The exhibition includes several cyanotype portraits by Frazier of Ford.
|
|
Right: Peacock, from a presentation album to Henry Dixon, 1861, cyanotype.
|
|
Ulva-latissima, from Volume III of Photographs of British Algae, cyanotype, 1853.
|
|
Chung covered the room with her custom cyanotype print on watercolor paper.
|
|
More broadly, they also reflect on the long history of the cyanotype and its capacities, situating the cyanotype as a cherished artifact while using it in an uncustomary way: not for straight documentation but to construct something new.
|
|
Right: Alaria esculenta, from Part XII of Photographs of British Algae, 1849–1850, cyanotype.
|
|
One of their family friends was Sir John Herschel, who discovered the cyanotype in 1842.
|
|
Robinson cleverly renders her illustrations almost exclusively in the cool blue of Anna's cyanotype photographs.
|
|
A long banner, "Volumes Cyanotype," hangs under a skylight in the middle of the gallery space.
|
|
Anna Atkins (1799–1871), Laminaria phyllitis, from Part V of Photographs of British Algae, 1844–1845, cyanotype.
|
|
Only her initials do: A.A. Left: Papaver rhoeas, from a presentation album to Henry Dixon, 1861, cyanotype.
|
|
One of the most exciting moments in the show comes from artist Meghann Riepenhoff's cyanotype "Littoral Drift #848" (2017).
|
|
Other contemporary works reveal how the cyanotype has developed beyond the two-dimensional photographic print to form multi-discipline artworks.
|
|
Left: Dictyota dichotoma, in the young state and in fruit, from Part XI of Photographs of British Algae, 1849–1850, cyanotype.
|
|
The New York Public Library's collection of Atkins's photograms, for one, belonged to John Herschel, the inventor of the cyanotype process.
|
|
She produced thousands of images through this time-intensive, manual process between her first cyanotype in 1841 and her death in 1871.
|
|
Each photograph is printed on unfixed cyanotype, which gives it a blueish tint that will fade into a blue haze as the Biennial progresses.
|
|
An exhibition honoring the cyanotype is timely, as the curators describe, because the blue image has been making a comeback in the contemporary art world.
|
|
As co-curator Kristina Wilson explained, the 1990s witnessed a revived interested in the cyanotype, which has become well-respected particularly as an artistic medium.
|
|
Then there's John Dugdale, whose photographs, many of them tinted the eerie blue of the 226th-century cyanotype process, wash away all marks of modernity.
|
|
It was called Photographs of British Algae, and she published several volumes of it over the next 10 years, all involving the then-new cyanotype process.
|
|
Her 21990 publication Photographs of British Algae: Cyanotype Impression marked the first time a book was illustrated by photography and solidified the medium's importance in the sciences.
|
|
Atkins, the daughter of a scientist, learned how to cyanotype directly from William Henry Fox Talbot, the inventor of photography on paper and a friend of her father's.
|
|
By coating photosensitive paper with homemade cyanotype emulsion and exposing surfaces to the elements — tree branches, rain, wind, ocean waves — Riepenhoff produces painterly, sun-developed evocations of the world's motions.
|
|
Known for his cyanotype prints on canvas, Scott-Douglas has spent the majority of his career negotiating the different levels of control an artist can have over his chosen materials.
|
|
The 12-part Photographic Processes from the George Eastman Museum is an in-depth overview of the development of photography, from daguerreotype, to cyanotype, to the rise of color photography.
|
|
The German photographer Ulf Saupe has created a rich cyanotype that resembles one of Atkins's undulating algae, but is in fact an impression of a plastic bag afloat in the ocean.
|
|
Atkins is often described as the first female photographer and her 1843 work, Photographs of British Algae: Cyanotype Impressions, is known as the first book in history to be illustrated by photographs.
|
|
Anna Atkins was a botanist, and as the title of her book suggests, her pictures depict her massive and growing collection of seaweed, which she photographed using the cyanotype, or "blueprint," method.
|
|
In contrast to cyanotype prints made from a photographic negative, photograms arose from contact between a physical object and pre-treated paper, yielding a one-to-one scale documentation of the object.
|
|
Works such as German photographer Marco Breur's "Untitled (E-33)" (2005), suggestive of broad brushstrokes, muddle the expected visual vocabulary of the cyanotype, offering an abstract image rather than a visual document.
|
|
On display in a separate exhibition are cyanotype prints, watercolors, and a sound-based work by Ivan Forde, who draws connections between migratory birds, the Odyssey, and St. Christopher, patron saint of travelers.
|
|
Although the oldest work in the show dates back to around 1853 — an iridescent cyanotype of a fern captured by the groundbreaking Victorian photographer Anna Atkins — the newest are just a few weeks old.
|
|
Anna Atkins was also a botanist, and her desire to catalog certain botanical specimens led her to create the cyanotypes in "Photographs of British Algae: Cyanotype Impressions," often considered the first book to use photographic illustrations.
|
|
Moreover, Frazier's use of the cyanotype — a photographic technique that dates back to the mid-19th century, concurrent with the rise of the Pittsburgh steel industry — calls attention to the implications of the past in the present.
|
|
Inspired by the dazzling new possibilities of photography, the botany enthusiast Anna Atkins (277-22018) set out to record as many British algae as she could lay her hands on, using Sir John Herschel's recently discovered cyanotype technique.
|
|
Organized by the Museum of Contemporary Art San Diego, the exhibition includes collages, prints, videos, sculpture and an installation of cyanotype prints of the non-native predatory lionfish, conjuring up a fantastic underwater world that presents a potent allegory of colonization.
|
|
For the current exhibit, Halloran used the same cyanotype printing process she used for Your Body is a Space That Sees, an homage to women astronomers throughout history, from Hypatia and Caroline Herschel, to Cecelia Payne, Henrietta Leavitt, and Jocelyn Bell.
|
|
While one of the most widely used photographic processes at the turn of the 19th to the 553th century, the cyanotype faded largely from popular use during World War I as black-and-white images were increasingly perceived as more fashionable.
|
|
BLUE PRINTS: THE PIONEERING PHOTOGRAPHS OF ANNA ATKINS A look at the life and work of this English botanist, whose 1843 volume "British Algae: Cyanotype Impressions" was one of the first scientific works ever illustrated with photography. Oct. 19-Feb.
|
|
One such "rare and unknown gem" Poggi highlighted is the Handbook of Greek Lace Making from 1870 by Julia Herschel — the daughter of John Herschel, who invented the cyanotype — that used the medium to illustrate the craft of lace-making.
|
|
At the Contemporary Arts Center, the artistic duo Ellen Gallagher and Edgar Cleijne were puzzling out exactly how to present "Highway Gothic," which encompasses a series of cyanotype banners printed on 70 millimeter film — with images of crayfish and catfish — and a movie.
|
|
Cyanotypes: Photography's Blue Period explores 150 years of the cyanotype, examining the many ways around 40 artists have experimented with it to create expressive works from a process cherished for its speed and ease — characteristics that also caused many to fail to appreciate them.
|
|
In the early 1840s, Atkins, a seaweed-loving Englishwoman, began documenting aquatic plants through the new technique of cyanotype (or blueprint, as architects would later call it), and sewed her spectral images into the very first books of "photographical impressions" — albeit ones made without a camera.
|
|
In the early 210700s, Atkins, a seaweed-loving Englishwoman, began documenting aquatic plants through the new technique of cyanotype (or blueprint, as architects would later call it), and sewed her spectral images into the very first books of "photographical impressions" — albeit ones made without a camera.
|
|
In the early 219400s, Atkins, a seaweed-loving Englishwoman, began documenting aquatic plants through the new technique of cyanotype (or blueprint, as architects would later call it), and sewed her spectral images into the very first books of "photographical impressions" — albeit ones made without a camera.
|
|
In the early 63s, Atkins, a seaweed-loving Englishwoman, began documenting aquatic plants through the new technique of cyanotype (or blueprint, as architects would later call it), and sewed her spectral images into the very first books of "photographical impressions" — albeit ones made without a camera.
|
|
In the early 13s, Atkins, a seaweed-loving Englishwoman, began documenting aquatic plants through the new technique of cyanotype (or blueprint, as architects would later call it), and sewed her spectral images into the very first books of "photographical impressions" — albeit ones made without a camera.
|
|
In the early 200s, Atkins, a seaweed-loving Englishwoman, began documenting aquatic plants through the new technique of cyanotype (or blueprint, as architects would later call it), and sewed her spectral images into the very first books of "photographical impressions" — albeit ones made without a camera.
|
|
And yet it is a succession of splendors, from William Henry Fox Talbot's first impression of lace (circa 265) and Anna Atkins's glorious collection of marine vegetation on cyanotype (19733s) to the mid-21973th-century "Rayographs" of Man Ray and "Schadographs" of Christian Schad to an abundance of recent works.
|
|
Using various photographic practices, some traditional and dated (the photogram and the cyanotype), and others unique (the chemigram, and the swallow-your-film-and-let-your-digestive-system-do-the-rest process), no matter the means, these are artists creating aesthetically unique works that go way beyond the photography to which most of us are accustomed.
|
|
But for those of us who like to plan, Danielle Genzel of Clarity Editions will be leading a cyanotype workshop (you'll get to produce photographs that are cyan blue and white by exposing it to light) on Saturday, April 13 at 1pm, and on Sunday, Olivia Park of Studio Human Beings is giving a talk at 4pm on how her Korean-American upbringing and the food she ate inspired her work as an artist.
|
|
Atkins explained her purpose in an introduction to British Algae: The difficulty of making accurate drawings of objects so minute as many of the Algae and Confervae, has induced me to avail myself of Sir John Herschel's beautiful process of Cyanotype, to obtain impressions of the plants themselves, which I have much pleasure in offering to my botanical friends … Many of these friends cited her contributions to photography and science in their publications, but she did not seem to seek wider fame.
|
|
Cyanotype photography was popular in Victorian England, but became less popular as photography improved. Another proponent of the craft was Washington Teasdale from Leeds. Numerous contemporary artists employ the cyanotype process in their art: Christian Marclay, Marco Breuer, Kate Cordsen and John Dugdale.
|
|
Anna Atkins algae cyanotype Sun printing may refer to various printing techniques which use sunlight as a developing or fixative agent.
|
|
Since the end of the 1980s, she has produced black-and-white photographs, often employing older techniques such as cyanotype and platinum printing.
|
|
A cyanotype of algae by 19th century botanist Anna Atkins Architectural drawing blueprint, Canada, 1936 Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide.
|
|
Since the band's hiatus, Shuuji started a solo project called goatbed. Makoto and Ao went to form LAB. THE BASEMENT. Makoto has since quit the band to join Cyanotype.
|
|
Hill's 1995 exhibition featured a cyanotype, evoking an X-ray of the "axial skeleton of some organism, or the molecular structure of a particular substance."Ingrid Schaffner. "Robin Hill." Artforum.
|
|
After software conversion to a monochrome image, one or more hues can replace the gray tones to emulate duotones, sepia, selenium or gold toned images or cyanotype, calotype or albumen prints.
|
|
A contact print from a silver bromide/gelatin on glass negative. The same camera and the same contact printing process (cyanotype, reproduced here in gray scale) were used to make both images.
|
|
In addition to her etchings, she also made more than a thousand cyanotype photographs. Bertha Evelyn Jaques, Untitled, c. 1900, cyanotype, NGA 136408 Bertha Jaques (seated) on a jury for the Chicago Society of Etchers, 1919; photograph from the archives of the Cedar Rapids Museum of ArtTo popularize the medium of etching, Jaques—along with other etchers in Chicago in 1909—formed the Needle Club, an informal collective of etchers passionate about reintroducing the American public to the art of etching.
|
|
Some photographers prefer substituting the cyan emulsion in the CMYK separations with a cyanotype layer. A simple duotone separation combining orange watercolor pigment and a cyanotype can yield surprisingly beautiful results. Low density photographic negatives of the same size as the final image are used for exposing the print. No enlarger is used, but instead, a contact printing frame or vacuum exposure frame is used with an ultraviolet light source such as a mercury vapor lamp, a common fluorescent black light, or the sun.
|
|
What is arguably the first photo book, Photographs of British Algae: Cyanotype Impressions (1843-1853) was created by Anna Atkins. The book was released as a partwork to assist the scientific community in the identification of marine specimens. The non-silver cyanotype printing process worked by pressing actual specimens in contact with light- sensitive paper; hence the word "impression" in the book's title. The Pencil of Nature (1844-46) was produced by William Henry Fox Talbot, who had invented the Calotype photographic process in 1839.
|
|
The images were all photograms of botanical specimens, mostly seaweeds, which she made using Sir John Herschel's cyanotype process, which yields blue images. This very rare book can be seen in the National Media Museum in Bradford, England.
|
|
A specialized type of vat dye called Inkodye is also used for sun-printing due to its light-sensitive quality.How to Dye and Paint Fabric with Light Unlike other vat dyes which use oxygen to develop their color, Inkodyes are developed by light. These dyes are suspended in leuco form appearing colorless until they are exposed to UV. Their usage resembles that of cyanotype, but unlike cyanotype Inkodyes are primarily used on textiles and exist in a full range of colors. Exposure times vary from 3 to 15 minutes depending on the desired color and intensity of light.
|
|
Whiteprint plan copy. Traditional blueprints became obsolete when less expensive printing methods and digital displays became available. In the early 1940s, cyanotype blueprint began to be supplanted by diazo prints, also known as whiteprints. This technique produces blue lines on a white background.
|
|
An exhibition of 16mm, cyanotype and artist books at the Western Front in 2014, related to mediated perception and measurement. The 16mm film produced for this exhibition was later exhibited at the Vancouver Art Gallery as part of the exhibition Ambivalent Pleasures (2016).
|
|
Xerography is a dry photocopying technique. Originally called electrophotography, it was renamed xerography—from the Greek roots ξηρός xeros, "dry" and -γραφία -graphia, "writing"—to emphasize that unlike reproduction techniques then in use such as cyanotype, the process of xerography used no liquid chemicals.
|
|
In contrast to most historical and present-day processes, cyanotype prints do not react well to basic environments. As a result, it is not advised to store or present the print in chemically buffered museum board, as this makes the image fade. Another unusual characteristic of the cyanotype is its regenerative behavior: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment. Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soap so as to not turn the cyan to yellow.
|
|
Numerous photo sensitive papers that do not use silver chemistry exist. Most are hand made by enthusiasts but Cyanotype prints are made on what was commonly sold as blueprint paper. Certain precious metal including platinum and other chemistries have also been in common use at certain periods.
|
|
Quilting as an art form was popularized in the 1970s and 80s. Other fiber art techniques are knitting, rug hooking, felting, braiding or plaiting, macrame, lace making, flocking (texture) and more. There are a wide variety of dye techniques. Sometimes cyanotype and heliographic (sun printing) are used.
|
|
Jill Enfield (born August 8, 1954 in Miami Beach, Florida) is a photographer and hand coloring artist best known for her work in alternative photographic processes such as Cyanotype and Collodion process. She has taught at The New School (Parsons Division), ICP, and New York University.
|
|
Andres was a dance consultant to the acclaimed Wooster Group. She was an artist-in-residence at leading universities, museums and art colonies, including Yaddo, and The Rockefeller Study Center in Bellagio, Italy. Andres created a series of cyanotype photographs which can be seen on her website.
|
|
Summer 1995. In 1997, she exhibited a "16' x 13' cyanotype drawing made of hundreds of six- inch 'photographs' of ephemeral matter (strands of scotch tape). This 'curtain' serve[d] as a type of atmospheric stage for the two works on the floor of the main gallery."Dominique Nahas.
|
|
His only daughter (from his first wife Hester Anna) was Anna Atkins, a botanist, who is best known for her book of cyanotype photograms of algae, the first book of exclusively photographic images ever made. She wrote a memoir on the life of her father which included several unpublished poems.
|
|
Since 2012, they have been working to organize the J. Shimon & J. Lindemann Archive Trust. The archive consists of approximately 65,000 negatives and transparencies and 5,500 signed prints made by J. Shimon & J. Lindemann using analog photographic processes including ambrotype, Cibachrome, cyanotype, gelatin silver, gum bichromate, platinum/palladium, and tintype.
|
|
Zoghlin works in many alternative process such as orotone, kallitype, and cyanotype etc. His orotones from the series "Aerotones" are produced on glass and backed with 23.5 karat gold powder. These images are considered examples of modern orotones by the Research on the Conservation of Photographs Project at the Getty Conservation Institute.
|
|
David McDermott and Peter McGough are best known for using alternative historical processes in their photography, particularly the 19th century techniques of cyanotype, gum bichromate, platinum and palladium. Among the subjects they approach are popular art and culture, religion, medicine, advertising, fashion and sexual behavior.Rozzo, Mark. “Past Masters.” Men’s Vogue, April 2008, 48.
|
|
Subjects discussed in the forums are concerned with aspects of traditional photography, including processes like cyanotype, platinum printing and other alternative processes. Each subject area has a forum. The galleries have scanned photographic materials posted, which concern the methods and results of traditional processes. The website has an image gallery that encourages peer review.
|
|
Excess ammonium ferric citrate and potassium ferricyanide are then washed away. The process is also known as cyanotype. This is a simple process for the reproduction of any light transmitting document. Engineers and architects drew their designs on cartridge paper; these were then traced on to tracing paper using India ink for reproduction whenever needed.
|
|
Bertha Evelyn Jaques (October 24, 1863 – March 30, 1941) was an American etcher and cyanotype photographer. Jaques helped found the Chicago Society of Etchers, an organization that would become internationally significant for promoting etching as a popular printmaking technique. She is best known for her hand-colored botanical prints and scenes from her foreign and domestic travels.
|
|
The use of ferric oxalate allows for both extended shadow definition (higher DMAX) and contrast control. Many developing solutions can be used to give a different image color (brown, sepia, blue, maroon and black). Kallitype images generally have a richer tonal range than the cyanotype. These prints were popular in the 19th century, and then their popularity faded away.
|
|
The light sensitivity of certain chemicals used in the cyanotype process, was already known when the English scientist and astronomer Sir John Herschel discovered the procedure in 1842 and several other related printing processes were patented by the 1890s . When Herschel developed the process, he considered it mainly as a means of reproducing notes and diagrams, as its use in blueprints.
|
|
Cyanotype postcard, Racine, Wis., c. 1910 In a typical procedure, equal volumes of an 8.1% (w/v) solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitizer solution can be increased with the addition of approximately 6 drops of 1% (w/v) solution potassium dichromate for every 2 ml of sensitizer solution.
|
|
Ford's early work incorporated 19th century photographic processes including cyanotype, van dyke, and combination printing methods in and out of the darkroom. Her photographic constructions use images of landscapes and other artifacts to create narratives as an avenue to examine cultural and environmental issues. Much of her work explores ideas related to westward expansion, sustainability, cultural memory and climate change amidst the search for natural resources.
|
|
Different blueprint processes based on photosensitive ferric compounds have been used. The best known is probably a process using ammonium ferric citrate and potassium ferricyanide.. In this procedure a distinctly blue compound is formed and the process is also known as cyanotype. The paper is impregnated with a solution of ammonium ferric citrate and dried. When the paper is illuminated a photoreaction turns the trivalent (ferric) iron into divalent (ferrous) iron.
|
|
Cyanotype 28"X84"on paper, 2014, Harvard University Known for large format landscapes, Cordsen produces ethereal and ambiguous images that evoke ideas of fragmented memories and temporality. Her landscapes are, at first glance, simply meditative, but reveal impassioned and dramatic depths upon second and third looks. She often combines 19th century chemical methods with traditional film and digital technologies. Kate Cordsen's landscapes are a hybrid study of both photography and painting.
|
|
Gum prints tend to be multi-layered images sometimes combined with other alternative process printing methods such as cyanotype and platinotype. A heavy weight cotton watercolor or printmaking paper that can withstand repeated and extended soakings is best. Each layer of pigment is individually coated, registered, exposed and washed. Separation negatives of cyan, magenta, and yellow or red, green, and blue are used for a full-color image.
|
|
He invented the cyanotype process, later familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He had discovered in 1819 that sodium thiosulphate was a solvent of silver halides, and in 1839 he informed Talbot (and, indirectly, Daguerre) that it could be used to "fix" silver-halide-based photographs and make them completely light-fast. He made the first glass negative in late 1839.
|
|
The cyanotype process, for example, produces an image composed of blue tones. The albumen print process first used more than years ago, produces brownish tones. Many photographers continue to produce some monochrome images, sometimes because of the established archival permanence of well-processed silver-halide-based materials. Some full-color digital images are processed using a variety of techniques to create black- and-white results, and some manufacturers produce digital cameras that exclusively shoot monochrome.
|
|
The Royal Philosophical Society of Glasgow is a learned society established in 1802 "for the improvement of the Arts and Sciences" in the city of Glasgow, Scotland. It runs a programme of lectures, starting its 218th Series in October 2019. The Society formerly owned a building on Bath Street, but since 1994 has been accommodated within the University of Strathclyde. Cyanotype reproduction of seaweed (Ptilota Plumosa) and Title Page of Proceedings of the Royal Philosophical Society of Glasgow, Vol.
|
|
Digital negatives are typically used with one of the alternative processes such as gum bichromate, cyanotype, or Inkodye. In these cases digital negatives are most commonly printed full size to create contact prints. The negative is sandwiched printer ink-to-emulsion in a contact printing frame and exposed under a UV light source. They can also be used to create positives (where the initial digital file is not inverted) to make positives on emulsions such as collodion processes.
|
|
Teasdale, who delivered hundreds of lectures throughout his lifetime, was a founding member of the Leeds Photographic Society, the Royal Society of Microscopy and was a Fellow of the Royal Astronomical Society. Part of his photography collection, including cyanotype photography, is held at the Museum of the History of Science, Oxford. He photographed his scientific friends Henry Perigal and James Glaisher. As part of his work with the Society of Microscopy he invented the Field Naturalist's Microscope – a portable instrument of magnification.
|
|
LED Cube Workshop by Makers UPV The workshops are taught by students who have special abilities (usually the older ones but not necessarily), they acting as mentors. With their knowledge, mentors offer other students the possibility to have a personal experience and to learn by doing. Typical workshops include: Arduino, programming, electronics, 3D printing, CAD, robotics as well as arts & crafts: cyanotype, sculpture, engraving or photography. The main purpose of the workshops are to obtain hands-on experience and skills at the University.
|
|
In 1969 Jansen created the Soft Tea Set, a scaled to life, photographic, three- dimensional object using a formula of potassium ferrocyanide and citric acid, which she developed specifically for cloth material. Stitching the imaged fabric together and stuffing it, she was the first to use this photographic process in a sculptural format. Jansen’s innovations with this blue print formula culminated in the first use of photography to create a scaled to life room environment using cyanotype on cloth.Frontiers of Photography.
|
|
Like the Platinotype and Cyanotype, the kallitype is a contact printing process and the printer must have a negative of equal size to print from. Modern kallitypes are generally made from either a large format camera negative, an enlarged internegative from a traditional wet darkroom, or a digital negative. Cotton rag paper is generally recommended for printing kallitypes, although multiple paper types will lead to satisfactory results. Gloves should be worn during coating and when handling sensitizer as the sensitizer chemicals can be quite toxic.
|
|
A sepia-toned photograph taken in England in 1895 Reina Sofia Museum in Madrid In photography, toning is a method of changing the color of black- and-white photographs. In analog photography, it is a chemical process carried out on metal salt based prints such as Silver Prints, Iron Based Prints (Cyanotype or Van Dyke Brown), Platinum or Palladium Prints photographic prints. This darkroom process cannot be performed with a color photograph. The effects of this process can be emulated with software in digital photography.
|
|
Cyanotype, also referred to as "blueprinting", is the oldest non-silver photographic printing process. It involves exposing materials which have been treated with a solution of potassium ferricyanide and ferric ammonium citrate to a UV light source such as the sun. Negative or positive images can be obtained by blocking UV light from reaching the sensitized material. For example, a negative image can be produced by placing a leaf upon paper treated with this solution and exposing to sunlight for 10 to 20 minutes.
|
|
It was the only 19th-century photography technique that was not based on expensive silver halide chemistry but was still sensitive enough to use in a camera, with exposure times comparable to those of the daguerreotype and calotype. (Other non-silver processes, such as the cyanotype, were practical only for making prints or photograms in direct sunlight.) Modern testing of Pucher's photographs has confirmed their chemically unusual nature. However, his process was never commercialized, and attempts to recreate it based on published information have been unsuccessful.
|
|
Quilting Arts Workshop: Surface Design Essentials for the Printed Quilt - Released in the Fall of 2014, this instructional course by Sue is dedicated to teaching how to create unique fabric using four distinct surface design techniques: Thermofax, cyanotype, collagraph, and heliographic sun printing. PBS Quilting Arts TV \- Sue is featured in three episodes (1404, 1408, 1410) of this show, which began airing nationwide in 2014. A full description of this TV series is available here. A preview of Sue on episode 1404 can be viewed here.
|
|
Annabel Dover was born in Liverpool she has a BA (Hons) in Fine Art from Newcastle University (1998), MA in Fine Art from Central Saint Martins, London (2002), and a PGCE in Art and Design from University of Cambridge (2003). Dover uses a variety of media including painting, photography, video, drawing and cyanotype. Her approach is one of exploring social relationships that are mediated through objects. The Imperial War Museum acquired a set of Dover's cyanotypes which also feature in 'Blue Mythologies' by Carol Mavor.
|
|
The final result is that her pieces possess a certain aesthetic that seems attainable only through the act of painting. From 2015, Cordsen has worked exclusively in cyanotype and gum bichromate, two of the earliest forms of photography. In a departure from her ethereal, magical realist landscapes, she is creating monumental abstract photograms that invoke the works of early modernists Harry Holtzman, Piet Mondrian and Laszlo Moholy-Nagy. Using primarily found objects, she composes her large-format photogram photographs through a demanding process that requires both physical, painterly dynamism, and chemical precision.
|
|
The English scientist and astronomer Sir John Herschel discovered the procedure in 1842. Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints. Anna Atkins created a series of cyanotype limited-edition books that documented ferns and other plant life from her extensive seaweed collection, placing specimens directly onto coated paper and allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is sometimes considered the first female photographer.
|
|
Amaki's art work explores African-American life and culture through the use of photography frequently inlaid in boxes, quilts, and fans. She embellishes these pieces with found objects, like buttons, beads, flowers, and bits of fabric. Amaki first started working with buttons as a child, when her mother gave her buttons to play with because marbles were too boyish. Her work also includes photo (cyanotype) quilts and large scale digital photographs on fabric where portraiture is used as conduits to discussions of commercial profiling, cultural branding, and methods of advancing cultural assumptions.
|
|
Timby's research draws on her learning, and combines her interests, in anthropology, history and photography. Her early experience of the medium was through her maternal grandmother, who had a darkroom and was active in her local photo club and showed her how to print in the darkroom. Her first camera was a high school graduation gift. Timby was educated at the private Connecticut College, New London, where as an Anthropology undergraduate she undertook a minor subject studio arts, studying photography and making photographs in the vintage processes of cyanotype and gum printing.
|
|
Cyanotype Photogram at Florence Griswold Museum, 2016 She received a BA in the history of art and East Asian Studies from Washington and Lee University (founded 1749) where she was the first woman in the university's history to receive an undergraduate degree. Cordsen has an MPP from Georgetown University and studied Chinese and Japanese Art History at Harvard University and photography at the International Center of Photography. In the late 1980s Kate Cordsen worked for Ford Models. She walked the runway and did print advertisements for many fashion designers including the Japanese avant-garde artists Rei Kawakubo, Issey Miyake and Yohji Yamamoto.
|
|
Another early photographer, Anna Atkins in England, produced a self-published book of photograms made by placing dried algae directly on cyanotype paper. Intended as a scientific study, the stark white on blue images have an ethereal abstract quality due to the negative imaging and lack of natural context for the plants. The discovery of the X-ray in 1895 and radioactivity in 1896 caused a great public fascination with things that were previously invisible or unseen. In response, photographers began to explore how they could capture what could not been seen by normal human vision.
|
|
The process of printing with Inkodye resembles that of other alternative photographic processes though its chemistry is related to vat dyes such as indigo rather than iron or silver-based chemicals used in cyanotype or Van dyke brown which have higher toxicity. Inkodye is available in several colors (red, orange, copper, blue, navy, magenta, plum, sepia and black) which can be mixed together and diluted with water. A monochromatic digital negative is first printed on transparency film generally using an inkjet printer with black ink only. The negative is made to be the same size as the final print.
|
|
A broad source of light will cast nuances of shadow; umbra, penumbra and antumbra, as shown in the accompanying diagram. Photograms may be made outdoors providing the photographic emulsion is sufficiently slow to permit it. Direct sunlight is a point-source of light (like that of an enlarger), while cloudy conditions give soft-edged shadows around three- dimensional objects placed on the photosensitive surface. The cyanotype process ('blueprints') such as that used by Anna Atkins (see above), is slow and insensitive enough that coating it on paper, fabric, timber or other supports can be done in subdued light indoors.
|
|
Herschel's first glass-plate photograph, dated 9 September 1839, showing the 40-foot telescope Herschel made numerous important contributions to photography. He made improvements in photographic processes, particularly in inventing the cyanotype process, which became known as blueprints, and variations, such as the chrysotype. In 1839, he made a photograph on glass, which still exists, and experimented with some color reproduction, noting that rays of different parts of the spectrum tended to impart their own color to a photographic paper. Herschel made experiments using photosensitive emulsions of vegetable juices, called phytotypes, also known as anthotypes, and published his discoveries in the Philosophical Transactions of the Royal Society of London in 1842.
|
|
The first photographic negatives made were photograms (though the first permanent photograph was made with a camera by Niécephore Niépce). William Henry Fox Talbot called these photogenic drawings, which he made by placing leaves or pieces of lace onto sensitized paper, then left them outdoors on a sunny day to expose. This produced a dark background with a white silhouette of the placed object. As an advance on the ancient art of nature prints, in which specimens were inked to make an impression on paper, from 1843, Anna Atkins produced a book titled British Algae: Cyanotype Impressions in instalments; the first to be illustrated with photographs.
|
|
Because of her unique process of directing light through her subject- matter, The San Francisco Chronicle named Carol Henry as one of the 100 reasons to visit Carmel, CA during Carmel's 100 year anniversary celebration, calling her botanical photography "...erotic, vibrant, bold and delicate at the same time" Carol Henry has explored more camera-less photographic techniques since 2012 when Ilfochrome paper ceased to be manufactured. The cyanotype process, from the mid 1800s has been embraced by Carol Henry to continue her exploration of natural subjects and the human narrative using light and form. Tulip Center I by Henry, 2005, made without a camera in a darkroom.
|
|
"White (1975, p47 For most of his time in Newark he used a 6 1/2" x 8 1/2" view camera with a 13" Hobson portrait lens. White is known to have worked in the following processes: platinum, gum-platinum, palladium, gum- palladium, gum, glycerin developed platinum, cyanotype and hand-coated platinum. His platinum prints utilized salts of platinum instead of the silver salts used in modern platinum prints, resulting in a greater range and richness of middle tones.White (1975), p 68 White sometimes printed the same image using different processes, and as a result there are significant variations in how some of his prints appear.
|
|
For optimum results, digital negatives must be matched in terms of density and contrast to the process to which they will be applied. Since contemporary inks and printers cannot offer a density range as wide as traditional silver negatives, each printing process is usually associated with a separate tonal curve, so that the photographer can take full advantage of its gamut. Also, different processes react to colors differently; sometimes photographers print out a monochromatic negative in a specific color to get a specific contrast range. For example, some use purple inks and low contrast curves for the small gamut of cyanotype printing, while the platinum/palladium process necessitates a high contrast curve that works best with green ink.
|
|
Rich and intricate art quilts reflect her local environment and incorporate imagery drawn from her studies of botany, wildlife, historic architecture, and the Susquehanna River. She employs surface design techniques including cyanotype, mono printing, digital image transfer, and needle felting as the basis for works that also incorporate hand painted fabrics, hand and machine stitching, and beadwork. She was one of the first group of artists involved in the fiber art postcard phenomenon and was interviewed about this topic for the "Quilters' S.O.S. - Save Our Stories" project for The Alliance For American Quilts.The Alliance For American Quilts - Quilters' S.O.S Save Our Stories project The transcription and photographs are archived by the American Folklife Center at the Library of Congress.
|
|
When large format film is contact printed to create finished work, it is possible, but not easy, to use local controls to interpret the image on the negative. "Burning" and "dodging" (either increasing the amount of light that one area of the print receives, or decreasing the amount of light in order to achieve the ideal tonal range in a particular area) require painstaking work with photographic masks, or the use of a production contact printing machine (Arkay, Morse, Burke and James are manufacturers who make contact printing machines). Some alternative processes or non-silver processes, such as van Dyke and cyanotype printing, must be contact printed. Medium or large format negatives are almost always used for these types of printing.
|
|
Loyche distilled an hour-long protest speech to a four-minute video that focuses on the sign language interpreter's real-time translation of the speech and the audience's reaction to it, pointing to the failure of communication in today's world ("Hvalreki" means "stranded" in Icelandic). Loyche's 2008-9 series Minds/Mines don’t care are photograms of improvised explosive devices, similar to early cyanotype photogram botany studies. They also look like X-rays, which is a nod to the issues of paranoia and "homeland security". The title derives from the U.S. military issuing country-specific land mine identification card packs with the slogan: "Be Aware Mines Don’t Care." She founded, directed, and curated Mitte’s MMX Open Art Venue along with her partner Jonathan Gröger in Linnienstrasse in 2010.
|
|
Diazo copies of drawings The process of diazotype (Whiteprints) replaced the cyanotype process (blueprints) for reproducing architectural and engineering drawings because the process was simpler and involved fewer toxic chemicals. A blue-line print is not permanent and will fade if exposed to light for weeks or months, but a drawing print that lasts only a few months is sufficient for many purposes (test prints) The different names blue-line copier, whiteprint copier or diazo copier, were given, due to the nature of the process, which consists in exposing to an ultraviolet light a previously sensitized paper with a component called diazo, and finally developing it in a bath (a solution of ammonia in water) which converts the parts not exposed to light, to a dark blue colour (blue-line) over an almost white background.
|
|
This tragic event ended his successful commercial career, but he decided to persist in photography and started to explore techniques from the 19th century for fine art photography, using friends and family as assistants. Since then Dugdale has worked with large format cameras, creating cyanotype prints, platinum prints - using the albumen process which became the dominant form of photographic positives from 1855 to the turn of the 20th century. His sensibility for bygone techniques emphasizes the poetics of his work and the transcendence of time and place, seemingly transporting the imagery to a different era. A quote of the nearly blind photographer: “The mind is the essence of your sight. It’s really the mind that sees.” Dugdale has exhibited in over 25 solo shows in galleries all over the world.
|
|
Since the Alexander Makenzie album of Henry Bosse cyanotypes surfaced at a Sotheby's auction in 1990, Henry Bosse's cyanotype photographs have been included in the permanent collections at the J. Paul Getty Museum in Los Angeles.Weston Naef, Photographers of Genius at the Getty, The J. Paul Getty Museum, Los Angeles, p 64, 2004 The San Francisco Museum of Modern Art in California, The New York Metropolitan Museum of Art, the Amon Carter Museum of Art in Texas, the Nelson-Atkins Museum of Art in Kansas City, MO,Keith Davis, An American Century of Photography: from Dry-Plate to Digital, Hallmark/Abrams, p. 216/217, 1995, the National Museum of American Art in Washington DC,Merry A. Foresta, American Photographs: the First Century, Smithsonian Institution Press, 1996, p. 123, and the Minneapolis Institute of Arts in Minnesota.
|
|
His early research and criticism focused on the Daguerreotype and cyanotype but came to include other photographic processes, including the Autochrome Lumière, and increasingly focused on contemporary photographers like Sally Mann and Joel- Peter Witkin. He wrote the forwards of more than thirty photography monographs, including work by the artists Jan Saudek, Keith Carter and Connie Imboden and edited more than forty-five monographs of leading photographers such as Masao Yamamoto, Jerry Uelsmann and Michael Kenna. In addition, Wood contributed essays to and wrote the catalog copy for dozens of books of photography, featuring work by artists Jock Sturges, Imogen Cunningham and John Dugdale. Journal of Contemporary Photography In 1998, Wood co-founded with Steven Albahari 21st editions, “the most luxurious literary/photography journal in the world,” and became editor of its main title, The Journal of Contemporary Photography.
|
|