Very nice!
Many thanks indeed.
In a slight face-palm moment, I also now realise I used the wrong neg to do these with - I used the neg with the curve I built for Argyrotype for these: a very different beast from the Cyanotype curve. I'm actually fine with this result - the Cyanotype curve introduces much much more contrast esp in the lower mid-tones; but the lighter effect of using the wrong neg for these has worked (accidentally) very well for these negs. Also indicates (for those who were wondering) why there is a lack of contrast - since the argyrotype neg has simply taken quite a lot of it away. I may do the marjoram print again with the correct negative, and wash it in distilled water for a good while to see if I can get the highlights looking a bit clearer.
My go-to message to self with Alt pro is that no "mistake" is a real mistake unless you have a completely unusable image. Everything is an experiment!
In one further discovery/note to self, if you mask off the neg with rubylith when doing these, it's then impossible to tell which neg you are using if the marker pen note in the neg border is covered up... Further complications in the setup always introduce further possible places to make "mistakes"!!
Glasshouse Doorway, Marjoram Toned Cyanotype
Hot Marjoram Tea toned, 10mins
DIY digital neg from scanned 5x4 film original, printed on Hahnemühle Platinum Rag 11x15. (Using the Cyanotype curve negative this time!! Makes quite a difference...)
Originally shot on Ilford Delta 100 with Linhof TK S45 and Scheider Apo-Symar MC 150mm f/5.6
Wells Cathedral London - Color Bromoil. 35mm color slide scanned (very high resolution) and printed on Fixxons transparency film as an 8 x 10 digital negative. Then printed onto 11 x 14 Arches Platine watercolor paper coated with FOMA liquid emulsion, bleached/tanned and inked for a color bromoil print.
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