You said:
>.the idea is to use a largly unexposed (that is around the edges a few
>exposed areas)B&W print, keeping the centre white. I want to use this
>white area for the cyanotype. As I understand from Jack Fulton this
>should work. Any thoughts on effects of a strong UV exposure onto a
>.processed silver print?
As Jack says that approach should work.
I am a lttle concernedhowever as to how the cyanotype solution will take on
super coated standard photographic papers. You will probably be better off to
use non super coated Kentmere Document Art, which will take water-colour, for
the surrounding silver gelatine image with the centre masked off so that it will
stay white when the paper is developed and fixed. Then mask off the silver
gelatine with rubber solution to protect it from the cyanotype solution and the
wash water from the exposed cyanotype during the development stage. This is far
more likely to cause harm, than the UV, on the silver gelatine image.
A friend made a publicity poster using cyanotypes and kallitypes on the same
paper. At first it looked great. But now, after two years, both are fogging.
If it is feasible,I would be tempted to transfer a blue carbon image to the
silver gelatine print. Reduced problems with chemicals that way.
Terry King
Cor Breukel
http://ruly70.medfac.leidenuniv.nl/~cor/cor.html
"The Infrared Gallery"
http://ruly70.medfac.leidenuniv.nl/~cor/ir-gallery.html