Showcase for Your HCWP's

[koraks]

I like the deep blue of New Cyanotype

Classic creates the same density, but is less finicky in achieving it. Under optimal conditions, New produces virtually the same prints but with potentially a little less staining, and from a negative with a much, much larger density range.
I did cyanotypes quite intensively for a while and I have several prints from a period when I went from Classic to New and I can't for the life of me tell today which process was used for which print. They're indistinguishable.

 

[bernard_L]

Classic creates the same density, but is less finicky in achieving it. Under optimal conditions, New produces virtually the same prints but with potentially a little less staining, and from a negative with a much, much larger density range.
I did cyanotypes quite intensively for a while and I have several prints from a period when I went from Classic to New and I can't for the life of me tell today which process was used for which print. They're indistinguishable.

Thank you. A valuable data point. As I wrote, when I started I had to choose one or the other.
I guess I'm comparing my new cyanotype deep blues with the (presumably) classical cyanotype photograms of vegetals that I typically see in photo shows; admittedly not a proper, controlled A/B comparison. And indeed the d.r. required by New Cyanotype is a challenge (but doable) with low-end printer and transparencies.

 

[Franswa]

Last print of 2025 - platinum & palladium toned kallitype(sodium citrate) on 8x10 Bergger COT 320

 

[Patrick Robert James]

I started with the classical back in the 90s and I think around that time Ware came out with the New. I remember reading about it in Camera and Darkroom I think. It seemed finicky so I never bothered trying it. Classical is pretty flexible too. If it ain't boke don't fix it I guess.

 

[AndrewBurns]

I started with the classical back in the 90s and I think around that time Ware came out with the New. I remember reading about it in Camera and Darkroom I think. It seemed finicky so I never bothered trying it. Classical is pretty flexible too. If it ain't boke don't fix it I guess.

Depends what you're looking for. In my case going from classic to "blue sheet" cyanotype reduced my exposure time for an A2 sheet of paper with my projector from 2+ hours to 45 minutes, which is worth it to me.

Here's one such cyanotype, coffee toned. I've printed this before in smaller sizes and without toning and I think the untoned version actually looks better for this subject so I might make another one.

 

[Patrick Robert James]

Depends what you're looking for. In my case going from classic to "blue sheet" cyanotype reduced my exposure time for an A2 sheet of paper with my projector from 2+ hours to 45 minutes, which is worth it to me.

Here's one such cyanotype, coffee toned. I've printed this before in smaller sizes and without toning and I think the untoned version actually looks better for this subject so I might make another one.

Well that certainly is a good reason.. I'd suggest though that, as it seems you like making alt prints and are quite successful at it, you might want to build yourself a UV unit. Straight cyanotype for me is usually 3-5 minutes, often even less.

 

[AndrewBurns]

Well that certainly is a good reason.. I'd suggest though that, as it seems you like making alt prints and are quite successful at it, you might want to build yourself a UV unit. Straight cyanotype for me is usually 3-5 minutes, often even less.

The reason my exposure times are so long is because I'm using a home-made digital UV projector, I've written a bit about it here: https://www.photrio.com/forum/threads/making-a-uv-projector-for-alt-process-prints.212710/

It has some nice advantages, like I don't need to print digital negatives and I can theoretically print as big as I want, but the downside is very long exposure times because the LCD screen blocks so much of the UV light. Ultimately I think it's a fair trade, however if I can perfect the PVA-SbQ (Zerochrome SbQ) process it's so fast as a process that even with the low power of the projector my exposure times will be less than a minute.

 

[Raghu Kuvempunagar]

Last print of 2025 - platinum & palladium toned kallitype(sodium citrate) on 8x10 Bergger COT 320

Nice print! Did you tone the print sequentially?

 

[NedL]

Last print of 2025 - platinum & palladium toned kallitype(sodium citrate) on 8x10 Bergger COT 320

Very nice!

 

[retina_restoration]

Last print of 2025 - platinum & palladium toned kallitype(sodium citrate) on 8x10 Bergger COT 320

Superb print! Kudos!

 

[Franswa]

Superb print! Kudos!

Very nice!

Nice print! Did you tone the print sequentially?

Thank you all. @Raghu Kuvempunagar I've not done sequential toniing as of yet. I'm curious on your opinion on any benefits of doing so, and in the case of pt/pd if you have a preference or opinion on which to do first.

 

[Franswa]

First print of 2026: platinum & palladium toned kallitype

 

[MurrayMinchin]

.

Palladium toned Argyrotype on 21gsm handmade Japanese Gampi, temporarily tacky glued to a white support paper.

Digital negative for this print was made from an iPhone snap of a 5x7 enlargement from a 4x5 negative made on selenium toned Ilford multigrade IVFB paper, using sharp & unsharp pin registered masking techniques.

Still in the discovery phase with Argyrotypes...will make a digital copy of the original 4x5 negative once I've (hopefully) wrangled things under control

 

[NedL]

... iPhone snap of a 5x7 enlargement from a 4x5 negative made on selenium toned Ilford multigrade IVFB paper using sharp & unsharp pin registered masking techniques....

whatever works! It glows!

 

[MurrayMinchin]

whatever works! It glows!

Thanks. Definitely has a different look/feel/aesthetic compared to the MGIVFB print.

 

[fgorga]

A few recent cyanotypes toned with wattle a botanical dye stuff.

Stone Face
(image about 8x10 inches on Arches Text Wove paper)

Stone Friar
(image about 8x10 inches on Hahn. Biblio paper)

Stone God
(image about 8x10 inches on Arches Text Wove paper)

Sorry about the uneven lighting. These are cell phone photos of the prints laying on the floor. The paper is 10x13 inches, too large to scan.

 

[fgorga]

Two more... cyanotypes toned with sumac.

Garden Path
(image about 9.5 inches square on 12 inch square Fabriano Studio HP paper; it is already in a mat)

Well Worn
(image about 11x14 inches on 15x18 inch Legion Lenox 100 paper)