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St Pauls Photography - Cyanotypes
St Pauls Photography - Cyanotypes
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how to make a cyanotype print
how to make a cyanotype print
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How to print a Cyanotype
How to print a Cyanotype
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Cyanotype Printing: A 19th Century Process for Today
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Creating a Digital Negative for Cyanotypes
Creating a Digital Negative for Cyanotypes
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Cyanotype Demonstration
Cyanotype Demonstration
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Comment faire un Cyanotype
Comment faire un Cyanotype
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Cyanotype - Preparing the paper
Cyanotype - Preparing the paper
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Cyanotypie (Cyanotype)
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Lesson 20: Alternative Processes Series 2: Cyanotypes
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Cyanotype Photoshop Negative
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Christine Caldwell on Cyanotype Process
Christine Caldwell on Cyanotype Process
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Cyanotypes - vintage photographic process with Natalia Skobeeva
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Making Cyanotype Prints
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Coating fabric for cyanotype
Coating fabric for cyanotype
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How to Print Cyanotype on Glass
How to Print Cyanotype on Glass
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How to Make Cyanotype Prints : Cyanotype Print Sun Exposure
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How to make cyanotype print on t-shirt
How to make cyanotype print on t-shirt
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Making Cyanotype Prints : Coating Cyanotype Paper with Chemicals
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Cyanotype Photography Tutorial
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How to Make Cyanotype Prints : Tea Toning Cyanotype Prints
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Cyanotype / How to deal with Sunography paper
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Experimental Photography Processing : Experimental Photography: Cyanotype with 4x5 Negative
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The Cyanotype HOTLINE2012 島村楽器札幌店 店予選動画
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Experimental Photography Processing : Experimental Photography: Pinhole Camera Cyanotype
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HOW TO: Cyanotype
HOW TO: Cyanotype
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How to Make Cyanotype Prints : Removing Cyanotype Prints from Tea
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Cyanotype
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::2013/02/28::
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Exposing and washing they cyanotype print
Exposing and washing they cyanotype print
::2012/10/02::
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2010 Art Institute of Pittsburgh Cyanotype Mural
2010 Art Institute of Pittsburgh Cyanotype Mural
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Making A Cyanotype Silk Scarf
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cloth cyanotypes
cloth cyanotypes
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Seapoint - Cyanotype Cities (2012) - [ B.YRSLF DIVISION ]
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Making Cyanotype Prints : Cyanotype Print Chemicals
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stage de cyanotype Avignon juin 2010
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Recording a Cyanotype Action In Photoshop CS 6
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Glass Cyanotype Test 1: Ferric Ferrocyanide (Prussian Blue) + Potassium Cyanide
Glass Cyanotype Test 1: Ferric Ferrocyanide (Prussian Blue) + Potassium Cyanide
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Cyanotype Drawing
Cyanotype Drawing
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Making cyanotype paper for sunprint
Making cyanotype paper for sunprint
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Experimental Photography Processing : Experimental Photography: Cyanotype Photogram
Experimental Photography Processing : Experimental Photography: Cyanotype Photogram
::2008/09/12::
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making a blueprint (cyanotype)
making a blueprint (cyanotype)
::2011/11/13::
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cyanotype stage Avignon
cyanotype stage Avignon
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46
Photography Techniques : How to Make a Cyanotype
Photography Techniques : How to Make a Cyanotype
::2008/12/03::
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How to Make Cyanotype Prints : Cyanotype Negative Types
How to Make Cyanotype Prints : Cyanotype Negative Types
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48
Cyanotype Process
Cyanotype Process
::2012/10/31::
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49
Making a Cyanotype - (class version)
Making a Cyanotype - (class version)
::2011/11/07::
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Making Cyanotype Prints : Cyanotype Papers
Making Cyanotype Prints : Cyanotype Papers
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From Wikipedia, the free encyclopedia
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Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

History[edit]

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

Process[edit]

Cyanotype postcard, Racine, Wis., ca. 1910

In a typical procedure, equal volumes of an 8.1% (w/v) solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any surface capable of soaking up the iron solution. Although watercolor paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.

A positive image can be produced by exposing it to a source of ultraviolet light (such as sunlight) through a contact negative (which can be produced by any suitable means, e.g. a conventional photographic negative or a print on acetate film made using photo-processing software to invert a positive monochrome digital image). The UV light reduces the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) complex with ferricyanide. The result is an insoluble, blue dye (ferric ferrocyanide) known as Prussian blue.[5]

Exposure to ultraviolet light reduces the iron in the exposed, turning the paper a steel-grey-blue color. The extent of color change depends on the amount of UV light, but acceptable results are usually obtained after 10-20 minute exposures on a dark, gloomy day. The highlight values should appear overexposed, as the water wash reduces the final print values. Prints can be made with large format negatives and lithography film, or everyday objects can be used to make photograms.

After exposure, developing of the picture involves the yellow unreacted iron solution being rinsed off with running water. Although the blue color darkens upon drying, the effect can be accelerated by soaking the print in a 6% (v/v) solution of 3% (household) hydrogen peroxide. The water-soluble iron(III) salts are washed away, while the non-water-soluble Prussian blue remains in the paper. This is what gives the picture its typical blue color.[5]

The overall contrast of the sensitizer solution can be increased with the addition of approximately 6 drops of 1% (w/v) solution potassium dichromate for every 2 ml of sensitizer solution.

Toning[edit]

Fred Holland Day cyanotype, part of the Louise Imogen Guiney collection

In a cyanotype, a blue is usually the desired color; however, there are a variety of effects that can be achieved. These fall into three categories: reducing, intensifying and toning.[6]

Reducing is the process of reducing the intensity of the blue. Sodium carbonate, ammonia, Clorox, TSP, borax, Dektol and other reagents can be used to do this. A good easily obtained reducer is Sunlight laundry detergent.[citation needed] When using a reducer it is important to pull the cyanotype out of the weak solution and put the cyanotype into a water bath to arrest the bleaching process.

Intensifying is the strengthening of the blue effect. These reagents can also be used to expedite the oxidation process the cyanotype undergoes. These reagents are hydrogen peroxide, citric acid, lemon juice, and vinegar.[6]

Toning is the process used to change the color of the iron in the print cyanotype.[6] The colour change varies with the reagent used. There are a variety of elements that can be used, including tannic acid, oolong tea, wine, cat urine, and pyrogallic acid.[6]

Long-term preservation[edit]

In contrast to most historical and present-day processes, cyanotype prints do not react well to basic environments. As a result it is not advised to store or present the print in chemically buffered museum board, as this makes the image fade. Another unusual characteristic of the cyanotype is its regenerative behaviour: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment.

Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soap[7] so as to not turn the cyan to yellow.

Largest cyanotype[edit]

The largest known cyanotype is Coup de Théâtre, which was organised by Vincent Martin and Michel Miguet at le festival Art et Science at Avignon, France on July 11, 2013. Fifteen people lay on the 5.5m x 7.9m coated cotton cloth to form a circle with their bodies while others put their hands around the periphery. The work was exposed to the sun for 10 minutes. This is the largest cyanotype made since The Dance in 2004.

References[edit]

  1. ^ "V&A: Exploring Photography : Photographic Processes : Cyanotype". Vam.ac.uk. 2012-11-13. Retrieved 2012-12-22. 
  2. ^ "VERNACULAR PHOTOGRAPHY The Cyanotype". Vernacularphotography.com. 2012-12-12. Retrieved 2012-12-22. 
  3. ^ "Anna Atkins, British, 1799-1871". Leegallery.com. Retrieved 2012-12-22. 
  4. ^ "V&A: Exploring Photography : Photographers : Anna Atkins". Vam.ac.uk. 2012-11-13. Retrieved 2012-12-22. 
  5. ^ a b "General View of Niagara Falls from Bridge". World Digital Library. Retrieved 11 February 2013. 
  6. ^ a b c d Berkowitz, Steven. "Hybrid Photography - Cyanotype Toners" (PDF). 
  7. ^ "Washing instructions for cloth". blueprintsonfabric.com. 
  • Atkins, Anna (1985). Sun Gardens: Victorian Photograms. With text by Larry J. Schaaf. New York: Aperture. ISBN 0-89381-203-X. 
  • Blacklow, Laura (2000). New Dimensions in Photo Processes: a step by step manual (3rd ed.). Boston: Focal Press. ISBN 0-240-80431-7. 
  • Ware, M. (1999). Cyanotype: the history, science and art of photographic printing in Prussian blue. Science Museum, UK. ISBN 1-900747-07-3. 
  • Crawford, William (1979). The Keepers of Light. New York: Morgan and Morgan. ISBN 0-87100-158-6. 

External links[edit]

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