From: Christina Z. Anderson (zphoto@montana.net)
Date: 02/22/03-08:11:25 PM Z
Dear List,
Ahhhh, life is grand. I sit here at the computer, one toe gently
agitating a tray of tannic acid in which I am toning my cyanotype, snowstorm
just having ended outside, temperature plummeting to 0, another cyano in the
UV box downstairs. It is the best of times, it is the worst of
times...(three schools now having rejected me for grad school out of six.
Maybe I should pull out the aqua regia and pour water into it).
Anyway, I've gone through100ml of Wares and 100ml of traditional, mixed
2:1, and I thought I'd report my observations on the two.
The traditional I always mixed 2A to 1B. I found it was a paler, more
turquoisy blue. I found it bled out way more in the wash. I found it to be
quite a bit slower to expose, which certainly has its benefits if you want
to relax. But between 1-2 stops more time mixed 2:1 even. I mixed up a
bunch of the A:B solution and have been using it for over a week and it does
just fine mixed together. Still works great. I've used vinegar
"development" and it works great for contrasty images. I've preferred using
Tween because the traditional just does not absorb into the paper as well as
Ware's.
I've adopted Ware's recommendation for more archival toning and use an
alkali--either household ammonia or sodium carbonate (Arm and Hammer Washing
Soda). And then he says either tannic or gallic at about a 3-5% solution,
so I chose the tannic acid 3%. Lovely lavender to mauve to deep brown tones
that look just like brownprints when fully bleached and fully toned (not the
lavender ones). Actually, they're pretty close to an argyrotype. So for
those who do not like the blue of cyano, there's your option, all being so
cheap and so easy.
I am testing japanese papers as well as now Buxton/Ashton Platinum,
Cranes' Parchment Wove, Arches Platine, Canson Opalux Vellum, Fabriano
Artistico Satinata, and an occasional Uno. Uno sucks. I have to say that
the Buxton is a nice paper, but for its weight (thin) and appearance and the
ability to choose other papers, at $10 a sheet it doesn't seem worth it to
me--yet. I have not tried it with Ware's as I just received it this week.
Canson Opalux Vellum is quite fun! A thick, parchmenty paper. You have to
tape it down because it rolls up like a scroll when coating. Still really
like the Torinoko Gampi for a unique kleenex look, altho Jack described it
so much better saying it resembled insect wings.
Well, I have to say that I much prefer the Ware's for all reasons. The
color, the dmax achieved, the lack of washing out, the ability to soak into
the paper well, etc.
OH, tried matte picture varnish from Daniel Smith (DON'T) and damar
varnish from Daniel Smith (DON'T) and I should've just quit my experimenting
and gone with Don Bryant's recommendation of hydrocote polyurethane. That
and Future, which I still use. Future gives a gloss but a very minimal one
whereas acrylic gloss medium gives a plasticky look.
Chris
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