Tutorial on how to achieve more detail in your final print
I started experimenting with cyanotype several years ago as I wanted to be able to produce prints of my photography at home. I started out using digital negatives but soon I was working with botani…
Cyanotypes are not photographic images made with a camera but are related to the days of working in the darkroom inasmuch as they are created on chemical-sensitized paper and sunlight!
Artist Julia Whitney Barnes has a fascinating process for creating cyanotype, watercolor and gouache pieces on paper.
Cyanotypes are also called sun prints. They're made using photosensitive paper. They're fun and easy to make.
Learn how to make a beginner friendly Cyanotype print using the sunlight in our complete guide to making a DIY cyanotype print.
Analog Forever Magazine is pleased to showcase 81 images in this month’s online exhibition, entitled “A Certain Kind of Blue,” curated by photographic artist and Assistant Professor in Photography at the University of Tampa, Jaime Aelavanthara!
The original wet cyanotype method, as first invented by Krista McCurdy
Cyanotypes, commonly known as “sun prints”, are a very fun and immediate form of basic photography. A brief description of the process: A piece of paper is treated with a photo sensitive solu…
Cyanotypes are not photographic images made with a camera but are related to the days of working in the darkroom inasmuch as they are created on chemical-sensitized paper and sunlight!
Egill Ibsen shows us how cyanotypes can be painted with acrylics to get a spectacular result. Maybe you would like to try?
As a photographic artist most of the time I am confined to 2D work. But, not this time! Grown in darkness, 2019Cyanotype paper flower sculpture by Jo Howell The final piece of my Me and Mary Eleano…
Explore Attila Pasek (Albums!)'s 4702 photos on Flickr!
Christina Z. Anderson spends her hard earned money ($1613) on paper research for cyanotype papers and generously shares the results.
An original blueprint or cyanotype printed with dried flowers from Amsterdam/
Artist Meghann Riepenhoff uses the cyanotype process to make prints of waves, sand, and rain.
Jim argues the case for using inexpensive papers for printing cyanotypes. Try these papers for cyanotype.
Cyanotypes are a fun and easy way to make prints on paper and textile. But perhaps the bright blue color of a cyanotype isn't really your thing? No problemo! With everyday things like coffee and tea you can turn your cyanotypes from bright blue to warm brown.
When we first moved into our home 42 years ago we found a large pile of discarded bottles in the top corner of the half acre of...
. looking forward to seeing all you kind people there. www.facebook.com/FEHRE6 .
Tutorial on how to achieve more detail in your final print
These stunning large-scale works of art look like giant photos or perhaps hyper realistic paintings, but they’re neither. They’re a brilliant, unique form of paper art!
Brian Young tells the fascinating story of salt prints and cyanotypes - photographic printing processes from the 19th Century.
Because Prussian blue is nice but can get old Maria Azul, variations of the same print with different toning bathsCyanotypes are often many people’s getaway process into alternative photography, and they are easily recognisable by their characteristic cyan-blue tones… but do cyanotypes always have to be blue?You can make the most out of your cyanotype kit and be surprised about the variety of colors you can produce from it using chemicals from your laundry room and even your kitchen’s organic wa
From a series of publicity photos for ceramic artist Clare Mahoney. Find out more and buy her work at www.crmceramics.co.uk.
(click on image to make it larger) 1. Overexposed. No Bleach. Very long tannic acid bath. 2. Brief bleach. Long tannic acid bath. 3. Medium bleach (half of cyan color left, half gone). Long tannic acid bath. 4. Bleach all cyan color out. Tannic acid bath. 5. Long bleach (almost all cyan color gone except in darkest shadows). Tannic acid and coffee mix for toning bath. 6. Medium bleach (half of cyan color left, half gone). Tannic acid and coffee mix for toning bath. 7. No bleach. Coffee bath over night (about 7 hours). 8. Completely bleach all cyan color out. Coffee bath for about 2 hours. 9. No Bleach. Coffee and tannic acid bath for about 3 hours. 10. Long bleach (almost all cyan color gone except in darkest shadows). Coffee and tannic acid bath for about 3 hours. 11. Completely bleach all cyan color out. Black tea bath for about 3 hours. 12. No bleach. No tone. Native cyan color. Notes: * The bleaching solution used was Borax in water. * The tannic acid solution is from Bostick & Sullivan. It is part of their bleaching/toning kit. It is cyanotype toning solution B. * The coffee is a dark roast. I do not remember the brand. I brewed an entire pot. * The tea is Tetley classic black tea. * All the images had a standard exposure time of 10 minutes, with the exception of #1, which had a 12 minute exposure time. * The prints were scanned with an Epson Perfection V500 PHOTO scanner. All color corrections were turned off so things might look a little bit flat. But, while considering the differences that exist with each person's monitor, web compression, and jpeg compression, I decided to leave the images alone so that, even though they are a little dull, the relative differences would be preserved for comparative analysis.
May has just arrived and springtime has come to Denmark- very beautiful and long awaited! In the meantime, I have been in a place beyond words, maybe a little submerged. I find myself surfacing. After many (many!) days in the studio and hours of testing/experimenting- losing my way and finding it again- I have created some successful work here at Guldagergaard. I am most excited about the cyanotypes I have been printing on porcelain. These are some pieces from a series of bottles (of course bottles) I've been working on. I am looking forward to developing content and form later, but for now am very happy to get a large amount of technical stuff worked out! Along with the bottles, I've been making a series of "wall boxes"- kind of like clay canvases and definitely not vessels- using both porcelain and earthenware paperclay, working with different techniques to layer text and imagery. They are also small like the bottles, 5"x7" or so (remember, I will be attempting to take finished work back on the plane with me!)- but I think will be powerful when viewed in series/groupings. These examples are works in progress, subject to more/multiple "manipulations" and firings! In my head- and in my notes- I know that this work is leading to the creation of large sheets of translucent porcelain which will be printed with both cyanotype and gum bichromate images. A series of wall work that takes advantage of the hard thin quality of the best porcelain. This won't happen here in Denmark because of time and logistics (yes, can you believe I could use more time?!)... but it will happen! I have been experimenting with making a porcelain slip with bone ash- similar to 18th century bone china- which fires lower than the usual 1280'c of traditional porcealin recipes... another project in the apparently endless list of things to keep me busy and befuddled in the studio! Also progressing are my printing tests with gum bichromate.... here are some earlier test tiles using the emulsion alone (without pigment). Lacking additional colorant, the chrome (of the potassium dichromate) still creates a greenish/sepia image. Some weeks back I got seriously frustrated with trying to decipher this printing process, and took steps "backwards" so that I could move forward: at first eliminating pigment from the mix (so I could learn more about how the emulsion functions on its own) and then working on paper, and different "sizing" methods for the paper, (mixes of gelatin, gum arabic, glue and other random things, - while wishing I could get my hands on a chemical like glyoxal here in denmark)! I would later learn that bisque-fired clay needs some kind of base coat to help the emulsion "stick". And I have since figured out how to get gum prints to work using ceramic pigment on glazed ware. Yippee!!!!!! Wow. I will have daunted you with all these technical notes. So I leave you with some of the beauty that I have found in this quiet corner of the world.... It is really really placid/pleasant/pastoral (provincial?) here in Skaelskor. So, I am a little scared to return to the din of life in the US. What if I have forgotten how to be hectic? very cute thatched roofs on some of the cottages by the shore... A pair of swans I'd been seeing every evening at dusk on the beach... same time same place every day! I have heard they mate for life, is that true? Glaenas Strand, on an island not far from here...
One of the things I love about alternative photography techniques is the unpredictable nature of the beast. The same “recipe” for a toner may produce completely consistent results,…
Looking for cyanotype ideas to try? Get inspired by cyanotype art and clever craft techniques with Gathered.