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Showcase for Your HCWP's

bernard_L said:
I like the deep blue of New Cyanotype
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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.
 
Last print of 2025 - platinum & palladium toned kallitype(sodium citrate) on 8x10 Bergger COT 320

 
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.

 

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.
 
Patrick Robert James said:
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.
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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.
 
.

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
 
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NedL said:
whatever works! It glows!
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Thanks. Definitely has a different look/feel/aesthetic compared to the MGIVFB print.
 
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.
 
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)
 
Two recent photogravures, one from Santa Fe and some wilted flowers à la poupée. Both on Hahnemuhle Durer. Have some cyanos I want to tone with recently collected birch calkins - will see how that comes out ...




 
KYsailor said:
Two recent photogravures, one from Santa Fe and some wilted flowers à la poupée. Both on Hahnemuhle Durer. Have some cyanos I want to tone with recently collected birch calkins - will see how that comes out ...
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Beautiful!

I'm jealous that you have flowering birches... here in NH we had snow flurries over the weekend, but the red leaf buds of the maples are finally showing so hopefully spring is coming!
 
fgorga said:
Beautiful!

I'm jealous that you have flowering birches... here in NH we had snow flurries over the weekend, but the red leaf buds of the maples are finally showing so hopefully spring is coming!
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Thanks for the compliments. Spring has been early, the birch calkins are done and the dogwoods are also pretty much finished. As a "veteran" of 25 years in NYS near Saratoga, I really enjoy the early springs.
 
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