of laundry loads quite sibilities of future are very will make you home. unpopular at real—which 20˝ is to (the metal- ן ferrules oking technique and ontal, str our prints are consistently thin, our prints are y f ocess, but be sure to wear a respi- to wear ocess, but be sure brush foam applicator. or inexpensive hake pply your sensitizer quickly and evenly using a gen- quickly and evenly sensitizer your pply tical, and then horiz like to coat under a few strands of miniature non- like to coat under a few strands of miniature ’s papers will only require a single coating papers will only require ’s er I Once the paper has been coated well, dry been coated well, the paper has Once it in dark- tist think the best method for paper under 16˝ think the best method for paper under suitable application technique for large paper sheets but suitable application technique for large our paper can accept. I coat with a Both brushes are made without metal Both brushes are Coating or fabric. A total paper to coat your ways several are There for fabrics but immersion technique is the best method bulk mixing from you’re If uses an awful lot of sensitizer. is Spraying to you. chemicals this will be of little concern a I being like fabric. Generally, sizing beyond the manufac- the beyond sizing Generally, like fabric. being necessary is seldom process and for cyanotype own turer’s ideas to extend your intend if you be relevant will only cyan- With gum bichromate. such as processes with other the dependent on not is really or size you otype, whether what your buy and of the paper you original attributes can sim- feel sizing is called for you you If intentions are. adding a ml or two of liquid gum ara- life by plify your B 60 ml of the cyanotype A and bic to each 40 to help suspend the coating on the This will mix. sensitizer surface. paper’s tle v lic section that holds the brush hairs to the handle), which processes in many of the alternative can cause problems sensitizer your should metal come into contact with chemistry. ambient room level , or low blinking Christmas tree light. A be wary of leaving puddles of sensitizer on the paper’s sur- be wary on the paper’s of leaving puddles of sensitizer get the right if you quite well coats work face. Single The quality and thickness of your of saturation. degree and amount of sensitizer paper will determine the degree y of tacking it to a wall (be careful ness or very light by low staining the floor and walls), hanging it on a clothesline, or placing it on a drying rack (not one used for black and on a cool set- may use a hairdryer white print drying).You ting to speed up the pr even following extensive exposures, try exposures, extensive a second coat once following even As a rule, most quality the first one is completely dry. ar rator when doing so. When using a hairdryer, avoid When using a hairdryer, rator when doing so.

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 112 year round. feel itpr pr frames. However, seriousorcoldclimatebasedalternative sive meansofexposingyour contactnegatives inprinting poet, thesunprovides themostefficient andleastexpen- year, inwhichcaseyou mightthinkaboutbecominga you are working inacoldanddark climatemostofthe best lightsource you canuseforcontactprinting.Unless that follow inthebookIwanttomentionsunas B A R around outdoors printing withyour friendsandfamily. can comeclosetothegoodfeelingy those y in thesummeryour exposure timesare andpleas- short efor emember them?thepeople whohav ocess printerssw FEW WORDS ABOUT THE SUN FEW WORDS ABOUTTHE Why issunbest?I e ears whiley w o e vides aconsistentandcontr begin exploringallofthealternativ ear b ou’ve beeninthedarkroom? Secondly, t y ’ s a fr UV exposur ee, r eally bright,andnothing ollable lightsource e e ou unit becausethey missed y ’ ll have sitting e processes ou allof the dr duetothelowoften befrustrating positionofthesunand mo done, itisasimplematterofpickinguptheframeand method. When you thinkthatyou are closetobeing process exposures are easilydeterminedby thisevaluation will giv edges andtheirdensity. the changes Simply observing side, thelightisbrightenoughtoread theexposure ofyour ant, anditiseasyforyou tomonitoryour progress. Out- ter eyes willoftenbeanidealone toprint.Printing awin- on sure. Amistyandfoggydaythatmakes you squintyour conditions willallhav of day, humiditylevel outside,andoverall atmospheric not findwithaUVprinterunit. The timeofyear, time such asPOP, salt,and Ziatype. ows andhighlights. withprocesses This isespeciallytrue (Courtesy oftheartist) (16” Stacia Smith, Figure 6–8 ’ s ving intoashadedar O day inNew Hampshire, where Ihave mystudio,will ן f yness oftheair course ther 20” Cyanotype) e you alotofinformationbecausealternative Something inBlue, e ar e , e variables withthesunthatyou will but theotherninemonths ofthe ea tocheckonthedetailsofshad something todowithy 1999 our expo- - 113

CHAPTER 6 THE CYANOTYPE PROCESS year are great. Use the winter to enrich your life with other exposure next to the student’s finger. Unless they are interests or make (see Appendices) or buy a UV exposure sweating a lot, this is a good method of calibration. In a unit equipped with daylight tubes. Do not waste your contact printing frame, I often place a small opaque object time with filtered “black-light” tubes like the ones that on the glass so that it covers a separate swatch of emul- make Jimi Hendrix posters come to life because they are sion that I had added to the bottom of the paper during very inefficient exposure sources. You may, however, suc- coating. By quickly lifting the opaque object I can deter- cessfully use an unfiltered UV tube. mine where the exposure is and how long I have before the processing begins. As you will discover, overexposing a cyanotype is a difficult thing to do. A test strip can be easily made by coating a piece of paper with the sensitizer, drying it completely, and plac- ing a negative in contact with the emulsion. Put the sen- Exposing the Cyanotype sitized paper and negative in your contact frame and lay a series of opaque strips over the coated test piece. These When your coated and sensitized paper or fabric is com- strips will be removed, one at a time, at predetermined pletely dry, place your negative in contact with the coated intervals and then processed for the information. You can emulsion and double check to see that it will read correctly also use a transparent step wedge for this task, but I feel when it is completed. The negative that you use will work the negative’s information from the test is often more very well if it has an average negative density in the range important than how many gradations you might achieve of 1.4 to 1.6. Be aware that you will be losing a consid- with it. When the test exposure is done, process it in tap erable amount of density in the wash and development water until the whites have cleared and there is no evi- stages, so it is important that your highlights are able to dence of yellow in the wash water. Then quickly blow-dry print. Next, load the negative and coated paper into your the strip, and you’ll get a rough idea of approximately contact frame so that the negative is next to the glass of what the best exposure will be. Be aware that cyanotype the contact printer and the coated paper is behind the neg- print values will darken over a period of days as the print ative. Be sure that the hinge part of the frame back strad- oxidizes. You can accelerate this oxidization by immers- dles the negative/coated area so that you can undo one ing the washed print in a weak solution of hydrogen per- side of the frame during exposure if you wish to check on oxide. your progress without losing registration.

T Cyanotype is a printing-out process, so you can exam- H The most common problem in cyanotype printing is E ine your exposure as you go, providing you are using a B underexposure, where the highlights and middle values O hinged contact printing frame. I generally like to see, in O

K wash out in the water development. It is not a question of

O a predevelopment examination of the exposure, highlight

F whether they will wash out, but to what degree. Depend-

A detail that is a great deal denser than I would be happy

L ing on your negative, you will have a short or a long expo- T

E with in a finished print. Occasionally, I want my deepest

R sure, with darker negatives obviously taking more time N shadow details to have a nearly solarized look (the den- A

T than lighter ones. In summer sunlight, a short exposure I

V sity has begun to reverse itself and is transforming to a

E might last 1 to 3 minutes, and a long one up to a half an

P lighter, almost metallic-negative-gray). I also watch the H hour. It is generally a good idea to make a test print. O outside-coated borders that have no negative covering T

O There are several ways to test exposure time during the

G them. Often the best cyanotypes will be realized when the

R exposure. When I am teaching a workshop class how to A outside borders have reversed themselves to a near silver- P

H make cyanotype murals in the sun, I often use the students

I gray. Another general piece of information is that thicker C as photogram objects on a sensitized bedsheet. During the P

R papers often take a bit longer to expose than do thinner O exposure I periodically lift their fingers to check on the C papers. Always write down your exposure time on the E

S comparative densities. This allows me to see what the base S

E paper so that you can evaluate your progress over the

S emulsion is doing in adjacent comparison to the open course of a printing session. 114 N N nice par solutions suchasdistilledwhitevinegaroraceticacid. The produces alongertonalscale,istheuseofdiluted acidic may beamoderatelylimitedtonalscale. the process. ofwaterdevelopment The one shortcoming preferred development whoworks by mosteveryone with bath. This istheleastcomplicatedsteppossibleand Traditionally, thecyanotypeisdeveloped outinawater Water or Acid Development: opment option. signs tolookforify to use. andthismaybeanothergoodcontrol option worthwhile, a light orD-maxintegrity. Ihaven’t triedthistechniquein better shadow detailsandseparationwithoutlosinghigh- printingresultsreports thatthisinterrupted innoticeably resumed tocompletionafterawaitofseveral minutes.She sure isstoppedhalfwaythrough theexposure andthen wor water togive you more flexibility. In itspure state,itis vinegar canbeusedstraightfr equiv would behouseholdwhitevinegar, whichisgenerallythe otype intoasoftgradedpaper. or vinegardevelopment bathasonethatturnsthecyan- shadow contrastintheprint. You mightthinkofanacid scale y sure. The downside isthatby tradingforalongertonal ues willbeextendedwithouthavingtolengthentheexpo- formal experimentyet, butJudy’s suggestionsare always Vinegar andwater1:1: White vinegaroutofthebottle: this straightvinegardev gen peroxide “oxidation-hit” willhave littleeffecton for negatives thatare hopelesslytoohigh-key. Ahydro- decr in therangeofvalues (2to4steps)butarelative deepening theblueinprint. table. Hydrogen peroxide has anegligibleeffectin crispness beginstoreturn withoutalossinthestep An alternativ The simplestsolutiontobeginexperimentingwith th about2to4lev Judy Seigel hassuggestedatechniquewhere theexpo- alent ofa5%concentrationaceticacid. White ou willoftenloseonthecomparative highlightto ease inthecontrast. This mightbeagoodformula t of thisalternativ e dev ou decidetousevinegarasadev elopment pr els onasteptable.H e eloped print. Some oftheimage’s highlight is thatthetonalrangeofval- om thebottleordilutedwith ocess, onethatoften A significant increase er e ar e a fe el w - intensification ofdarker values. effect. You willlikelyseeabitofclearingandmarginal squee both chemicalandnatural,inthisstep cyanotype ar minutes.Ihave1,000 mlofwaterforafew alsoheard of opment bathof4to5dr the lighterones. Traditional manuals, suchasthe in anintensificationofthedarker values whilereducing development. Adding thisacidbathstepwilloften result developed printinamildacidbathfollowing the tional tonalrangeisatechniqueofrinsingyour water- Another alternative indeveloping cyanotypesforaddi- Acid PostdevelopmentBath N N of drugstore gradehydrogen peroxide tothewaterbath. wash, remove theprintfrom the waterandaddasplash the print. a Too longawashingtimewillcause bothfading,through Shorter washingtimesmayleave ferric saltsinthepaper. longer seeanyyellow-green colorationinthewater. until thehighlightshave cleared towhite. You shouldno waterfor5to15minutesor cyanotype printinrunning After exposure anddevelopment, washyour developed Washing andOxidization Encyclopedia ofPractical Photography, on thecontrast. employ anaciddevelopment thathasasofteningimpact softer looktotheoverall image. Ware’s process does formula, whichhasalongerandsimilartonalscale irrelevantThat factissomewhat ifyou are using Ware’s later, theeffectsofvinegardevelopment are lessdistinct. pigmentation loss,andadecrease of highlightdetailsin peroxide addsalittle“intensification” totheblue. tone values, betterhighlightdetail,andthehydrogen Vinegar andwater1:5: Vinegar andwater1:3: has amodesteffect. prints inthetestsequence,andhydrogen peroxide Decent D-max(maximumdensity)equaltotheother the additionalstepsandhighlightsare better. If you need instant gratification, try this:Afterthefirst If you needinstantgratification, try Using Mike Ware’s New Cyanotype Process, explained zing a few lemonsintoawaterbathandnotethe zing afew tists whousew A ops ofhy Still apretty decentrangein eak solutionsofcitricacid, 2 to 3stepincrease inmid- dr suggest apostdevel- ochloric acidper . F or fun,tr y 115

CHAPTER 6 THE CYANOTYPE PROCESS ow it out and ow anotype too strong. e an-Dyke print or a gum or simply thr lue-V oning the Cy verexpose your prints if you intend to tone them. Many prints if you your verexpose of yellow. Too strong a concentration or too long in the a concentration or too long in strong Too of yellow. a serious bleaching sodium carbonate solution will have can con- too far with this, you went feel you you effect. If to go next. on where sult the toning section for techniques opt to do you acid would be a likely option. If Tannic cyanotype for a overexposed your nothing at all, save B do a new one. T simply do not want a blue will be times when you There image but still want to use the cyanotype technique due for- some are The following to its flexibility and simplicity. mulas for changing the color of cyanotypes once they have general, it is a good idea to completed the final wash. In o or sodium carbonate formulas utilize of the following print density if , which tend to radically reduce the solutions ar - - our 60” and is ן This solution is trick” is everyone’s trick” and immerse y , book in an and This action causes the high s 1995 xic. This intensification “ House Books #1–#4, blues. , xalic acid to 100 ml of water). k to 5% solution of oxalic acid can be used (1 to 5 to 5% solution of oxalic If your print is overexposed (which is pretty hard to hard (which is pretty print is overexposed your If 1% eimmerse the print and watch the blues go to an imme eimmerse the print and watch the blues xalic acid because it is to then constructing the book. Laurie’s installed piece is 85” then constructing the book. Laurie’s (Courtesy of the artist) Figure 6–9 Laurie Snyder in its original form, This image, which is in color and a great deal larger House Books #s 1–4. This is a wonderful exam- illustrates Laurie Snyder’s ple of making the pages for an artist’ composed of accordion fold books with hard covers. image in it until it begins to fade. Watch for the first signs for the first Watch image in it until it begins to fade. do), mix up a solution of sodium carbonate, approxi- mately a pinch to 1,000 ml of water favorite. Really, though, all that is happening is that you though, all that is happening is Really, favorite. in the print that of the iron accelerating the oxidization are would happen naturally in a few days without this step. forget the wash stage after being thrilled. Don’t particularlyof high- successful for spotting blue stains out all necessary when using precautions Take light areas. o lights to appear super white because of their relationship lights to appear super white because to the dar diate and intense deep blue. grams of o A Clearing Your Highlights Clearing Your R

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 116 pour andsprinkleformulas togethertor aesthetic. Very often,duringworkshops, Iwillsimply grain ofsalt(sorr tamination, timeofy will notwork asyou wantthemtoduewatertypes, con- in stone,eitheraloneor combination withotherton- that theresults from thesetoningsuggestionsare notset (Courtesy oftheartist) and contactprinted. the outsideofsixpanels,containingquotationsfromBrooke’s journals andthewritingofMarcusGarvey, ismadeonacetate ence whilevisitingJamaica.Thecyanotypeprintshavebeentonedwithtannicacidtoconverttheblue,andwritingaround Brooke madethismuralpiecewhileshewasastudentofmineatHarvard.Theworkdocumentspersonalandfamilyexperi- (Cyanotype mural) Brooke Williams, Figure 6–10 almost alwayslookbetterwetthanwhendry. palette. Theyareinterestingtoplaywithandmodify tion offerrictannateorgallatethatformsthenewcolor the themeofalkalinehydrolysisfollowedbyforma- These toningsuggestionsareessentiallyvariationson A wor d of encouragement—manytimestheformulas Self withFamily y, badpun)andadaptthemtoyour own ear , etc. , Jamaica, 1987 T ake theseformulaswitha einfor ce theidea toning themandtolet oxidize foradayorso. This ing timesbetw ing group toningdemonstrations,where inadequatewash- 20 years ago. This isnotthecasewithimagesdonedur- deterioration intheimagesItonedwithtannicacido as “permanent” no afterthefact.Ihave foundvirtually ally questionableifalloftheseformulascanbedescribed composition ofthecyanotypeimage,anditisoccasion tive processes. The toningstepschangethechemical rectly, ispermanentandone ofthemoststablealterna- cyanotype, inapur and uniquetechniques. ple, inexpensive, andaccidentsoftenbecomeindividual ers. B It isagoodideato There istheissueofpermanencetoconsider. The esides, whathaveyou gottolose? The process issim- een stepsare oftentherule. e P russian-blue stateandhandledcor- russian-blue dry your cyanotypeprintsbefore ver - 117

CHAPTER 6 THE CYANOTYPE PROCESS oning ellow T ell as solutions of bleach, eral chemicals that will alter the intensity of eral chemicals that will alter the intensity sev e ar e For example, to make a yellow and white print, make example, to make a yellow For solution of trisodium phosphate in a ratio of 1 table- the blue in your cyanotypes. As mentioned, hydrogen per- cyanotypes. As mentioned, hydrogen the blue in your acid, and sodium carbonate will all cause the oxalic oxide, blue to change, as w sodium sulfate, sodium silicate, trisodium phosphate, and may mix solutions of these laundryYou commercial soaps. of areas to remove chemicals and apply them selectively color of can alter the entire blue, and in some cases you the print or fabric in complete baths. a the trisodium Dissolve spoon to every quart of water. and phosphate in hot water in a plastic tub or tray, immerse the cyanotype in the solution until it fades to yel- Rinse the print with running water for 30 minutes, low. without soap. or run a cold wash cycle the fabric through image will be permanent. The resulting Removing Blue: Y Ther ver the size ver xidation of the After they have our cyanotypes. . ogen peroxide can ogen peroxide dr y harden ellow has been washed out ellow the blue in y ” 1989 der to adequately co wet them to tone. This soaking them to tone. wet e the toning solutions to cover and pene- the toning solutions to cover ocessed cyanotype. H w ou should r Portrait of Stefanie, ell-pr Grace Huang, a classmate of Stefanie London’s, made this portrait of her in Grace Huang, a classmate of Stefanie London’s, cyanotype and split-toned it with sodium carbonate. (Courtesy of the artist) Figure 6–11 Grace Huang, of your print. Mix it casually and without fear, because this because it casually and without fear, print. Mix of your chemical is used to clean wounds and as a mouthwash. be used immediately after the y of your prints. of your trate the paper’s fibers more completely and makes for a completely fibers more trate the paper’s The formulas smoother-looking tonality in the print. to may feel free and you in ratios, equivalent are given modify the amounts in or stage will allo The actual effect is simply an accelerated o time, given This intense blue will occur eventually, iron. in any w been dried, y The Big Thrill grade) added to water (3% drugstore peroxide Hydrogen will seem to super “intensify step gives the coating a chance to step gives

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 118 lab glo the ceiling.Please donotbecasualwiththis chemical.Be sure toread aboutitinthe chemicalsectionintheAppendix andwear proper protective *Nitric acidisnotachemicaltotakelightly. This isevidentassoonyou taketheplastic topoffthebottleandseewhitevapors risingtoward utes. Wash thetonedprintfor15minutes. water. You shouldseea smokey blackcolorwithin5min- tion oftannicacidmixed to3050gper1,000ml of several minutesinwaterandthenimmerseitasolu- entirely rinsetheprintfor bleachedoutandconverted, that willpresent itselftoyou. When theblueisalmost the Dektol solutionthemore intensethegoldenrod color Immerse theprintinasolutionofDektol. The stronger Black Toning #1 stages istheprimar arinsing timebetween all ofthetoningformulas,tooshort and transferittoPart Bfortheconversion tobrown. In it becomespale. Then rinsetheprintforseveral minutes washed andwet printinPart minutesoruntil Aforafew stirring untilthechemicalisinsolution.Immerse the not dissolve readily inwater. Break uptheclumpsandkeep Tannic acidmixingtakesalittlepatiencebecauseitdoes of water 14 P 240 mlofwater 28 mlnondetergent,householdstrengthammoniaaddedto PART A Brown Toning #1 teas withouttannicacidinthemdoesnotwork aswell. then move ontotheteatoning.Using green andherbal the yellow toningstagewithtrisodiumphosphateand warmer hue.If you don’t wantanyblue,justgothrough pleasant tancolorwhilethebluetakesonaslightly ate aduotoneimage. The print’s highlightsexhibita ity. Using asolutionofteaastonerisnicewaytocre- Immerse your printinituntilyou have thedesired tonal- strong solutioninhotwater.acid) andmakeavery Buy somebasicandinexpensive householdtea(tannic The BasicTea Toner lights andpaperbasewhite. ART B g tannic acidaddedandmixedwellto750ml ves andamaskwhenworking withnitricacid. y culprit inthediscolorationofhigh- for 15to20minutes. until ablue/graysplitappears.F acid of25gto1,000mlwaterandplaceyour printinit the printforsev bonate solutionuntilay print inaweak (apinchto1,000mlofwater)sodiumcar- wash theprintforsev ml waterandimmerseyour printinitfor2minutes. Then 15 minutes. should becomeevident.Finally, washtheprintforatleast utes andtransferitintoPart C,where theblacktones light orangeimage. Then rinsetheprintforseveral min- tion untiltheimagedisappearsandthenreappears asavery eral minutes,transferittoPart B,andleave itinthesolu- A Begin by immersingyour washedandwet printintoPart 14 ggallicacidaddedto160mlwater PART C 14 gsodiumcarbonateaddedto160mlwater(5.3oz) PART B 3 PART A Black Toning #2 nia to1,000mlwater. in anammoniabathsolutionconsistingof250mlammo- immerse theprintinstrong Dektol solutionagainor Use theblacktoning#1procedure andafterthefinalwash Eggplant/Red/Black Tones 10 1,000 mlofwater)untilr the printinalightsodiumcarbonatesolution(apinch to Follow thedirections fortheblue/graytoning.Immerse Red Toning the print.M Allow thecyanotypetoageforadayortwoandthenrewet Blue/Gray SplitT drops nitricacid*addedto1literwater (nitric acid)for2minutes. Then rinsetheprintforsev- minutes. ix asolutionof3dr eral minutes.Mix upasolutionoftannic oning eral minutes.Next, immersethe ello ed w and thenwashtheprintfor split occurs,andthenwash ops ofnitricacidin1,000 inally , wash theprintw ell 119

CHAPTER 6 THE CYANOTYPE PROCESS with a pinch of sodium carbonate or add more water to with a pinch of sodium carbonate or add more to 10 Tbs tannic acid added and mixed really well into 1 our prints then simply reduce the amount of tannic acid our prints then simply reduce This tannic mix is much stronger than you may need to than you This tannic mix is much stronger for me, so found it works get the job done but I have for find it is too strong you include it in this formula. If y B formula. in the Part PART B PART 4 quart water A the solution. ong a mix for 70” ן 1992 Goddesses Pantry, Goddesses Pantry, ou may find that 1 to 2 tsp is far too str Y gram scale. to 2 tsp sodium carbonate (very flexible) stirred into solu- our prints. If this is the case, then either make a new this is our prints. If Part (Courtesy of the artist) Judy Vejvoda, Judy Vejvoda, of was a student who is now a teacher, Judy, mine and later in the graduate program at UNM with Betty Hahn where she made this 40” construction of toned cyanotype images and mixed media on paper. Figure 6–12 Be aware of how much sodium carbonate you use in Part much sodium carbonate you of how aware Be A. PART A PART 1 tion in 1 quart water This is a very casual kitchen formula when you don’t have This is a very don’t you casual kitchen formula when a Eggplant Black #1 y

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 120 dency toflattenoutafterdr tannic acid,thedeepercolor as you wantto. The greater thetimeandconcentrationof N that aslittleapinchofsodiumcarbonatewillwork well. image. You mayfind,asIhave, depending onthewater, that decomposes,thegr Generally, thisstageispretty flexibleandthelessiron blue it toawaterbathforthebleachingeffecttakeplace. ticular toneroftenlooksgoodinthew is flexible,andy that pleasesy and immersetheprintinituntily borax (commer This formulaisoccasionallysuccessful.Prepare aweak Violet Tones #1 for 15minutesandhangtodry. point, thehighlightswillbegintostain. slip theprintintothissolutionandimmediatelyr the iron bluequitequickly, sowatch itclosely. Iliketo A water bath.B in determiningthedegr ext, rinsetheprintandimmerseitintoPart Bforaslong for a very brieftime. for avery decomposes The sodiumcarbonate Dry yourDry printsforadayortwoandrewet themina ou. egin b cially av ou shouldplayar The concentrationoftheboraxtowater y immersing y ailable inthesupermar eater thepossibilityofasplittoned ee ofviolety ying. W . ound withit. our w ater typewillplayar B ou seeacolorchange e ou mightget. et statebuthasaten- awar et printintoPart W e ash theprint that atsome ket) solution This par emo ole v e - obser water). Immediately transferittoafresh waterbathto pinch between thumbandforefinger toa1,000mlof 15 the split.Afteryou are satisfied,washtheprintwell for wash waterratherthanthe sodiumcarbonatetoachieve ply city, where there isagooddealofiron inthewatersup- simpletonerandseemstowork bestinthe This isvery Yellow/Blue SplitTones blue/violet accor lowing thewash. deep This bathwillresult in avery formula by immersingtheprintinabathofcitricacidfol- doesn’t doanything anymore. It ispossibletocontinuethis the drainandcontinuetor harmless chemicals.Do notdisposeofleadacetatedown Be cautiousoftheleadacetatebecauseitisnotone y I solution of5gleadacetatein100mldistilledwater. Y Violet/Gray Tones #2 print inav oxide bathfollowed by a15-minuterinse. Then placethe or two. Rewet theprintandimmerseitinahydrogen per- mmerse theprintinthissolutionuntilyou seeacolorthat ou like,thenwashtheprintw ou canoccasionallygettheviolet/grayshiftb . minutes. Allo v e w the changes.Allo the exposedandwashedprinttoageforaday er y ding tothosewhouseit. w eak solutionofsodiumcarbonate(a w euse thetonerformulauntilit (Courtesy oftheartist) and monoprint. of mixingtheattributescyanotype Colorado Series.Itisagreatexample This piecebyJohnWood isfromhis John Wood, Figure 6–13 Windmill andYellow, the changestooccurin ell for15to30minutes. Hands, BeaverPond, 1990 y making a 121

CHAPTER 6 THE CYANOTYPE PROCESS Purple–Brown Toning Violet-Black Toning Mix up a hot solution of tannic acid at 70 g to 1,000 ml Mix up a moderately weak solution of sodium carbonate water. To this solution add a drop or two of pyrogallic acid. as in previous formulas and immerse the print until it has Then immerse the print until the blue turns to a lilac color turned a pale yellow. Wash the print for several minutes and rinse the print for 5 to 10 minutes. If you like the and then mix a solution of 8 g of gallic acid, 0.5 g of pyro- color, simply complete the wash stage and don’t do any gallic acid, and 1,000 ml of water rinse and immerse the additional toning. If you wish to go to the purple–brown, print until the desired color is reached. Wash the print for immerse the print in a caustic potash solution made with 15 to 20 minutes. 15 grams of caustic potash to 1,000 ml of water until the desired color is achieved. After toning, wash the print well Red-Brown for 15 minutes. Immerse an aged and wet cyanotype print in a solution of nondetergent household ammonia and water, mixed in Gray to Reddish Tones solution at approximately 8 ml to 250 ml of water until Mix up a solution of 48 g of copper nitrate dissolved in the print turns a violet color. Wash the print for 10 to 15 96 ml of distilled water. Add 5 drops of household ammo- minutes and then immerse it in a strong solution of tan- nia and mix it well into solution. Immerse the print until nic acid and water (25 g to 500 ml water) for 5 to10 min- the desired color is achieved and wash the print well in utes. Wash the print for 5 minutes after the tannic acid running water for 15 to 20 minutes. bath. If you like the brown color, stop the process at this point and wash for 20 minutes. If you feel like going on, Black Toning #3 immerse the print in a strong solution of sodium car- Immerse the print in a strong tannic concentration for 5 bonate until a deep red-brown appears and then wash the minutes and then wash for 5 minutes. Then immerse the print well for 15 to 20 minutes. print for very brief time in a weak sodium carbonate dilu- tion and immediately move it to a wash tray for 5 min- Dark Blue/Blue Violet/Rose Split utes. Go back to the strong tannic solution for another 5 Follow the directions for the rich red-brown. Quickly minutes and wash the print again. Then immerse the immerse the print in the strong tannic acid again and then print in a hydrogen peroxide bath (casual dilution) for a wash the print for 5 minutes. Then immerse the print in minute, rinse the print, and return to the tannic bath for the gold/borax toner formula used for salted paper ton-

T the black. Finally, wash the print well for 15 to 20 min- ing (400 ml distilled water, 3 g borax, 6 ml 1% gold chlo- H

E utes. This formula has worked very well about 50% of the ride) until you see the split. Finally, wash the print for 15 B O

O time and will occasionally result in paper base staining. to 20 minutes. K O F A L T E R N A T I V E P H O T O G R A P H I C P R O C E S S E S

122 that capturetheessenceofherexperienceinJapan. (Courtesy oftheartist) ment ofprocessesandmaterialsinthetranslationherintentions. Phoebe, whoracesmotorcycles,makesartists’books,andteachesattheArtInstituteofBoston,workswithavastassort- Phoebe McCormick, Figure 6–14 Shinto V iews Shinto V iews is ahandmadebookwithcyanotypeimages 123

CHAPTER 6 THE CYANOTYPE PROCESS