Excellent example, that helps! Thanks!
Excellent example, that helps! Thanks!
Some great use of roiboos... Are you using the traditional cyanotype formula or the "new cyanotype" developed by Dr. Ware?
(I'm just asking because I've run out off cyanotype chemistry and am thinking about giving the "new" one a try and I was wandering if its' response to toning is the same.)
And if I recall correctly, no bleaching in those. I am amazed you get such tones without it.
Gandolfi,
Are the examples you gave direct scans from prints? I've tried a few variants on toning with tea (including Roiboos) and always see quite a bit of staining of the paper base. I'd love to know how to get the tone you demonstrated without an unpleasant yellowish-brown color in the paper.
My favorite cyanotype toner to date was made by boiling redwood shavings; I tried normal well water (pH 8.4) and water acidified to pH 6 with vinegar, and in both cases got a very nice brownish-black with very little base staining. Side benefit: I can drink the Roiboos while I work on the prints....
a rare landscape from me - in Bromoil..
"On it's side" - a palladium print
One issue with the metal-based processes (pd/pt, cyanotypes, kallitypes etc) is that the image sinks into the paper.
This affects the clarity of the image.
In an effort to alleviate this, I have recently started sizing the paper for these prints with gum or gelatin.
For the above print, I sized the paper with gelatin.
Lens - Voigtlander Portrait Euryscope, Series II, No 7 at f4
Film - Kodak green Xray film developed with Rodinal in Jobo
This is a pure palladium print with a drop of 5% ammonium dichromate for contrast.
Hendrik, another nice photogravure. For my last print, I sized Fabriano Artistico paper. I use Gampi #20 and Echizen gampi for photopolymer work.
another Bromoil from an old Type 55 film. Just some tulips..
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