From: TERRY KING, 101522,2625
TO: altlistproc, INTERNET:listproc@cse.unsw.edu.au
DATE: 16/04/96 17:08
RE: Copy of: Copy of: Cyanotype colour and Kallitypes
---------- Forwarded Message ----------
From: TERRY KING, 101522,2625
TO: j.r.anderson, INTERNET:j.r.anderson@qmw.ac.uk
DATE: 16/04/96 17:06
RE: Copy of: Cyanotype colour and Kallitypes
Jonathan
"I have recently been looking into ways of altering the toning of cyanotypes
- not MAJOR changes, but subtle changes of colour. In "The Keepers of
Light" a variety of toning methods (eg tanninc acid plus ammonia) are
mentioned. BUT.... are they permanent/archival? I know there have been
discussions about this before, but I trust you will be patient with me. I
know that it is possible to achieve a deeper, different quality of blue
(NOT just intensifying), and that one can get a rather wonderful sublte
purplish tints, but I'm not sure of the most permanent method. Any
suggestions?"
As one of the great beauties of the cyanotype process is its ability to
reproduce subtleties of tone and gradation almost beyond that obtainable with
any other process I tend to stick with the blue. The purplish tone can be
obtained by humidifying the paper before exposure. Any othe toning process has a
deleterious effect on the beauty of the print and reduces its archival qualities
although some success can be obtained using the tannic acid method which gives a
unique warm brown. Changes in depth of tone and colour can be obtained by
changing the paper,size and negative. For example a thin negative requires a
short exposure and gives a paler blue than a long exposure with a dense negative
which can give a richness of tone that produces groans of pleasure from
spectators.
"What books are there specifically about Cyanotypes which I should search
out?"
it is far better to look out early photographic dictionaries but do not believe
everything they say. I have one that gives ten different formulas but when one
expresses them in terms of 'parts', they are all the same. In fact, once you
have the standard formula stick with it and experiment with the variables I
mention above to give changes in tone and so on.
2 Also, does anyone know of a UK shop where I can find the book by Dick
Stevens: Making Kallitypes: A Definite Guide, Focal Press 1993, ISBN
0-240-80181-4 which was mentioned a while ago?"
When Dick Stevens' book first came out it was available in the photography
section of the Waterstones chain of book stores in most reasonably sized towns.
If you are in London you will certainly be able to get it in Zwemmers in the
Charing Cross Road or from the technical photography section of Foyles, further
up the road on the other side, on the first floor rather the art photography
section which is on the second floor (US second and third). There is a
Waterstones next door as well.
" Do I have to wait until my
next (ineviatble) journey to "The Photographer's Place in NYC"? ;-) Are
there any other books about kallitype I should know of? Having sat back and
watched others set up strings for discussion, I await your expert and (no
doubt) diverse opinions!"
Frankly my own advice would have been for some years to stick to the brown print
version as the more complicated version using ferric oxalate did not appear to
have any advantages. But reading Dick Stevens book led me to experiment from
first priciples using the ferric oxalate approach to find that it is possible to
produce iron/silver prints of great beauty. Certainly better than those where
different developers are used to produce different colours.
Terry King