The Alternative Process

Printing Digital Negs For Oldschool Cyanotype

It’s been about 9 months since the last time I was here at white wings printing negs for the cyanotypes. A lot has happened in that time and trying to figure out exactly how these negs were printed is extremely difficult. I’ve been pouring though notes trying to figure out how it was done.

As much as i hate to say it, a lesson we learn over and over again, that the best way to print these digital negs is trial and error, black and white printing style.

Some starting basics, it’s obvious that the dynamic range of our negatives is much much larger than our cyanotype negs can handle. Here’s a decent starting place for your negs.

What I want to stress is that we’ve done everything right. We were creating our negs originally utilizing the www.precisiondigitalnegatives.com method. Stay away from the Burkholder method, this other one is way better. This process seems awesome in theory and i’ve found it actually is when contacting against b/w paper.

However, treating these cyanotypes like a traditional black and white process when creating curves seems to work the best. If the highlights are coming in too bright, take the lower right bezel and bring it in, if theres too much contrast, bring the middle bezel down. It’s important to remember when adjusting curves on a negative, that all your curves are reversed.

I know it’s not something you probably want to hear, but we’ve started just printing this images by feel and it seems to be moving faster.

Just some average numbers were finding

Black w/o detail - 170 -185
black w/ detail - 145
Middle gray - 84
White w/ detail - 35 -40
White w/o detail -43 to 0

Below are some of the printer settings were using too:

As you can see we do a lot of smaller test prints at different sizes before we print our final larger 4 foot by 8 foot cyanotype print.

We also build our curves one on top of the other, so we can go back to where we were before and learn about tonal changes like so…

Film Acceleration: Cool Name, crazy results!

There’s not much data left in the world in relation to film acceleration. This is probably due to the shift in interest from film to digital. Myself and Augusta Quirk heard about the process in passing when we were researching manipulating color films to get a sort of faded color found in old pictures captured in 70’s. In 2003, only a few people had tried the process, but nobody wanted to discuss the results. We discovered a copy of a copy of an email, floating around the web on an RIT website about an assignment at Brooks that was discussed in an article by Marc Bloom that was published in Photographic/November 1992.

It was confusing start and we had yet to see any examples of the process and we were shocked when we received our first rolls back.

What Does Film Acceleration Look Like?
Acceleration resembles something similar to an extreme cross processing because it is in effect a cross process with a little added something. The film speed increases, the color balance is dependent highly on the color of the film base and the grain becomes very intense. The acutance becomes highly pronounced and can often create hallows. The contrast increases greatly. Blown out areas turn the color of the film base.

Testing Start Point.

Shooting
1. Choose and E-6 Film Transparency film. Note that the film base color changes the film a lot. There is a large difference between Kodak and Fuji Films and differences between Kodak’s VS and G films. (This can be done with negative film as well, but I’ve never done it.)

2. Start your test by setting your ISO to 2 stops under the recommended ISO. So 100 will be 400…

Film Processing (loosely based on the info from the RIT article)

3. Pre-soak the film in water at 75 degrees for two minutes. Agitate constantly.

4. Develop in chosen black and white film developer. Refer to the chart for times, temp and type. Agitate as you would black and white film developer.

5. Rinse in water for one minute with agitation. Don’t use stop bath.

6. Fix the film in non-hardening fixer for five minute.

7. Wash the film for 10 minutes with agitation. You may expose the film to light.

8. Bleach the film for 10 minutes. The Bloom article recommends e-6 or c-41 bleach, but I just use Potassium Ferricyanide bleach found in sepia toner kits.

9. Wash your film for 10 minutes at least. Do not use photo-flo.

10. You now have a choice you can either:

a. Leave your film in the canister in water or

b. Hang the film to dry. I recommend this option, it’s less conspicuous to your lab and you may have to ship out the film.

11. Now comes the hard part. Most labs have never heard of film acceleration before and will not touch the film. I’ve tried to convince many a labs that the film will not harm their chemistry, but most will choose to safe. There are 2 labs I know of that have said they will process accelerated film and are fairly easy to ship back and forth to if your local color lab won’t touch it. They are mentioned below.

12. Have your lab send the film through c-41 processing, no push processing. Have them print for skin-tones if you have them.

13. Enjoy the crazy results.

Developer Data
Film EI Developer Time Temp
Kodak E100 VS 400 T-Max Developer 1:4 14 min 75 Deg
Kodak E100 SW 400 T-Max Developer 1:4 10 min 75 Deg
Test Film +2 T-Max Developer 1:4 10 min 75 Deg

Film’s mentioned in the Bloom article don’t exist anymore and the above are the films are those that I’ve tested. The last unit named Test Film is a good starting place for any film. If you try something different than the above, let me know so I can update the data.

Film Bleach
Note that interesting effects can result when changing the time or dilution of the bleach. We usually diluted the bleach 1:4 so that the effects were toned down a little.

Photography Labs That Do Film Acceleration
Samy’s Camera: Santa Barbara, CA
Gamma Photo Labs: Chicago, IL

If you find a lab in your area that does film acceleration that’s not on the list please update me and I’ll update this list on my blog.

Have Fun.

By Jeff DeLaCruz And Augusta Quirk

Original article and examples can be found here:
http://jpgmag.com/stories/1228

Yet another argument for not destroying your darkroom.

Lately we at White Wings have been having a lot of conversations about importance of a traditional analog print vs your final print being sold as a giclee or inkjet print as your final output in the fine art photography world. This is in large part due to the amazing amount of giclee prints I saw at Art Chicago this year and secondly spurred on by rumors that a major art school might be closing down their darkrooms (which is probably for lack of use or education on how to use it or possibly just a bunch of lazy students).

Perhaps one of the most compelling arguments i can come up with against inkjet is that buyers and collectors simply respect and are willing to pay more for a traditional print. To illustrate my point i’ve picked an image that everyone knows Ansel Adam’s ‘Moonrise, Hernandez Mexico’ where one of the original 1957 20x24 silver gelatin prints sold for $115,000 and a giclee print can be purchased from art.com framed for $114.00 (plus shipping and handling…). Of the 10 most expensive photographs sold, none were giclee and only one was a c-print. An artist who’s final work is giclee print, it can be argued, has skipped finality and sent their image straight to reprint.

The real argument is really why do buyers and collectors respect the traditional process more than digital as a final output and could that opinion be changed as the whole art world shifts towards digital output. Talking points such as archivability, tone, beauty and craftsmanship can all be argued in either direction.

One point that I find compelling is that because of variability and difficulty, traditional is forced into a limited edition, where as giclee prints can be reproduced flawlessly easily forever. Maybe the collector can appreciate when something is hard to reproduce accurately many times and that makes that final print ‘unique and special’. I think that might be all it is, a traditional print is just sort of special.

Cross Processing Film

Yes, I still shoot film sometimes. I can’t help myself, I love the unpredictability. I’ve got to admit, that i shoot differently when i shoot film, my images tend to be a little more impulsive and playful.

Over the years i’ve come up with some basic cross processing rules and some basic detailed guidelines for specific films that may or may not exist anymore depending on when your reading this.

E6 - C41 Basics
Exposure = Normal
Develop = Push +2

Fuji 100 Provia (Favorite)
Exposure = + 1/2
Develop = N

E100VS
Exposure = +2
Develop = +2

E100G
Exposure = +1/3
Develop +2

C41 - E6 Basics
Exposure = +2 Stops
Develop = +2 or 3 stops

Fuji Superia 1600 
Exposure = +2
Develop = +5

Fuji NPC 160
Exposure = N
Develop = +3

Film Descriptions

Fuji Provia 100: This is a favorite for a number of reasons. The film appears to retain most of it’s detail in a cross-processed environment. It’s a very versatile film and can be exposed normally or over exposed (not under) with great results. It pushes and pulls really nicely in without loss of detail and in combination with a good lab you could really master this film as far as shadow detail goes.

A little disclaimer, since 2004 i’ve been shooting a batch of 100 rolls I bought. Recently running out, i’ve been shooting with the latest batch with different results. It seems that the film needs to be rated more closer to 50 or even 25. Underexposure causes very server results. I’m not sure whats going on with this, but i’ll figure it out and report back.

One of the reasons why i really like it is because of the versatility i can send it through processing at Walgreens or CVS. I know it’s cheating, but the price is right and you can’t beat 1 hour turnaround and they’re everywhere. However, you do have to give you cross your fingers that chemistry is maintained and hope for the best.

The color is this great muted color, with blues going in a more cyan direction.

Fuji Provia (2004 batch) Rated Normal w/ normal processing.

Fuji Provia (2011 batch) Rated Normal w/ normal processing. Notice how the shadows have gone to base. My recommendations are to rate the iso at 50.

Note:
I’ve got to admit that i’ve been on a 3 year hiatus from shooting film, so going through my testing data is a little confusing. So, as i start getting back into it, i’ll continue to update this post.

Last updated: 2011-04-26

White Wings Press at Next Art Fair

Come check out the new cyanotypes White WIngs Press booth at Next Art Fair, the most prestigious art fair in chicago.

Visit our booth # 23 at the NEXT Fair. We have lots of new and exciting work to show!

Thursday April 28th special preview opening from 6 - 9pm
Friday April 29th & Saturday the 30th 11 am-7pm
Sunday 11am-6pm
Monday 11am-4pm

Next Information

Cyanotype: Basic Recipe

Mixing the Sensitizing Solution:
1. Heat distilled water up to 120 degrees
2. Measure out 30ml of water
3. 10g of Potassium ferricyanide
4. Grind with a Pestle and Mortar to near dust (important or it will never dissolve)
5. Add to water and stir till it’s gone
6. 30g of Ferric Ammonium Oxalate
7. Bring water level 100ml
8. Set up 2 coffee filters and filter solution through it to get rid of crystals.
9. Bottle in a light safe place (it’s sensitive all all colors of light)

You can mix your chemical in a tungsten light environment, but just know that while your doing it it’s exposing the chemicals. This is typically ok because the exposure times are ridiculously long and shouldn’t effect it. However, you should try and keep all lights off as much as possible.

We use citric acid as a clearing agent, but we add it just prior to coating. Were not quite sure what it does, but everyone says we should use it so we just do. I’m sure we’ll figure out the mystery as we go along.
Update: We’ve also discovered that it raises up the contrast as well, which makes sense. If you clear out the highlights and make them lighter, you’ll have an overall contrast increase. We mix it 10g from the powder solution per liter of water. We use it as a initial developing solution but have been experimenting with just adding it to the developer.

Coating The Paper
This can be a bit of a bitch if your a perfectionist. Getting the paper to coat evenly is truly an art and requires a consistent hand and a little experimentation to figure out the best way. We’ve used foam brushes and are now using ultra smooth high density foam rollers from home depot which seem to have done the trick. Instead of rolling the roller in the cyanotype, we have a little measuring cup that we pour the sensitizer on top and sort of push it around the paper. This seems the easiest way to not get brush lines, which we’ve struggled with alot. We’ve also discovered that getting the paper lightly damp helps. When drying, we place in on a blotter so the extra sensitizer doesn’t puddle around the edges.

We’ve been reading a lot about using tween 20 as a surfactant that’s supposed to help the paper absorb the sensitizer better. We haven’t used it.

When pouring your sensitizer into whatever holding tank you have to roll or pour or paint it on, help yourself out a bit and filter the sensitizer again. Crystals are your enemy and this will help significantly.

Finally before coating place 1 drop of citric acid to every 2 ml of solution. As far as we can tell it’s a clearing agent, but haven’t seen any difference not using it.

Exposing The Paper
This is the fun part. We use a Nuarc plate burner to expose our digital negatives. Using digital negs is a chore, but can produce more predictable results and take advantage of a larger tonal range with the benefits of retouching. We’ll talk about that some other time.

After our paper has dried, you can tell right away if there’s going to be problems. Turn on the light and look. If you can see brush strokes, puddling or dark areas, it will show up in the print and it’s time to try again. If not, take a soft dry cloth and try and wipe some of the crystals off that you didn’t get in the filtering process.

Then lay it out and press start. We get exposure times of 15min on the Nuarc. Exposures vary with different paper combos, but it will always be long enough for you to coat another sheet and catch up on your crosswords in between exposures.

When exposing with the sun, you can use a split back frame and check the progress as you go. WIth a nuarc your going to have determine the standard printing time. The process is simple, get a step wedge negative that goes in thirds, cover a part of it with your negative material to compensate for base plus fog and expose with trial and error till the lightest density merges with the next density down, which is 1/3 more density. When that happens pull back your exposure 1/3 of a stop (1 stop is equal to half the time, so a third of that).

Exposure can change with different types of coating and if you wet it down or not, so nail down your coating methods.

Developing
Developing is simple, just throw it some water and let it wash for 10 - 15mins. The top layer will melt away and the highlights will de-yellow slowly. I’ve heard of people washing it in a bath of citric acid, but we haven’t tried it yet.

When it’s dry carefully pull the print out and let it dry between 2 blotters. You can use weights on top to help it dry flat. For tests we use a hair dryer.

Archivabilty
This is a bit of a mystery as of yet. I found a short article on wikipedia, but nothing indepth. http://en.wikipedia.org/wiki/Cyanotype . It’s clear that cyanotype can fade easily over time and perhaps a beeswax coating might help the lifespan. Were in the process of testing this.

Paper choice
We’ve tested a fairly extensive list of papers of which i’ll scan and share in a later post.

“Why in the hell would you want to do that?”

When I called up xrite to find a good reflective densitometer for our alternative processes, the sales lady was at first a little confused. After explaining to her for an hour that we were simply creating digital negatives for contact printing against carbon paper, that will later be transferred to copper and that will then be etched, inked and run through a press and that we needed to create custom profiles for the 4 color plates we were making she asked, “why in the hell would you want to do that, just print a digital picture and call it a day.”

Good point xrite lady. However, here we are pining away, working with some of the oldest photographic processes in history. Why, because where as it can be replicated its just not the same. As a professional commercial photographer, shoot digital for the last 10 years, i’ve found that digital can be a little too perfect and the little imperfections and unexpected joys that come from the analog process. Also, a true connoisseur of photography can easily see the difference between a digital print and a say a platinum print. In short, unless you believe that a photograph is only as important as the image itself, than it can be said i believe that the process of creating an image from production to print is an important part the art and holds a certain amount of beauty.

Is there value in spending 5 days trying to get a full range of tones from a cyanotype and getting a one of kind print at the end. No, if you don’t value all the time and effort it took to get to that point, than probably not. It’s craftsmanship that i speak of, its the same difference between climbing a mountain vs taking a helicopter to the top in some respects.

With craftsmanship, we are forced to become experts with the most minute details. I feel that i understand the relationship between ferric ammonium oxalate and potassium ferracyanide better than i know my reflection at the point. I know how it reacts with water at different temperatures, how it dilutes and most importantly how it changes color and exposure times. That’s what were here to do, share some of these details, log our experience with others who are also interested in climbing the mountain and getting the full experience. I know theres a few left out there.

Jeff D