Much obliged, FotoD—I had not really read too much about “high temperature“ salting, but it certainly seems worth trying.
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.
View attachment 398236
View attachment 398237
I haven't made a salted-paper print since...
I haven't made a salted-paper print since back in November, roughly seven months ago. The last time I made any alt process prints (some sumac toned cyanotypes) was over a month ago. Where does the time go?
Any way... here are two new salted-paper prints made this afternoon.
Both are 4x5 inch images from digital negatives on Hahn. Pt Rag paper. I am aiming/hoping to eventually make 11x14ish images. (If I get there, they will be the largest salt prints I have ever made)
Portland Head (Maine) Light - from an exposure made several weeks ago.
View attachment 400178
Meetinghouse Interior (Rockingham, Vermont) - from an exposure made about ten days ago.
View attachment 400179
Excellent prints, both of them, great subject matter and comp. I like the tone, I have seen some salt prints that are more "ruddy" sort of a bit of reddish color to them - while these are a what I would call a warm black ... I am assuming no secondary toning. Be interested in seeing how they come out at 11 X 14, I have never tried to make any larger than 8X10.
Coincidentally, I just made some cyanotypes for the first time in several months - I purchased a bottle of the " new cyanotype" with some other supplies I was ordering and printed this print on Arches watercolor ..... I will say I like the really deep blues it produces.
Dave
View attachment 400210
Nice Dave. I've never tried the new Cyanotype method. Quite striking. Almost looks unreal! Curious how you would compare it to the traditional method.
I bought some Arches watercolor paper in my last stack of paper purchase. I'm going to blame you if it doesn't work out! Lol.
I spent the last week or so chipping away at finding some type of calibration to make printing more predictable. I think I finally have some things set, so like Frank, I am going to print bigger. Got a stack of paper, a stack of Fixxons, and a printer that now works with a new head. Hopefully I'll make something worth making. That is the hardest part.
The "new cyanotype" is somewhat ( maybe a full stop) faster than the traditional, is a single solution and is developed ( according to CZ Anderson) in either a dilute sulfamic( 1/2 tbs/liter) or citric acid.
Looks like a nice range of tones in both! Meeting house is a nice composition.
Looking good Frank! Larger prints just mean you need a bigger brush....
Thanks for the kind words.Excellent prints, both of them, great subject matter and comp. I like the tone, I have seen some salt prints that are more "ruddy" sort of a bit of reddish color to them - while these are a what I would call a warm black ... I am assuming no secondary toning. Be interested in seeing how they come out at 11 X 14, I have never tried to make any larger than 8X10.
Coincidentally, I just made some cyanotypes for the first time in several months - I purchased a bottle of the " new cyanotype" with some other supplies I was ordering and printed this print on Arches watercolor ..... I will say I like the really deep blues it produces.
Dave
View attachment 400210
Patrick,
The "new cyanotype" is somewhat ( maybe a full stop) faster than the traditional, is a single solution and is developed ( according to CZ Anderson) in either a dilute sulfamic( 1/2 tbs/liter) or citric acid. Also it doesn't develop mold like the traditional - if you mix your own.
I purchased a 100 ml bottle from Mountain Intaglio ( Clay harmon's studio) for about $20. A cheap way to get started. Clay has told me that if you mix it 1:1 with water the resulting color is more like traditional cyanotype. HoweverI really like the deep blue/black.
Arches Watercolor is a great paper for cyanotype however it is buffered and it works best with cyanotype ( trad or new) if you add a drop of 40% citric acid for every ml of solution... this gives the best results for me.
Quite a lovely demonstration of the possibilities of this printing process - bravo!
I like both of your prints. Do you happen to have a link to prints he made of this negative?Debanjan is an ace gum printer and dabbles in a number of alt processes
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?