For that particular picture it was a close run thing between number 2 the toned cyanotype and the Kallitype. Nice to see them together. In fact essential to see them together to have any chance of making a choice - that's how close they all were. It was a 5 minute video that probably took over 5 hours to make. I appreciate the effort you put into these videos
In order of preference, toned cyanotype, carbon print, gum over cyanotype, cyanotype, and kallitype. Seeing the prints in person would probably yield a different result.
All excellent prints! I like the framing of the carbon print without brush strokes. The cyanotype is beautiful and adds to the atmosphere of the composition, can we see a print without brush strokes to compare?
Thank you for your channel! It’s both incredibly informative and entertaining. I’ve been making cyanotypes and salt prints lately, so I gravitate toward the cyanotype and the tannic-toned version. I’ve only used the “new” cyanotype formula, and been finding I need to make fairly dense and contrasty negatives (I’m shooting 5x7 film). Mike Ware suggests: “the negative should have a long density range of at least 1.8, like those for platinum-palladium printing; i.e. extending from base+fog at around 0.2 to a Dmax of 2 or more.” I don’t have a densitometer, so it’s been trial and error. Getting closer. I’m curious to know if you’ve used the new cyanotype, and the “recipe” you used to get such a thick tannic acid bath! Thank you again!
I appreciate your comments! I tried out the new Cyanotype a few years ago. It had a more intense blue, but since I tone my Cyanotypes, I switched back to the traditional recipe. I also like to do Tri-Colour gum, and I prefer the not so intense blue of the original recipe. For my tannic acid bath, I use about 3 heaping tbls per litre. It went way up in price recently, so I cut back from 5 😁 It goes moldy fast, so I put in a heaping tbls of Sodium Benzoate.
I love this. Is this the first time you have done this using the same negative for a variety of alternative processes? As mentioned before, it would be better to see this in person to really appreciate them. It's difficult for me to choose they are all good except the cyanotype. I hate blue color pics. It's my bias. However, I love the cyanotype toned as well as the Gum-over cyanotype. I think my favorite may be the carbon print, but it's tough. How long did it take you to make each print? I'm sure the carbon was the longest to make. Where do you suggest I go to learn more about all five of these processes? thanks for another wonderful video
Thank you, Michael! Actually I used 4 (digital) negatives (made from a 120 Rollei IR image I shot over in Japan last Summer) that were tailored to each process. I'm also not a fan of the straight Cyanotype. I always tone it to get rid of the blue. The straight Cyanotype takes about half hour to make from sensitising to intensifying. The gum-over takes the longest. One full day. But, my job gets in the way, so it took a few days. The Carbon is about the same, from making the pigmented gelatin (glop), to pouring it to make the tissue, to sensitising (drying takes 3 hours), exposing the negative (takes 40 min), then transferring and developing the print takes about 30 minutes. A good place to learn about Alt. process is alternativephotography dot com. I also have some videos on Carbon Transfer. My intro to Alt. world was the Van Dyke Brown (very easy and similar to Cyanotype). Then I jumped to Kallitype, then Carbon Transfer. Cyanotype was squeezed in there, and Gum came to me last. Going to try Salt printing in the next little while.
Well, I guess I'm going to have to learn how to make digital negatives. I shoot LF/ULF (i've got a 14x17, too) but you showed how easy it was to jump to the different techniques. @@analogueandy8x10
@@MichaelWellman1955It's really not so difficult making digi negs. I taught myself about 12 years ago. Once you get your curve and profile down for given process, it's quite repetitive. I'll be uploading a video where I use Chartthrob (for generating curves) and QTR (for making profiles for your printer...providing it's an Epson). It's not a step by step, just an overview of my workflow.
Usually for a more neutral tone, but sometimes I want certain colours to be more vibrant (with a little brushwork while print is wet), and show through.
@@analogueandy8x10Ah I see! I did not want to sound rude, but I was wondering why you did not mix the colored gum solutions right away. Thanks for the answer
For that particular picture it was a close run thing between number 2 the toned cyanotype and the Kallitype. Nice to see them together. In fact essential to see them together to have any chance of making a choice - that's how close they all were. It was a 5 minute video that probably took over 5 hours to make. I appreciate the effort you put into these videos
Thanks! Yes, it took a couple of weeks from start to finish, not including the video editing. My job gets in the way, sadly! Cheers!
In order of preference, toned cyanotype, carbon print, gum over cyanotype, cyanotype, and kallitype. Seeing the prints in person would probably yield a different result.
I agree. It's always best to view prints in person. Hard to make out detail, and cannot see the image relief in the carbon print.
Great comparison. I love them all but particularly the gum over.
They are all so different I couldn't decide either.
Excellent. A lot of time, effort and experience went into that.
The carbon print looks very beautiful
Toned cyanotype and them Kallitype.
All excellent prints! I like the framing of the carbon print without brush strokes. The cyanotype is beautiful and adds to the atmosphere of the composition, can we see a print without brush strokes to compare?
I'm going to attempt to make one with a masked border.
The carbon print, although they are all dandy!
First of all. It is a beautiful image. Did you take it with your 8X10? I like the last version the most.
I took it with my Mamiya-Six folder with 120 Rollei 400 IR in Japan, last Summer. ruclips.net/video/C_1eiIndGiY/видео.html
Thank you for your channel! It’s both incredibly informative and entertaining. I’ve been making cyanotypes and salt prints lately, so I gravitate toward the cyanotype and the tannic-toned version. I’ve only used the “new” cyanotype formula, and been finding I need to make fairly dense and contrasty negatives (I’m shooting 5x7 film). Mike Ware suggests: “the negative should have a long density range of at least 1.8, like those for platinum-palladium printing; i.e. extending from base+fog at around 0.2 to a Dmax of 2 or more.” I don’t have a densitometer, so it’s been trial and error. Getting closer. I’m curious to know if you’ve used the new cyanotype, and the “recipe” you used to get such a thick tannic acid bath! Thank you again!
I appreciate your comments! I tried out the new Cyanotype a few years ago. It had a more intense blue, but since I tone my Cyanotypes, I switched back to the traditional recipe. I also like to do Tri-Colour gum, and I prefer the not so intense blue of the original recipe. For my tannic acid bath, I use about 3 heaping tbls per litre. It went way up in price recently, so I cut back from 5 😁 It goes moldy fast, so I put in a heaping tbls of Sodium Benzoate.
The banana ! No, just joking :) The carbon print excites me the most but they all have their own beauty. Good demo ..
Carbon print!
I love this. Is this the first time you have done this using the same negative for a variety of alternative processes? As mentioned before, it would be better to see this in person to really appreciate them. It's difficult for me to choose they are all good except the cyanotype. I hate blue color pics. It's my bias. However, I love the cyanotype toned as well as the Gum-over cyanotype. I think my favorite may be the carbon print, but it's tough.
How long did it take you to make each print? I'm sure the carbon was the longest to make. Where do you suggest I go to learn more about all five of these processes? thanks for another wonderful video
Thank you, Michael! Actually I used 4 (digital) negatives (made from a 120 Rollei IR image I shot over in Japan last Summer) that were tailored to each process. I'm also not a fan of the straight Cyanotype. I always tone it to get rid of the blue. The straight Cyanotype takes about half hour to make from sensitising to intensifying. The gum-over takes the longest. One full day. But, my job gets in the way, so it took a few days. The Carbon is about the same, from making the pigmented gelatin (glop), to pouring it to make the tissue, to sensitising (drying takes 3 hours), exposing the negative (takes 40 min), then transferring and developing the print takes about 30 minutes. A good place to learn about Alt. process is alternativephotography dot com. I also have some videos on Carbon Transfer. My intro to Alt. world was the Van Dyke Brown (very easy and similar to Cyanotype). Then I jumped to Kallitype, then Carbon Transfer. Cyanotype was squeezed in there, and Gum came to me last. Going to try Salt printing in the next little while.
Well, I guess I'm going to have to learn how to make digital negatives. I shoot LF/ULF (i've got a 14x17, too) but you showed how easy it was to jump to the different techniques.
@@analogueandy8x10
@@MichaelWellman1955It's really not so difficult making digi negs. I taught myself about 12 years ago. Once you get your curve and profile down for given process, it's quite repetitive. I'll be uploading a video where I use Chartthrob (for generating curves) and QTR (for making profiles for your printer...providing it's an Epson). It's not a step by step, just an overview of my workflow.
Toned cyanotype. Spooky.
Was the gum done using PrintMakers Friend pigments?
No, it was gum bichromate.
The banana…
😄 Do you have a runner up?
love the kallitype but am to scared to do my own......
Daunting at first, but once you try it, no worries. It was my gateway drug to several other Alt. processes! 😁
@@analogueandy8x10 are you still thinking of doing a series of instructional videos?
@@chrisallton4409yes, it's on the list!
What is the general idea of 2 color gum cyanotype?
Usually for a more neutral tone, but sometimes I want certain colours to be more vibrant (with a little brushwork while print is wet), and show through.
@@analogueandy8x10Ah I see! I did not want to sound rude, but I was wondering why you did not mix the colored gum solutions right away. Thanks for the answer
@@codysergeant1486actually, mixing of the gum (including blue) is also a cool way of doing gum-overs. Cheers!
Carbon print.
You taught me a lot, so - none of these. Calibrate your processes. Digital negatives are the weak spot now.
Carbonana.