post alternative techniques

[Randy]

Barry, you might try a dilute bleach bath to see if it gets rid of some of the yellowing. I have never tried the new cyanotype formula, so no idea how it would react in the bleach bath. Actually, with cyanotypes, it's hard to predict how they will come out period.

Me - I have gotten to where I like the "cyan" color of the cyanotypes and rarely try any toning. The natural color has kind of grown on me. But every now and then the temptation to tone one crops up and I use a dilution of 1 part liquid household bleach to 3 parts water. I do it right after my print has washed. I slip it into the solution and I watch closely since it doesn't take very long to see a reaction, then I pull it out and rewash for a bit then dry. I usually get a mixture of colors, but because I am using bleach I don't seem to get the yellowing of the paper:

[Barry Kirsten]

Thanks Dan and Randy, some interesting thoughts for me to contemplate; just what I wanted. I really like the new cyanotype too; somehow cleaner and brighter, which is probably another way of saying better tonal range and separation. Why did I choose cyanotype? I ask myself the same question, because basically I don't like blue photographs. I have seen some that are exceptional, but I don't think all subjects present well in blue. I guess I started with cyanotype as an easier way of getting into alternative processes. I'm also trying to learn carbon transfer, and that is not easy. Among the suggested toning processes, tannic acid seemed the better option to me simply because it doesn't produce a strong color tone (e.g. yellow, violet, green) like some other processes.

Randy, I used HCl as bleach, according to Mike Ware's recommendation. As you suggested, I have been thinking along the lines of partial bleaching, but have not experimented with that thus far. Although cyanotype is a simple process there is scope for experimentation, and obviously there's a lot for me to learn. Thanks both of you for your thoughts.

[andreios]

Time to revive this thread a little bit - as I stared to revive my own printing


Misty hill by Andrej, on Flickr

Palladium toned kallitype (from an in camera 4x5 negative, printed on Bergger Cot 320)

[andreios]

And another one...



Old Giant by Andrej, on Flickr

Tachihara 8x10 with 19 in Red Dot Artar
Fomapan 200 in Pyrocat HD
Kallitype on Bergger Cot 320, palladium toned

[David Schaller]

Both are wonderful Andreios. Thanks for posting!

[Tri Tran]

Pompei
20x24 Sea salt Print.
Thanks Jim Noel for the tips and info.

[Pat Kearns]

Pompei
20x24 Sea salt Print.
Thanks Jim Noel for the tips and info.

Tri Tran,
Absolutely beautiful. I would really like to see the original print .
Best regards,
Pat

[Tri Tran]

Sure, are you local? Thanks for checking. TT

[Pat Kearns]

Tri,
I'm sorry to say no, located in Mobile, AL on the Gulf Coast. I've enjoyed your alternative techniques work for many years. There are a number of photographers on the LFPF located on the West Coast that I would like to meet.
Best regards,
Pat

[Tri Tran]

Tri,
I'm sorry to say no, located in Mobile, AL on the Gulf Coast. I've enjoyed your alternative techniques work for many years. There are a number of photographers on the LFPF located on the West Coast that I would like to meet.
Best regards,
Pat

Thanks Pat. Hope to meet you in SoCal in the near future .

Here's another version of 50x60cm Sea Salt contact print from in camera negative. I like a bit of Truffles tone with Sea Salt.
About the print.
The print sized with Albumen ( Egg White), Sea Salted , silver chloride coated over substrate France Arche Platines Water color paper then contact print exposed under UV light source.
The print also developed under Sea Salt Water , cleared and stabilized with Sea Salt Fixer. Toned with Palladium then sealed with butter wax and lavender oil for its final protection.

Cymbidium Orchid
20x24in Sea Salt print