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#21
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It wasn't entirely clear to me if what was said was that acidic to the extent not possible in even soft water areas still brings about a perceptible change in the print or simply that it is worth acidifying the water anyway even if it is neutral or marginally acidic Thanks Mike |
#22
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I've just bought one of the chemicals I don't have, to try cyanotypes again, but will try the process with just the straight solutions and then with citric acid added (to the water for the solutions or wash bath?) and see if the blue intensifies or not. You can tell, I'm sure, that I am really quite new to this process, having only done it once at a workshop some years ago now. I want to try it again though, as the sun has popped out over the last few days. I thought I'd try it before it goes into hiding again, over the winter months. Terry S |
#23
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Hi Terry. The info Dave shared seems to suggest that you acidify the water for development. I’ve never tested the acidity of our water, but I know that it is not ‘hard’ as found in some areas. Results with cyanotypes have been variable, so I think it’s worth trying.
I can tell you that bathing the washed print in a mild solution of Hydrogen Peroxide produces a very dramatic intensification of the blue image. You can buy bottles of it quite cheaply in hairdressing suppliers, and probably also Boots, etc. Mine is a 9% solution, but I diluted it further for use. Alex Sent from my iPhone using Tapatalk Pro |
#24
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Thanks for that info Alex.
I hope to give it all a go very soon. I have both citric acid and hydrogen peroxide (3% I think). Terry S |
#25
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Ware recommends using a dilute acid bath for the "new cyanotype" process rather than the simple Potassium ferricyanide/Ferric ammonium citrate recipe; and he also specifies a mineral acid (hydrochloric or nitric). I expect that citric acid has crept into the ready-made products' instructions as it's safer to use all round. I remember trying the Fotospeed kit and then going back happily to home-made.
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#26
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Maybe there is no direct link between what the water companies regard as important information for water hardness such as Degrees Clark and its PH value A great pity as PH is quoted by Mike Ware but it would seem that short of PH strips there is no easy way to check your water's PH from any info I have seen provided anywhere about the water in your area If there is a link or anyone knows of how PH values of an area's water can be found then I'd be grateful for it Mike |
#27
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But I can mix the chemicals up and coat a variety of papers, reading for the next sunny day. As for the coated papers, I presume if they're kept in the dark, like inside an empty darkroom paper box, they will last indefinitely until I'm ready to use them? And I know it's not the height of summer, but what sort of exposures would be a good starting point, for this time of year, when the sun eventually decides to come out? So many questions... Terry S |
#28
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Just reading up on the process in a book by Peter Mrhar, he mentions using acid water in the context of making an under exposed photo darker, below is a quote from his book called Cyanotype
"If the photograph is under exposed, that is, if after development in water on a test sheet only white patches are seen instead of light greyscale values. the photograph can be darkened by developing it in acidic water. Darkening depend on the acidity of the water. The more acidic the water the more lost bright tones will be recuperated. In doing so we will soon notice that too much acidic water brings a loss of brighter tones, which gradually change into a single muddy spot." Ian
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#29
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https://cyanotype.co.uk/blog.html |
#30
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The coated paper can be stored for a while, although like most things ‘photographic’, indefinitely is probably a bit optimistic. I’ve certainly used paper that was coated months before exposure. I have only used a UV lamp for exposure, so can’t comment on sunlight exposure times.
I also have a book by Peter Mhrar, but it’s about Gum Bichromate prints, rather than Cyanotypes. It hasn’t been very useful. I think it suffers from being very technically complex. I prefer a text that describes a basic process to get you involved, then moves on to the testing, etc to refine your technique. I suspect it has also lost some clarity due to being translated from an original language? The Cyanotype process should be a lot simpler, and perhaps the book is easier to follow. The biggest hurdle I’ve encountered in both processes is producing big negatives. It’s fine if you have a 10x8” camera, but the alternative route (not to be discussed in detail here) can be quite complicated. 4x5” negatives can, of course, be used, but none of my efforts to date have been very impressive. Alex Sent from my iPhone using Tapatalk Pro |
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