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@ilikevanillacoke-blog
We didn't really have a lab day. For our "lab", we went to George Eastman House on May 11. We checked out the Civil War exhibition and around 12:50, we went to another room where one of the people explained about the 19th century photos and showed us some of the examples.There were some pretty cool pictures.
It was nice to get out for once, but I feel like this trip was kind of short though. We had to leave to go back to RIT.
t0tto:
REAL LIFE CHI
http://www.flickr.com/photos/wisely-chosen/
I love her hair and her pictures. So pretty. *_*
Pretty much what we look like on week 10 and week 11 of the quarter.
Happy Mother's Day to all of the mommies out there. Especially my mom. <3
magicalnaturetour:
Posing Sand Kitten (by MrGuilt) :)
So cute. <3
Cyanotype - Links and Videos
Links:
http://www.alternativephotography.com/wp/processes/cyanotype/cyanotype-classic-process
http://www.photography.com/articles/history/cyanotype/
http://www.mikeware.co.uk/mikeware/Traditional_Cyanotype.html
http://www.alternativephotography.com/wp/category/gallery-by-process/cyanotype-photographers (List of Cyanotype photographers)
Videos:
http://www.youtube.com/watch?v=9q8N_KgH8SI&feature=related (Not closed captioned.)
http://www.youtube.com/watch?v=eAZYdXve8iE&cc=1 (Closed captioned)
http://www.youtube.com/watch?v=NLoGdppEdrs (Not closed captioned, but it has text so you can know what's up.)
http://www.youtube.com/watch?v=IDOtUUhQ6Tk (Not closed captioned, but the original user added text so you can read. Simple video.)
Cyanotype - Introduction, History, and Resources
Introduction/History: John Herschel invented several photogenic processes and he also invented the cyanotype process in 1842. Cyanotype are blue photogenic prints with a strong shade of blue known as prussian blue or berliner blau. It was also used to make blue prints (not photogenic prints, but for engineering purposes).
"The cyanotype process is founded on a chemical reaction brought about by light acting on certain salts of iron." - Mike Ware John Herschel was looking for a way to produce prints that had certain colors and played with organic compunds and inorganic compounds. He did experiments with Smee's Red ferrocyanate of Potash. Smee suggested ammonio citrate and ammonio tartrate of iron to Herschel. On June 1842, he published a paper that included the cyanotype process from potassium ferricyanide, however, it took a half hour to produce a print from the exposure. Later on, Herschel came up with a better formula that consisted of ferrocyanide of potassium and ammonium ferric citrate. He finally gave this process a name, "cyanotype", in August 1842. However, the cyanotype process did not skyrocketed and not all photographers used it. Some even noted that it was not 'artistic'. One of the important person, Anna Atkins, made the first book on the cyanotype and used the process for her botanical studies. Portrait of Anna Atkins, 1861, from wikipedia
I think I found Hershel's original formula which consisted of solution A - 20 parts ammonio-citrate iron and 100 parts water, solution B - 16 parts potassium ferricyanide and 100 parts water. Mix solution A and B. Marion's formula for the cyanotype consisted of: 140 grains of citrate of iron, 120 grains of red prussiate of potash, and two fluid ounces of water.
Now today, what we do is mix solution A with solution B. Solution A consists of 100 mL distilled water and 25 grams of ferric ammonium citrate. Solution B consists of 100 mL distilled water and 10 grams of potassium ferricyanide.
On the left is ferric ammonium citrate and on the left is potassium ferricyanide.
There are several issues with the cyanotype process though. Most of the pigments is soluable in water so it is lost during the process. The highlights part of the print becomes stained because of the bleeding of the pigment. The prints are just not stable, even after fixing, due to the size of the particles. Aside from this, toners are used for this process as well. There are three different methods of toning which are: tea/coffee toning, redevelopment toning, and reverse toning.
Tea/coffee toning consists of black tea or coffee mixed with water and it changes the color to navy blue. Prolonged soaking in the tea or coffee toner will change the blue to blue-black, but the highlights becomes stained.
For redevelopment toning, the first step is to bleach the image with ammonia or borax. Then the image is soaked in a tea or coffee mixture to create a blue/sepia color.
If one want to bleach out the image, just place it in an ammonia mixture and wash it out with fresh water. I think that using the toners will help keep the longevity of the images as well.
Examples of Cyanotype Prints: By Anna Atkins, from wikipedia By Anna Atkins, from wikipedia
Resources:
Ware, Mike. Cyanotype: the History, Science and Art of Photographic Printing in Prussian Blue. London: Cromwell, 2004. Print.
http://www.mikeware.co.uk/mikeware/New_Cyanotype_Process.html
http://unblinkingeye.com/Articles/Cyano/cyano.html
Van Dyke - Links and Videos
Links:
http://www.edinphoto.org.uk/1_early/1_early_photography_-_processes_-_kallitype.htm
http://douglavender.com/photography/van%20dykes/van-dyke-process.htm
http://unblinkingeye.com/AAPG/DigiNegs/Overview.html
http://supermarkethq.com/designer/8511/products
http://unblinkingeye.com/AAPG/DigiNegs/Workflow.html
Videos:
http://www.youtube.com/watch?v=MT00C3yMvKo (Not closed captioned, but it's kind of self-explanatory. You can watch the exposure and wash.)
http://www.youtube.com/watch?v=Im3uGORB2Uo (Not closed captioned. The guy put text on his video so you still know what's going on. He did the process a little different from what we did in the lab though.)
http://www.youtube.com/watch?v=q_tNonEXPMI (Closed captioned. He didn't show how you do it, he just explains what the van dyke process is.)
Van Dyke - Introduction, History, and Resources
Introduction/History: The name van dyke came from the similar brown color pigment used by a Flemish painter named Van Dyck. In 1842, a man named John Herschel invented the van dyke brown process and basically, a van dyke process uses silver and iron to make it photo-sensitive. Arndt and Troost developed this process in 1895 after John Herschell. It produces nice brown tone prints.
John Herschel, 1867, by Julia Margaret Cameron - from wikipedia From what I understand, the van dyke process is similar to callitype and the alternative names are brown prints or sepia prints. This not to be confused with any other photogenic process such as callitype or talbotype. The procedure may be similar, but it is not the same. It can even be applied on different materials other than paper like wood or fabric, as long as there is appropriate coating for it to be absorbed on.
Most of the recipes were similar though, just a few modifications in between. Arndt and Troost had their own formulas that is similar to what we use now, however, there are some differences. Arndt and Troost's formula for the van dyke process consisted of 80-100 grams of ammonio-citrate iron, 12-20 grams of silver nitrate, 15-20 grams of tartaric acid, 10-15 grams of gelatin, and 1 L water
Even now, some people developed their own recipes or follows someone else's recipes that is not exactly the same. We may have something that looks like this now:
Solution A: 35 mL distilled water and 10 grams iron ammonium citrate. Solution B: 35 mL distilled water and 1.5 grams tartaric acid. Solution C: 35 mL distilled water and 4 grams silver nitrate. Mix solution A and B. Then mix it with solution C. It is applied on a piece of paper and one need to make sure that it is uniform, because you have both the silver and iron - it will just looks messed up if it's not done the right way. Negatives are used for this process. After the exposure, it is washed out. Citric acid is used in this process because of the acid level - it helps wash out the ferrous salts. After this, the hypo solution was used. Then it needs to be washed out under fresh running water. (The professor said that it's really just for archival purposes - if you want the prints to last forever, then this step is necessary to remove all of the remaining chemicals.)
Another thing that I noticed that we did not conduct in our lab was the toning process. From what I found, there are three different kind of toners which are palladium, gold, and platinum.
The recipe for palladium may look like this: 20 mL 20% palladium, 5 grams citric acid, and 1,000 mL distilled water. The recipe for gold toner consists of 5 mL 5% gold chloride, 5 grams citric acid, and 1,000 mL distilled water. Platinum toner may consists of 20 mL 20% platinum, 5 grams citric acid, and 1,000 mL distilled water. By using different toners, it produce different color results. Some people may modify their recipes or follow someone else's for the toning process as well. I think it does not really matter, what's more important is to tone the print if you plan to keep it for a long time. In addition, I also noticed more than one article talked about how the van dyke prints do not last and how some people did not like the van dyke process because of this. Several authors explained that if it was not done properly, then the print will fade and become no good. So to keep the prints, one need to really process it by making sure that the iron is removed, fix the image, and wash it out really good. The last and important step is the toning. Other processes require the images to be toned in order to make it last as well and the van dyke process is no exception. Examples of some Van Dyke prints:
Voigtlander pinhole, Van Dyke brown print
Broken pomegranates by Wynn White, van dyke process
The information above does not belong to me and comes from these resources.
Resources:
http://www.alternativephotography.com/wp/processes/kallitypes/vandyke-notes
http://www2.ntm.cz/projekty/fototechniky/en/index.php?text=six
http://www.shadesandcolors.com/vdarticle.html
Buffaloe, Ed. "Ferric-Silver Formulae." Unblinking Eye - Photography, Darkroom, Alternative Process, Historic Photographic Processes, Travel. Web. 08 May 2011. <http://unblinkingeye.com/Articles/Ferric/ferric.html>. * (Lots of excellent information.)
http://www.webexhibits.org/pigments/indiv/overview/vandyke.html
albinwonderland:
beautifully-modified-women:
By Soya le gato
look at it’s smug little face
‘why yes I am in an ear, and how are you?’
OMG. I wish my ears were big enough for this! edited: It took me a few minutes, but I finally found the right place and you can buy them! She also makes fake plugs so people like me can still enjoy this cute cat earrings. YAY. <3
More pictures from the lab. You can also see the results.
Pictures from the lab day.
Lab Day - Van Dyke
We did the Van Dyke (argentotype) process in lab today. The negatives for this lab were old negative prints previously used in other labs.
Note: This blog entry is treated as a lab report journal.
Materials: - Water - Citric Acid - Water and citric acid solution - 3% Hypo Solution - Plastic tubs - 100% rag papers - Foam brushes and plastic boards - Van Dyke mixture
Our Trials/Recipes:| - 3% Hypo Solution (prepared by the lab assistant - I believe it consists of 30 grams of sodium thiosulphate mixed with 3 grams of baking soda and 1 L water) - Water and Citric Acid Solution (prepared by the lab assistant) - Van Dyke mixture (prepared by the professor - used the formula from alternativephotography.com)
Solution A: 9 grams ferric ammonium citrate and 33mL distilled water.
Solution B: 1.5 grams of tartaric acid and 33 mL distilled water.
Solution C: 3.8 grams of silver nitrate and 33 mL distilled water.
Mix solution A and B. Then mix it with solution C and ta da.
Procedure: We got 100% rag papers and had them taped on the plastic boards. The van dyke mixture was already prepared by the professor. She said that it produced better results when it was aged at least for a few days. The lab assistant also prepared the water and citric acid solution and 3% hypo solution for the whole class.
Since the mixture had silver and was hazardous, we had to wear lab coats, gloves, and goggles to do the coating. I put one coat on each paper and let it air-dry for a minute or more before using a hair dryer, as suggested by the professor. After it dried, we put them on frames with two different colors negative prints - some were green and some were red. The negative prints we used for this lab were already made and used for different labs prior to this. We kind of just wanted to experiment with the different colored negative prints and see what happens. We took it outside and let it expose for about 15 minutes. After the exposure, it was placed in the water and citric acid mixture for about five minutes. Next, it was rinsed out with fresh running water for at least a minute and then it was placed in a 3% hypo solution for one minute. After this, the images were placed in another 3% hypo solution for another minute and did the final wash for about 20 minutes. The professor did said it should be washed out for 40 minutes, but it was really just for archival purposes. Normally, I would do more prints, but I felt like we didn't really have enough time to do the whole process again and coincidentally, we just ran out of wax paper, we were kind of the last people to leave the lab and we had just enough for our prints. That wouldn't been a good thing if I ended up making more prints. Data:
Tails and Clyde: Nice and crispy.
Sassy 1: Nice and crispy details. Beautiful print.
Sassy 2: Nice. Not as detailed because of the negative.
~*~*~*~*~*~*~*~*~*~*~*~ Conclusion/Summary: I guess in conclusion, the experiment went well. I did have one paper that as soon as I applied the coat of van dyke mixture, some brown spots developed. I assumed it was just the contamination within the paper or something else got spilled on it before I used this piece of paper. Wasn't really a big deal.
My prints turned out pretty good. However, the one girl I was working with, her green negative print got messed up for some reasons (I think it was from a water spill that got on her negative print) and the print it produced looks fine, except for a small blotchy spot in the middle. From my experiences, if the papers aren't dried all the way, it may produce some undesired results and I think that was what happened with her's, there was a little bit of water and because it wasn't dried on that spot, it kind of mess it up. That's just my wild guess though...
Pictures are in the next few posts.
Albumen - Links and Videos
Links:
http://albumen.conservation-us.org/
http://www.alternativephotography.com/wp/processes/albumen/albumen-printing
http://www.christopherjames-studio.com/materials/08dec07_Updates/The%20Book%20of%20Alternative%20Processes/NEW%20SAMPLE%20CHAPTERS/%20JAMES%20-%20Chapter%2021%20-%20Albumen.doc.pdf
http://oldphotosjapan.com/en/photos/medium/Albumen+Print
http://albumen.conservation-us.org/library/monographs/monckh/chap12.html
http://www.ettc.net/njarts/details.cfm?ID=1168
Videos: (I couldn't find any that were closed captioned. :< Another problem with the albumen process is that when you google it, there are a lot of irrelevant stuff like music bands and eggs as food...)
http://www.youtube.com/watch?v=VIRF90Je8Vw
http://www.youtube.com/watch?v=EgLFsU2kvG0
Albumen - Introduction, History, and Resources
Introduction/History: Albumen was one of the most common method and the dominant process in the 19th century (around 1850’s) and it was popular because it was “user-friendly”. A man named Niepce de Saint Victor published his method that used albumen on glass, but most people complained that it was impractical for several reasons.
Niepce de Saint Victor
Louis Desire Blanquart-Evrard, a French photographer, discovered this as well and both Louis and Niepce announced their techniques around the same time.
"Photogenic Drawing - Considering that any (however trifling) improvement will not be unacceptable to those of your readers who feel an interest in this art, I have been induced to communicate the following method of preparing the paper, which, after many experiments, I find to succeed best. Wash the paper with a mixture of equal parts of the WHITE OF EGG and water, afterwards with the solution of nitrate of silver, fixing the drawing as usual with the iodide of potassium." - H.L.
With different names of people and photographers who found egg whites to be useful, some may say that H.L. was the first to discover the albumen process, however, his name was unidentified and he had his own recipes that were not the same everyone else used nor it was the same with the recipes we use now. H.L.'s recipes did not call for chlorides, but Blanquart-Evrard added this to the recipe for albumen. While most people had their own recipes back in the time - most were about the same with a few adjustments. Le Gray (a photographer back in their time) came up with his own recipe which was egg whites mixed with 1/5 sodium chloride. It is beaten until it is frothy and then clear liquid is removed from the mixture. Let it settle for one night then the liquid is poured in a container. You have albumen, ready to use. Most photographers placed it on a tray, get a piece of paper, and kind of just dip the paper in the albumen, on one side only. To make it sensitive to the sunlight, most photographers would put one or two coats of silver nitrate (diluted solution mixed with water). The recipes we use now compared to back then are somewhat similar, except I don't think we leave it over night to settle, everything is done on one spot and ready for albumen coating.
Portrait of Louis Desire Blanquart-Evrard, from Wikipedia
Albumen wasn’t always used on glass plates. A man named Frederick Scott Archer, suggested that albumen was better on paper as a positive print and that collodion was better for glass plates as negatives. Collodion-Albumen became the standard and this technique was used throughout until 1895, which was pretty long for a specific technique.
Some examples of Albumen Prints:
Brig in the moonlight, marine by Gustave Le Gray (1865), from Wikipedia
Lighthouse by Bradley and Rulofson (1868) Resources:
Sobieszek, Robert A. British Masters of the Albumen Print: A Selection of Mid-Nineteenth Century Victorian Photography. Chicago: The University of Chicago Press, 1976. Print.
Reilly, James M. The Albumen and Salted Paper Book: The History and Practice of Photographic Printing, 1840-1895. Rochester, NY: Light Impressions Corporation, 1980. Print.
http://albumen.conservation-us.org/gallery/johnson/3.html
