You make the best videos on alternative photographic processes on CZcams. I have learned a lot with you. I love the way you explain things and the passion you give off for the darkroom and photography. A hug from Barcelona!!
I really appreciate your video on the new cyanotype process. I noticed you created your solutions and coated your paper in ordinary light. I would have thought that since the new solution reacts quicker to UV exposure, that there would be a specific light control recommended for making solutions and coating/drying papers. When I read MIke Ware's instructions he also indicated that he recommends using a diluted acid for the development bath after exposure and before clearing/washing. Are you still getting amazing results with the approach you have followed in this video? Thanks again for your channel.
Thanks for your comments! I am still getting great results going by what I have done in the video. For development, I have used a mild delusion of hydrogen peroxide, but that generally speeds up what happens in the drying process anyway. As for working in the lighted room, I have no problems with fogging as long as I am working fairly quickly and not letting things sit around too long in the light. My dark room is pretty much closed off to any extraneous UV light, so that that hasn’t been an issue. I hope this helps! Thanks again for watching!
Great video! I had been struggling to make the new cyanotype before, but following the steps in your video, I finally succeeded. I'm very grateful. I'd like to ask if you have ever tried the simple cyanotype process developed by Mike Ware in 2019.
The first time I tried this, I bought chemicals from Bostwick/Sullivan and took my formula from Google. The formula was a combination of weights (metric and English) while the liquids were metric,. It got pretty hard to follow. Thanks for the formula on this one. The second problem was the paper texture. I had no clue. The texture was too coarse to use for fine sharp details and a tighter texture was too absorbent. Despite the expense, I will go with your Hanne mule choice. I made my own "printing frame from a crappy Michaels poster frame. If I can make the paper work, I will buy a split frame 16x20 from B&H. I made my negative with Canon 13x19 (A3Plus) transparency material from Canon and printed the negative at 13x19. I have a new profile from canon that I will use for that. I will be printing nudes and portraits, just because I am too stubborn to stay with architecture and landscapes. With this formula, is peroxide still an good intensifying agent? will the Hanne Mule dry flat? Thanks again
I used to keep a separate brush for each, but I got mixed up along the way, and nothing seemed to be much of a problem. I’m pretty meticulous about my brushes though and keep them very clean. However, cyanotype can sometimes stain the brush blue, and you will notice. I still try to keep that one separate.
Hiya, Thanks for showing this method. According to Mike (New process 1995), he uses citric acid instead of ammonium citrate. Is there a special reason why you use a different chemical? And why do you not use a surfactant such as Tween 20?
Sorry to of missed this one. I don’t use a emulsifier like tween or polysorbate with this process on HPR as I haven’t found the need for it. Great question though. I usually use it with this paper, but really have not seen any difference. I tend to use large amounts of solution when I coat and seem to have less of a problem with it. As for the ammonium Citrate, it’s just what I had, and is very similar in the result. Thanks for watching!
Hi ! I am printing cyanotype using new cyanotype recipe for many years and I randomly have issue with the sensitizer which tend to be dark green with Prussian blue in suspension In the solution and I don't quite understand why its happening randomly... It result in fade result with a lot of the sensitizer being wash away when rincing.... I never used dichromate potassium as it's not available in Europe and I am wondering if it might be the reason why I am having these issue... Did you try to make a sensitizer without it ? Do you know any replacement for dichromate available in Europe ? Does Diazidostilbene might be an option ? I am also wondering if it might be caused by raw chemical quality but I bought them from Bostick and Sullivan so it should be fine ? I would greatly appreciate any feedbacks as I am quite desperate to understand these issue ! have a good day !
Good morning. Thank you very much for all your great and very helpful materials. I would like to ask what printer (A2, A3) you would recommend when it comes to printing digital negatives. Today I am mainly interested in cyanotype and bichromate gum. Warm regards from Poland.
Thank you! I’m glad you find them helpful. Personally, I have an A3 printer in the P8 hundred, but unless you’re going to do prints big, an A2 is fine. Available right right now are the P700 and P900 line. From Epson. I would recommend one of those.
i think this new cyanotype solution is the solution *ahem* to the problem of the washing out of the latent print when you use the sensitized paper as an actual "film" for camera boxes. i wanted to try this but i don't know if i can acquire the chemicals here in EU
Hello Bill, is the ammonium citrate that you use as a fining agent Ferric Ammonium Citrate or is it the Ammonium Citrate that is used as a developer for platinum? thank you so much
I understand. I’m working on it. I know that several others are with promise as well. I will definitely keep people posted if I find something. I am going to try a variation without the dichromate. As it is used as a preservative, I’m not sure it would have much of effect. However, it would be a one use type of formula, and most likely would not be able to sit on the shelf very long.
I’m a little confused. You seem to be combining metric (volumes and weight) and imperial (temperature). Could you please add metric temperatures in future videos?. Thanks 😊
Your excellent teaching, based on practice, makes this tutorial enjoyable and understandable ✅ Thank you from FRANCE 🇫🇷😊
You make the best videos on alternative photographic processes on CZcams. I have learned a lot with you. I love the way you explain things and the passion you give off for the darkroom and photography. A hug from Barcelona!!
Would like to know who makes your I R lightbox please as I can’t find a commercial one in the U K ?
Stunning! Thank you for sharing!
The print looks brilliant!
Amazing! Thanks for sharing!
Really nice looking print, Bill!
Thank you very much for sharing ❤
Cuánto aprecio tus innovaciones!! Tremenda gama tonal. Gracias Bill : un fuerte abrazo desde el sur.
Mucho Gracias!
I really appreciate your video on the new cyanotype process. I noticed you created your solutions and coated your paper in ordinary light. I would have thought that since the new solution reacts quicker to UV exposure, that there would be a specific light control recommended for making solutions and coating/drying papers. When I read MIke Ware's instructions he also indicated that he recommends using a diluted acid for the development bath after exposure and before clearing/washing. Are you still getting amazing results with the approach you have followed in this video? Thanks again for your channel.
Thanks for your comments! I am still getting great results going by what I have done in the video. For development, I have used a mild delusion of hydrogen peroxide, but that generally speeds up what happens in the drying process anyway. As for working in the lighted room, I have no problems with fogging as long as I am working fairly quickly and not letting things sit around too long in the light. My dark room is pretty much closed off to any extraneous UV light, so that that hasn’t been an issue. I hope this helps! Thanks again for watching!
Great video! I had been struggling to make the new cyanotype before, but following the steps in your video, I finally succeeded. I'm very grateful.
I'd like to ask if you have ever tried the simple cyanotype process developed by Mike Ware in 2019.
The first time I tried this, I bought chemicals from Bostwick/Sullivan and took my formula from Google. The formula was a combination of weights (metric and English) while the liquids were metric,. It got pretty hard to follow. Thanks for the formula on this one. The second problem was the paper texture. I had no clue. The texture was too coarse to use for fine sharp details and a tighter texture was too absorbent. Despite the expense, I will go with your Hanne mule choice. I made my own "printing frame from a crappy Michaels poster frame. If I can make the paper work, I will buy a split frame 16x20 from B&H. I made my negative with Canon 13x19 (A3Plus) transparency material from Canon and printed the negative at 13x19. I have a new profile from canon that I will use for that. I will be printing nudes and portraits, just because I am too stubborn to stay with architecture and landscapes.
With this formula, is peroxide still an good intensifying agent? will the Hanne Mule dry flat?
Thanks again
Hi, can you use potassium dichromate instead of Ammonium Dichromate? Thanks
Bill, do you have a separate coating brush for each process? Is a water wash sufficient to prevent cross-contamination? thanks.....
I used to keep a separate brush for each, but I got mixed up along the way, and nothing seemed to be much of a problem. I’m pretty meticulous about my brushes though and keep them very clean. However, cyanotype can sometimes stain the brush blue, and you will notice. I still try to keep that one separate.
Hiya, Thanks for showing this method. According to Mike (New process 1995), he uses citric acid instead of ammonium citrate. Is there a special reason why you use a different chemical? And why do you not use a surfactant such as Tween 20?
Sorry to of missed this one. I don’t use a emulsifier like tween or polysorbate with this process on HPR as I haven’t found the need for it. Great question though. I usually use it with this paper, but really have not seen any difference. I tend to use large amounts of solution when I coat and seem to have less of a problem with it. As for the ammonium Citrate, it’s just what I had, and is very similar in the result. Thanks for watching!
Hi !
I am printing cyanotype using new cyanotype recipe for many years and I randomly have issue with the sensitizer which tend to be dark green with Prussian blue in suspension In the solution and I don't quite understand why its happening randomly... It result in fade result with a lot of the sensitizer being wash away when rincing....
I never used dichromate potassium as it's not available in Europe and I am wondering if it might be the reason why I am having these issue...
Did you try to make a sensitizer without it ?
Do you know any replacement for dichromate available in Europe ? Does Diazidostilbene might be an option ?
I am also wondering if it might be caused by raw chemical quality but I bought them from Bostick and Sullivan so it should be fine ?
I would greatly appreciate any feedbacks as I am quite desperate to understand these issue !
have a good day !
Good morning. Thank you very much for all your great and very helpful materials. I would like to ask what printer (A2, A3) you would recommend when it comes to printing digital negatives. Today I am mainly interested in cyanotype and bichromate gum. Warm regards from Poland.
Thank you! I’m glad you find them helpful. Personally, I have an A3 printer in the P8 hundred, but unless you’re going to do prints big, an A2 is fine. Available right right now are the P700 and P900 line. From Epson. I would recommend one of those.
@@BillSchwab Thank you! 🙂
i think this new cyanotype solution is the solution *ahem* to the problem of the washing out of the latent print when you use the sensitized paper as an actual "film" for camera boxes. i wanted to try this but i don't know if i can acquire the chemicals here in EU
See if you can order the kit from Bostick and Sullivan.
Hello Bill, is the ammonium citrate that you use as a fining agent Ferric Ammonium Citrate or is it the Ammonium Citrate that is used as a developer for platinum?
thank you so much
Sorry Bill, I just saw that I had asked you the same question in the comments.
Anyway thank you very much
It is the ammonium Citret that you would use for development of platinum
One can't buy dichromates anymore in Europe. Is there an alternative? Gum print has diazo, so...
I understand. I’m working on it. I know that several others are with promise as well. I will definitely keep people posted if I find something. I am going to try a variation without the dichromate. As it is used as a preservative, I’m not sure it would have much of effect. However, it would be a one use type of formula, and most likely would not be able to sit on the shelf very long.
@@BillSchwab is it possible to use potassium dichromate or any other dichromate salt? what do you think? thanks
@@FaustoSaporito I do believe potassium dichromate can be used, but it is much slower than the ammonium dichromate.
The clearing agent is that
Ferric Ammonium Citrate or Ammonium Citrate Dibasic ?
Ammonium citrate basic is what you will need for the clearing agent
@@BillSchwab Perhaps B&S could make a "new cyanotype" kit "bill edition" :-) Could be a cool move no?
@@egestroem i’m not sure B&S is doing it, but I think that photographers formulary is. They might be selling through them or through B&H Photo.
I’m a little confused. You seem to be combining metric (volumes and weight) and imperial (temperature). Could you please add metric temperatures in future videos?. Thanks 😊
I’ll see what I can do, but I think you can do the conversion.
No gloves?
If they make you comfortable, definitely. I've been doing this a long time and my hands rarely touch chemistry, gloves or not.