Cyanotypes (Shadow Graphs): Editions

A new process:

Cyano-digi-types

A new version of a traditional process by David W Riccio.

These prints were produced using a combination of state of the art digital printing and a traditional cyanotype process (one of the first true photographic processes, see below).

An original “negative” or “shadowgraph” is first produced by:  Coating etching paper with the original cyanotype chemistry in a darkened room.  The coated paper is then allowed to dry in the dark.  An assemblage of botanical materials to be “photographed” is then arranged on a glass of a contact frame, the dry cyanotype paper is placed on top of the botanical material, a backing board is placed on top of that, and finally the contract frame is tensioned so as to “mash” the glass, botanical materials, cyanotype paper, and backing in close compression and contact.  The contact frame is then exposed to a strong source of UV light (the sun works great) for about 20-40 minutes.  The “negative” is then “fixed” by washing it in large volumes of cold water, which remove the unexposed chemistry and leaves a white paper shadow on an intense blue surface.  The “negative” is given a final wash of hydrogen peroxide to set any remaining unexposed chemistry.  The “negative” is then dried and pressed flat.

After the “negative” has dried, it is scanned using a high-resolution digital scanner.  Using Photoshop the digital image is cleaned, processed, and color managed to enhance the desired  characteristics and the artistic presentation.  A final print is then produced on archival paper with archival-pigmented inks using a state-of-art digital printing system.

The final image is archival and not susceptible to the problems of a traditional cyanotype.

In addition, the image can be easily scaled in size, repairs made, or color adjusted as you would in a traditional “silver photography” darkroom situation.  The cyanotype limitations of the print being only available in the same size as the original and not being readily reproduced are overcome by this modernization of the process.

Traditional Cyanotypes:

The original cyanotype process was first introduced by John Herschel (1792 - 1871) in 1842. Sir John was an astronomer, trying to find a way of copying his notes.

One of the first people to put the cyanotype process to use was Anna Atkins (1799-1871), who in October 1843 became the first person to produce and photographically illustrated a book using cyanotypes. She was a pioneering figure in photographic history, having produced the first book to use photographic illustrations. She was a botanist and her father a friend of Fox Talbot. Atkins book uses 424 cyanotypes (or as they were known then: "shadowgraphs"). The book was called "British Algae: Cyanotype impressions". It was printed privately and issued in several parts over ten years.

Some of the Results: