An older scanned carbon print
Redwood Cathedral
Prairie Creek Redwoods State Park
Rajah w/ Deardorf 5x7 back
Computar 210/6.3
Tri-X in HC-110
An older scanned carbon print
Redwood Cathedral
Prairie Creek Redwoods State Park
Rajah w/ Deardorf 5x7 back
Computar 210/6.3
Tri-X in HC-110
found an older image, made as a kind of tribute to E. Munch...
Photopolymer gravure
"The morning after"....
Hi Vaughn,Originally Posted by Vaughn
I saw Jim's Redwood series similar to this one . The the shadow relief is really pops and the light is absolutely gorgeous . I'm sure this one is a keeper. Thanks for posting.
That's a beauty, Vaughn!
Vaughn, that is a beauty. The light in the forest is pure magic!
I hope to post some prints as soon as I get my negatives developed from my weekend trip to Yosemite.
Very nice Vaughn
These are my first humble contributions here, so be kind...
It was my first cyanotype printing session yesterday - the basics aren't as difficult as I thought, but there is a lot to learn..
(Both taken on 4x5 Arista APHS with Sinar F1 and Fujinon 150mm f6.3, developed in Rodinal 1+100. Home mixed cyanotype solution on Fabriano paper.)
One thing that is not clear to me is how can I achieve more shadow details in the final print - longer exposure? greater/smaller distance from the UV source? washing in something else than clear water?
Last edited by andreios; 10-Apr-2011 at 09:17. Reason: addenda
Great start with those cyanotypes!
A lower contrast negative also provides some good mid-tones. Exposure is tricky if shadows are super important.
I have read some sources of light are higher contrast than others. I.e. metal halide is higher contrast than sun. In which case, you've move from metal halide to sun to get the shadow detail. Double coating also provides more dark "range" as well.
Furthermore not every image looks good in cyanotype. Some look great. Other times there are prints that look poor in silver but look great in cyanotype.
Processes that create a printed-out image (some image formation during exposure -- cyanotypes, platinums, salt prints, and even carbons) will often benefit from longer exposures using less intense UV light sources. There is a delay in the forming of the printed out image, and long exposures allow for more of the printed-out image to form than short intense exposures.
The printing-out image act as a printing mask -- holding back the shadow areas a little as the highlights get their full exposure. The result can be a little bit more even of tonality.
When I made some salt prints, I started the exposures in open shade, and finished off in the full sun.
Vaughn
Vaughn, that's good advice. I was not aware of this and worried why my weaker uv source (daylight coils) seemed to give better results.
Off topic: If I can't do any better than the the photocopy machine, I give up.
Maybe I posted this argyrotype before; but it was printed below photo-copy standard. This new print, from 8x10, just scrapes by...
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