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Another batch (I always print in sets of 4, but one image didn't work out).
I had a go at coating one of my prints with Dorland's wax medium, as a way of protecting the surface for framing without glass. I quite like the results, gives a slight sheen to the print which makes it feel higher quality in person.
Here's two of the same print (on two different papers, which is why there's a significant colour difference between them). Coated on the right, plain on the left.
Here's the coated print framed without glass, my phone camera butchered the colours but you get the idea. I really like how it turned out, museum glass might give a similar result but compared to normal glass the lack of reflections and better contrast is really noticeable.
Here's two of the same print (on two different papers, which is why there's a significant colour difference between them). Coated on the right, plain on the left.
Here's the coated print framed without glass, my phone camera butchered the colours but you get the idea. I really like how it turned out, museum glass might give a similar result but compared to normal glass the lack of reflections and better contrast is really noticeable.
Andrew, really nice - even with Fluid HP paper and tannic acid I can't get mine to compare ( they get that bit of purplish/pink in the highlights - the shadows do get nice and black) I will just have to go get some coffee and try it as well. Been doing some gum bichromate, always a challenge for me - here are two from the same shot that came out pretty different - too much scarlet pyrrol in that orangish one and my base cyano was a bit intense on the other - but kind of interesting......I guess that's the fun of gum printing. - Dave
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I quite like both of those actually, just different interpretations. Probably the first one would work better in most scenarios. Very cool how the split-tone effect can trick your brain a little into thinking it's full colour.
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Dave and Andrew, nice prints!
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I'm happy to say that after my printer being down for almost a year, I finally got around to fixing the problems. Took a bit of surgery but it is back kicking. I am looking forward to making some prints again! Now I just have to find something worth printing. That is always the hard part...
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Got around to printing a bit this weekend. Had to try to remember what the heck I was doing. Didn't start off well, but picked up as I went. These are the only two that are decent of the bunch. I'll have to recalibrate my negs. They are a bit off I think. Oh well. Feels good to make some cyanotypes again. I really want to get back to Salt and Cuprotypes.
These are both on Hosho. Only paper I could get working for some reason. Even my old trusty Canson XL Bristol was kind of meh, and Bergger COT for some reason looked horrible. Strange how ephemeral alt printing materials can be. Just straight prints trying to get myself back in the saddle. The first image is the buttress of a church on the Turquoise Trail in New Mexico from 30 years ago. The second is just a window display on one of my evening walks. Both are from 35mm negs.
These are both on Hosho. Only paper I could get working for some reason. Even my old trusty Canson XL Bristol was kind of meh, and Bergger COT for some reason looked horrible. Strange how ephemeral alt printing materials can be. Just straight prints trying to get myself back in the saddle. The first image is the buttress of a church on the Turquoise Trail in New Mexico from 30 years ago. The second is just a window display on one of my evening walks. Both are from 35mm negs.
Looking good! Yeah it's amazing how much difference the paper can make, on the one hand it's great that there are so many options out there to try but on the other hand it can be frustrating when the paper you're comfortable with goes out of stock!
There's something very satisfying about holding one of these alt-process prints, they're way nicer to hold/feel vs. an inkjet print. I think that basically comes down to the paper, even matte rag inkjet paper still has the slightly sticky coating on top which makes it unpleasant to hold.
There's something very satisfying about holding one of these alt-process prints, they're way nicer to hold/feel vs. an inkjet print. I think that basically comes down to the paper, even matte rag inkjet paper still has the slightly sticky coating on top which makes it unpleasant to hold.
Yes I agree, my results are so variable based on paper ... here is one I made over the weekend on some 30# Kozo ( mulberry paper). I bought it on a whim in an art store, pretty difficult to coat but the results are really interesting. Need to fix my curve the highlights are a bit blown but not terrible. City gate, Gerace Italy (Calabria )
Nice prints Patrick. I really like the first one....
Nice prints Patrick. I really like the first one....
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Thanks Dave.
30# is pretty heavy Kozo! I've had some heavyweight Kozo in the past. These days I use Thai Kozo from Blick which is fairly thin but is pretty inexpensive and works great. It holds up well in the wash though it can kink sometimes. The Hosho can tear easily so I usually give the image a larger border. Sometimes I pick it up and the corner just falls off. I make small prints too so I'd imagine larger prints would be a big problem for Hosho. This time around I intend to make some larger prints. I have made some 12" prints in the past but just for shits and giggles. I think larger prints on Kozo would be nice. Wish I had a bigger printer and contact frame. 14x17 is my max for my contact frame but my printer only goes to 13, so realistically, 12x16.
When I coat Kozo I use a hard surface like a sheet of plexi and let the chems permeate the paper. It is easier that way. I've been thinking about using a roller as well but I haven't tried it yet. I use a roller when I make gum prints. The roller would probably waste a lot of chemistry for cyanotype though.
Andrew, yeah, paper! I've tried over 100 different ones at this point. Kind of stupid really but variety is the spice of life and all. I really need to get my pile down to a couple that I like and that work. Thinking about buying a bunch of paper before the prices skyrocket too. We all know that is coming.
30# is pretty heavy Kozo! I've had some heavyweight Kozo in the past. These days I use Thai Kozo from Blick which is fairly thin but is pretty inexpensive and works great. It holds up well in the wash though it can kink sometimes. The Hosho can tear easily so I usually give the image a larger border. Sometimes I pick it up and the corner just falls off. I make small prints too so I'd imagine larger prints would be a big problem for Hosho. This time around I intend to make some larger prints. I have made some 12" prints in the past but just for shits and giggles. I think larger prints on Kozo would be nice. Wish I had a bigger printer and contact frame. 14x17 is my max for my contact frame but my printer only goes to 13, so realistically, 12x16.
When I coat Kozo I use a hard surface like a sheet of plexi and let the chems permeate the paper. It is easier that way. I've been thinking about using a roller as well but I haven't tried it yet. I use a roller when I make gum prints. The roller would probably waste a lot of chemistry for cyanotype though.
Andrew, yeah, paper! I've tried over 100 different ones at this point. Kind of stupid really but variety is the spice of life and all. I really need to get my pile down to a couple that I like and that work. Thinking about buying a bunch of paper before the prices skyrocket too. We all know that is coming.
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I was able to make a few new prints. It is funny how much we forget when we aren't exercising the knowledge. Getting back on track though. I still need to calibrate the negatives for each paper but that is so dull and I just have fun printing by best guess, though that results in a lot of waste. I did do a deep dive with the thousand or so prints I've made. Decided to limit the number of papers I use to make life simpler. My selections ended up being Kozo, Hosho, Somerset and Revere Platinum for cyanotype. Fabriano Studio for salt prints. Stonehenge for Gum and Gum overs. Fabriano Unica for Cuprotype. I like Bergger COT but I was buying the 16x20 and cutting it down. There were a lot of seams in the paper that were annoying. They showed up as a ripple and I couldn't get them flat. Otherwise it is a good paper. Maybe I'l try it in smaller sizes.
The first one is on Kozo. The second is on Bergger COT.
The first one is on Kozo. The second is on Bergger COT.
Interesting.
Interesting.
MurrayMinchin
Membership Council
On coating thin Kozo or Gampi papers...
I haven't figured out how to get the typical brush patterns (black brushed edges with clear white paper beyond the brush strokes) typically seen with thicker papers when using thin Kozo or Gampi. Is it even possible?
What I've been doing is tearing the paper just past the image area so as to give the image a thin black border.
On a sheet of glass, the Washi gets thoroughly wetted out with distilled water ensuring it is completely flat and uniformly wet. Next, I take a piece of plain brown newsprint and press it down on the Washi, making sure not to soak up too much of the water. Wipe up any excess water from around the paper.
Then the sensitizer gets brushed on making sure not to apply too much pressure with as few strokes as possible, while ensuring even coverage...some surfaces are easily damaged. Wetting the paper first ensures even sensitizer spread.
A fan then blows air over the sensitized paper while still on the glass sheet for about 20 to 30 minutes. Mine stays stuck to the glass, gets peeled off easily with the help of a razor blade at a corner, and comes up completely flat.
Plan is to mount these using a traditional Japanese wheat starch glue onto a heavier sheet of Kozo, or maybe a western paper.
Palladium toned Argyrotype on 21gsm Gampi: (Jug handle there for pure white, glove shadows for pure black)
I haven't figured out how to get the typical brush patterns (black brushed edges with clear white paper beyond the brush strokes) typically seen with thicker papers when using thin Kozo or Gampi. Is it even possible?
What I've been doing is tearing the paper just past the image area so as to give the image a thin black border.
On a sheet of glass, the Washi gets thoroughly wetted out with distilled water ensuring it is completely flat and uniformly wet. Next, I take a piece of plain brown newsprint and press it down on the Washi, making sure not to soak up too much of the water. Wipe up any excess water from around the paper.
Then the sensitizer gets brushed on making sure not to apply too much pressure with as few strokes as possible, while ensuring even coverage...some surfaces are easily damaged. Wetting the paper first ensures even sensitizer spread.
A fan then blows air over the sensitized paper while still on the glass sheet for about 20 to 30 minutes. Mine stays stuck to the glass, gets peeled off easily with the help of a razor blade at a corner, and comes up completely flat.
Plan is to mount these using a traditional Japanese wheat starch glue onto a heavier sheet of Kozo, or maybe a western paper.
Palladium toned Argyrotype on 21gsm Gampi: (Jug handle there for pure white, glove shadows for pure black)
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Patrick— Paper choices are making me feel like a rat in a Skinner Box, but I was curious how you salt (and acidify?) your Fabriano paper? I’ve got some Revere Platinum and COT 320/160 to play with but I really like the textures I’ve seen from the Fabriano.
Murray—still following your project with much interest, though I really, really wish you hadn’t posted the photogravure/chine-colle‘ video a while back: I keep thinking you’d need a dedicated room, one print per wall, and everybody would have to take his shoes off before entering…
Murray—still following your project with much interest, though I really, really wish you hadn’t posted the photogravure/chine-colle‘ video a while back: I keep thinking you’d need a dedicated room, one print per wall, and everybody would have to take his shoes off before entering…
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I've found the coating spreads on Kozo and Hosho. I doubt you could get a brush mark to set and be sharp.
I use wheat starch to mount my Kozo prints on thicker paper like watercolor or bristol. I usually just do the top corners and let it float. Before mounting I cut the prints near the border to clean them up.
MurrayMinchin
Membership Council
Sigh...had to let the photogravure dream fade away when finding an affordable/appropriate used etching press close to where I live proved impossible. One of the biggest reasons photogravure called to me was their life expectancy, which is said to be up to 1000 years.
Japanese Washi can last over 1000 years, so a palladium toned argyrotype should be just as long lived as a photogravure.
A surprising realization was how much respect I have for the knowledge & tradition with handmade Washi, where each individual piece almost demands respect. Makes me want to up my game significantly!
After dabbling around with several alternative processes, pretty sure I'll be staying with Argyrotypes
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MurrayMinchin
Membership Council
I'll have to try your top corner method and compare it to a full mount onto a backing/support paper.
The 21gsm paper I'm using is so thin that if it isn't pressed right against white backing paper, the whites in the image go very bland. Subtle textures also seem to get lost. Full wheat starch mounting would make sure light passes through the Washi & reflects back to give a good white and would also provide protection. The stuff is surprisingly strong, but looks like compressed spider webs.
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Paper choice is a rabbit hole that leads to a rabbit maze that leads to a rabbit dungeon!Patrick— Paper choices are making me feel like a rat in a Skinner Box, but I was curious how you salt (and acidify?) your Fabriano paper? I’ve got some Revere Platinum and COT 320/160 to play with but I really like the textures I’ve seen from the Fabriano.
Murray—still following your project with much interest, though I really, really wish you hadn’t posted the photogravure/chine-colle‘ video a while back: I keep thinking you’d need a dedicated room, one print per wall, and everybody would have to take his shoes off before entering…
What Fabriano paper are you using? The Studio paper is different from the Artistico which is different from.... The Studio paper is pretty inexpensive so I appreciate that since I am just futzing around these days. I use the Hot Press version.
For Salt I just do it the normal way and don't acidify it. Coat the salt, let it dry, coat the silver.... If I am going to acidify for cyanotype then I usually use Sulfamic Acid but sometimes I get lazy and just use Citric. I leave it in the acid a little while after the paper stops bubbling. All straight forward. Usually acidifying the paper speeds it up and gives better tones. I don't recall any papers that didn't improve with pre-acidifying for cyanotype.
Ha—thanks, gents. Strange to say, I’m all about standardization—FP4+, ride or die--but the albumen scene especially has me looking for my next food pellet.
For Fabriano Artistico a 5 min bath of 3% NaCl + 5% H3Cit, followed by coating with 15% AgNO3 works nicely. No pre-acidification needed.
Or you can float COT 160 in 40°C 3% NaCl + 5% H3Cit + 1% gelatin for 30s, and get a slightly higher Dmax.
FIoating thicker papers without getting gelatin on the verso is tricky, but maybe it's possible with practice.
A series of cyanotype-over-Van-Dyke prints showing the gamut of hues this combination is capable of.
I made these when playing with some negatives I made; the prints are all made from a single negative.
Much obliged, FotoD—I had not really read too much about “high temperature“ salting, but it certainly seems worth trying.
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