The Ferroblend Process

[Andrew O'Neill]

I made a video showing my workflow...



Link to Photrio Ferroblend thread

 

[Raghu Kuvempunagar]

Great demonstration of the process, Andrew! Adequately detailed and immensely useful. It is certainly something I wish I had available to me when I got started. Thanks.

 

[Theodor Bader]

How lightsensitiv is this ferrolbland?

I wonder how light-sensitive this method is? More so than cyanotype methods (traditional and new)?

Is an in-camera application conceivable?

 

[Andrew O'Neill]

How lightsensitiv is this ferrolbland?

I wonder how light-sensitive this method is? More so than cyanotype methods (traditional and new)?

Is an in-camera application conceivable?

The inventor of the process @Raghu Kuvempunagar would be able to answer this better than me...but even if you could do it, why would you want a ferroblend negative?

 

[Raghu Kuvempunagar]

How lightsensitiv is this ferrolbland?

I wonder how light-sensitive this method is? More so than cyanotype methods (traditional and new)?

In the same ball park as Cyanotype.

Is an in-camera application conceivable?

No, at least as far as I can see. For FerroBlend, Ferricyanide needs to be present in the sensitiser which invariably slows down the exposure. Even Cyanotype isn't really useful for in-camera application unless one keeps Ferricyanide out from the sensitiser (as done in Cyano-Rex type processes).

 

[Theodor Bader]

Thanks for your answers!

The idea of using cyano-blend comes from me and my Facebook page "The Fascination of Black and White Negatives," which so far only shows black and white negatives. I myself only have one in-camera cyanotype print so far.

 

[jmoche]

Following Andrew's video, I've made several ferroblend prints. I get the best results using ink jet paper, where the shadows remain blue and the midtones & highlights go copper. Results on all sorts of watercolor paper have been generally poor and very inconsistent. My biggest issue is fog. Areas that should be white (where no exposure took place) are copper colored, creating an effect that looks similar to making a cyanotype on colored paper.

 

[Andrew O'Neill]

Following Andrew's video, I've made several ferroblend prints. I get the best results using ink jet paper, where the shadows remain blue and the midtones & highlights go copper. Results on all sorts of watercolor paper have been generally poor and very inconsistent. My biggest issue is fog. Areas that should be white (where no exposure took place) are copper colored, creating an effect that looks similar to making a cyanotype on colored paper.

Which ink jet paper? It never crossed my mind to use inkjet paper...

 

[Raghu Kuvempunagar]

I get the best results using ink jet paper, where the shadows remain blue and the midtones & highlights go copper.

Congratulations!

Results on all sorts of watercolor paper have been generally poor and very inconsistent. My biggest issue is fog. Areas that should be white (where no exposure took place) are copper colored, creating an effect that looks similar to making a cyanotype on colored paper.

Watercolour papers in general contain Calcium Carbonate, an alkaline material, as the buffer for archival purposes and this unfortunately interferes with all iron-based printing processes. In the specific case of FerroBlend, complexation of Cupric ions in the developer is critically dependent on pH. Presence of Calcium Carbonate in the paper affects complexation and results in general stain. For the developer to work as intended, the paper must be free of buffer. That's why it is best to neutralise the buffer in watercolour papers with either Sulphamic Acid or Citric Acid before using the paper for FerroBlend (or any other iron-based process).

Inkjet papers might or might not be buffered. But they have a coating for better ink absorption. No idea if this coating is helping in your case.

 

[Andrew O'Neill]

Well, this Epson watercolour inkjet paper I just tried doesn't have a coating...I just tried it and the sensitiser went right through it. Luckily I had more than enough sensitiser to cover the negative area. It worked well, but tone is much more subtle compared to other papers that I use. I only let it develope for a minute. Maybe next time I'll let it sit there longer.
A note about Copper Sulphate... Be careful where you source it. Do not get it from Amazon. It's poor quality...at least the product that I got is. Get lab grade.

 

[Raghu Kuvempunagar]

Well, this Epson watercolour inkjet paper I just tried doesn't have a coating...I just tried it and the sensitiser went right through it. Luckily I had more than enough sensitiser to cover the negative area.

What you observed is the feature of inkjet papers. They have an inkjet coating that is microporous for faster absorption of ink. The only inkjet coating formula I have used myself is dated and is a mix of Polyvinyl Alcohol and Laponite JS. Techonlogy has advanced rapidly but all use some or the other kind of silica like material. That's why inkjet papers absorb liquids fast and require more sensitiser than general watercolour papers.

It worked well, but tone is much more subtle compared to other papers that I use. I only let it develope for a minute. Maybe next time I'll let it sit there longer.

Nice!

A note about Copper Sulphate... Be careful where you source it. Do not get it from Amazon. It's poor quality...at least the product that I got is. Get lab grade.

+1

 

[Andrew O'Neill]

...and humidity. If my darkroom goes beyond 65RH, my Ferroblends fail miserably. When that happens, I fire up the dehumidifier, and Bob's your uncle!

 

[Theodor Bader]

Congratulations!



Watercolour papers in general contain Calcium Carbonate, an alkaline material, as the buffer for archival purposes and this unfortunately interferes with all iron-based printing processes. In the specific case of FerroBlend, complexation of Cupric ions in the developer is critically dependent on pH. Presence of Calcium Carbonate in the paper affects complexation and results in general stain. For the developer to work as intended, the paper must be free of buffer. That's why it is best to neutralise the buffer in watercolour papers with either Sulphamic Acid or Citric Acid before using the paper for FerroBlend (or any other iron-based process).

Inkjet papers might or might not be buffered. But they have a coating for better ink absorption. No idea if this coating is helping in your case.

Thank You for Your advice and information.
I 'll repeat some cyanotypes on watercolour papers. Now with a Citric Acid bath before. Starting with a 3% solution and a pH controll of the bath. Do You have other experiences?