Professional Documents
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cyanotypes
Exploring a historical
alternative photographic process
Malin Fabbri and Gary Fabbri
Contents
About the authors
4
Introduction.............................................................................................. 6
Cyanotype history........................................................................................7
The cyanotype............................................................................................ 9
Making a print.......................................................................................... 12
The formula
13
Preparing the canvas: cloth, paper and natural fibre fabrics ........................... 14
Three different coating methods
17
Drying..................................................................................................... 18
Skip the drying and wet process
18
Preparing your image................................................................................ 19
Photograms: Using Objects
21
Creating a negative....................................................................................23
Troubleshooting - digital negatives
32
Printing - contact frames............................................................................34
UV sources................................................................................................ 35
Exposure times around the world................................................................36
Exposing the print.....................................................................................39
Processing and drying................................................................................ 41
Troubleshooting - printing
42
Creative uses for cyanotypes........................................................................44
Colored material.......................................................................................45
Toning cyanotypes.....................................................................................47
Different toning methods
49
Papers...................................................................................................... 53
Toxicity....................................................................................................54
Safety and storing......................................................................................54
Washing fabrics and cloth.......................................................................... 57
References................................................................................................59
Weights, measures and conversions
59
Where to get chemicals
60
Further reading
67
Internet resources
68
started Cyanotypes.com. A
number of the artists that had helped her
from the beginning were interested in
publishing their photographs on the site and
it has grown to include all alternative photographic processes in use by artists today.
AlternativePhotography.com now represents over 200 artists and continues to grow.
The website still maintains its origins as a
source of information and research for alternative photographic processes.
Malin actively manages the expansion of
the site as editor. She makes her own cyanotypes and runs workshops. She lives and
works in Stockholm with her husband, Gary,
and their son, Maximillian.
Introduction
hy a book on cyanotypes?
The cyanotype is often the first
alternative process that people
try. Its relatively easy and safe enough to
nurture a childs interest in photography. It
can be seen as a gateway to further exploration of historic photographic methods. In
addition, it gives experienced photographers
and artists a great excuse to take their eyes
off of the computer screen and get their
hands dirty. Of all the alternative processes,
the cyanotype is the one closest to my heart.
I made my first cyanotype in 1999. I was
intrigued by the blue images and wanted to
test the cyanotype process to see what it had
to offer. I bought chemicals and spent an
evening coating paper and cloth. The results
of the next days printing surprised me.
Although the alchemy of the darkroom
had always captivated me, developing a
print in the sun was like a liberation. One
of the things I found most refreshing about
the process was the unpredictability of the
results. Some of my best prints were the
product of happy accidents.
The developing process is straightforward. The chemicals are cheap, and most of
the other items used can be found around
the house. Pre-coated paper is available, but
one of the benefits of working with cyanotypes is the great flexibility of material and
paper available to you. Cyanotypes print on
anything made of natural fibre. Cotton, linen,
silk, handmade paper, watercolor paper and
rags are just number of alternatives. Some
artists even print on wood.
So, if you want to explore a fun alternative
photographic process or seriously want to
experiment with producing unique fine art,
make a cyanotype.
Malin Fabbri
Stockholm, 2006
Cyanotype history
Anna Atkins
placed plants on
cyanotype paper
to make prints of
them. The image
above Reed in the
Wind is made in a
similar fashion.
[1] Anna Atkins (1985) Sun Gardens - Victorian Photograms, Phaidon Press Ltd. A reprint was made in 1985 by Phaidon press,
it is unfortunately out of print, but can be found in rare bookshops. I was lucky to find a copy on www.powells.com
The cyanotype
Prussian blue
Prussian blue is often called the first of
modern pigments. It was made by the Berlin
color master Diesbach in 1704 and is referred
to as Berliner blue in Germany. It became
available to artists in 1724 and has been very
popular since its discovery.
Potassium ferricyanide and Ferric ammonium citrate (green) are mixed with
water separately.
The two solutions are then blended together in equal parts.
Mixing chemicals
Cyanotype is a very simple process. It
involves treating a surface with iron
salts that reacts to UV light.
Wear a face mask and rubber gloves
when working with chemicals. In this
case, Ammonium ferric citrate and
Potassium ferricyanide. Two separate
solutions are made and then equal quantities of each solution is mixed together in a third
container.
10
Printing the
cyanotype
Print a cyanotype by placing your negative
or object in contact with your coated paper
or fabric. Sandwich it with a piece of glass.
Expose the sandwich to UV light. Natural
sunlight is the traditional light
source, but UV lamps can
also be used. A photogram
can also be made by placing
items on the surface. Plants,
decorative items or other
objects can be used to create silhouettes
or interesting shapes.
11
Making a cyanotype
Making a print
citrate (green)
10 grams of Potassium ferricyanide
Water (distilled if possible)
Scale or measuring spoons
Measuring jug
3 glass containers for mixing
ingredients
Plastic spoons
Face mask (DIY style)
Goggles
Rubber gloves
Apron or old shirt
Newspaper to cover work surface
Cleaning cloth
Brushes or coating rod
Clothes pegs (plastic)
Washing line or rope (plastic)
Art paper or fabric for coating
Glass or a contact print frame
Sunshine or a UV light source
12
Making a cyanotype
The formula
This recipe makes approximately 50 8x10 inch prints. The cyanotype is made up of two
simple solutions:
Solution A: 25 grams Ferric ammonium citrate (green) and 100 ml. water.
Solution B: 10 grams Potassium ferricyanide and 100 ml. water.
If youre working with a different
measurement system youll find a
conversion table in the reference
section in the back of the book.
Dissolve the chemicals in
water to make two separate solutions. Add Ammonium ferric
citrate to water into one container
and Potassium ferricyanide to water in
another. Stir with a plastic spoon until the
chemicals dissolve. Mix equal quantities
of each solution together in a third
container.
Unused solutions can be
stored separately in brown
bottles away from light, but
will not last very long once
they have been mixed.
13
Making a cyanotype
Tip!
If youre coating a lot
of papers of the same
size, it may be quicker
to cut a cardboard
template to the right
size, and use this as a
frame when coating.
14
15
16
Making a cyanotype
17
Making a cyanotype
Drying
18
Making a cyanotype
19
20
leaves, branches,
flowers or other
plants can be used
to make interesting
compositions.
You can experiment with kitchen
utensils, toys,
feathers, rope, lace,
glasses, tools or
anything else with
shape and form.
Anna Atkins
created the first
book of cyanotypes
in her pursuit to capture botanical images
of algae that seemed too delicate to be hand
drawn.
21
22