Photograms media cyanotypes

Created by Sir John Hershel in 1842 Originally, cyanotypes were used in conjunction with scientific recordings of mathematical tables, a divers range of plant specimens and architectural plans

Anna Atkins British scientist She brought cyanotypes into the realm of photography Cyanotype books with ferns and other plane life

Contemporary Cyanotype Using mixed media can be such a beautiful way to remanence.

These are photograms too. However, they are not cyanotypes. Let’s look at them for their composition. Both images demonstrate strong rhythm and repetition.

Can you figure out the themes?

What about these themes? Can you figure out how they were made?

Her are interesting examples of combining digital art into this photographic process.

Supplies lace Scale plant material GO BEYOND WHAT IS READYILY AVAILBLE ON HAND YOU ARE REQUIRED TO BRING IN ITEMS TO CREATE YOUR PHOTOGRAMS Distilled Water glitter Light tight glass (non-porous) bottles snake skin translucent fabric Potassium Ferricyanide> 8% of solution part A nail polish printed transparencies Ferric Ammonium Iron Citrate> 20% of solution part B textured thread flat or small beads Hydrogen Peroxide negatives; including digital Any surface that is capable of soaking up the iron solution Negatives Cotton Objects of interesting shape and translucence, for example: Plastic

Photogram/Cyanotype Process Carefully arrange the objects for photograms applying the Rule of Thirds to strengthen your dynamic composition onto the treated paper in the darkened room. Try to create a wide range of values, a focal point and a dominant principle of art when creating your composition. Create a plan using your sketchbook.  Set up a workspace for treating the watercolor paper. A dark room lit with a safe light is ideal. In any event, the room should be as dim as possible and away from direct sunlight. Consider placing the negative and paper in a secure-backed picture frame or a glass easel (contact printer) to hold the photogram objects in place. Once everything is in place, cover with a light-protective cloth and carry outside. Put on the safety gloves, and proceed with mixing the chemical solutions. A common recipe calls for 25g ferric ammonium citrate and 100ml water in one bottle, 10g potassium ferricyanide and 100ml of water in the other bottle. Mix until the chemicals are fully dissolved. Important note: the 2 chemical solutions need to remain separate until the paper is to be treated. If you are using transparencies, negatives or digital negatives, be sure that the printed side is the side touching the coated paper and remember to print font backwards. Carefully sandwich the easel closed and clip the sides to make a strong contact. Place the frame under UV light (sunlight) or direct sunlight for about 10 to 15 minutes (denser negatives might take longer).  Place equal amounts of the 2 chemical solutions into the mixing cup. Cyanotype chemicals are short-lived once mixed together, so mix only what you think you will need for your project. You can always mix a little more, but unused cyanotype mixture must be discarded. Solution works best if it sits over night. When the solution looks dark grey, it is ready to be developed. Once the paper has been exposed, bring inside and place it into the first plastic tray. To develop the paper, carefully remove it from the frame and wash the print in three wash baths of fresh cool water. Allow it to in the first bath under running water for about 5 minutes. Agitate the print in the second bath for five minutes. In the third bath, pour two small drops amount of hydrogen peroxide on top the print. The Prussian blue created by the cyanotype solution will appear even stronger from the addition of the peroxide. Coat solution on paper or fabric. Decide if you want to mask the coating or paint it. Dry with a hair dryer, place by a fan or lay flat to dry.  Allow the treated paper to dry thoroughly in a dark area. It is important to keep the treated paper out of light until it is time for printing. Using a light tight bag is ideal for storage of coated paper. Hang print on clothesline or dry flat on screens

Finishing Resources: When print is dry it may be the finished product or you can draw, paint, collage on the print, etc Freestyle photo.biz  www.photoformulary.com Use UV protectant glass when framing the work and avoid pacing work near direct sunligh Lab Chemicals & Reagents Acids, Bases, Solvents, Stains. Since 1951 - Ships Same Day! www.rmreagents.com Complete Self Reflection and reference the Visual Arts Rubric (Self-Assessment) Slides Converted to Disc Keep them, Protect Them, Share Them Larsen Digital - Since 1995 www.SlideScanning.com   Tips & Warnings filmoutput High Quality Positive-Negatives No Rush Charges www.FilmOutput.com It can be tricky getting the chemicals mixed just right. Some formulary sites actually offer bottles of pre-mixed cyanotype chemicals, which removes the guesswork and leaves more time for the fun stuff. HABS HAER HALS Historic Documentation Professional Photographer www.park-photo.com Cyanotypes can also be printed on other fibrous surfaces such as cloth.

Evaluation Dynamic Composition Voice Value/Tonal Range Craftsmanship Things to consider… Have you created a dynamic composition? Did you consider your borders when coating your paper with solution? What is the theme of your work? Does your photogram evoke a specific mood or feeling? Did you explore a variety of objects to create a unique photogram? Did you properly expose your photogram? Does it show a wide tonal range including white and deep rich prussian blue? Has your photogram been properly developed? Be sure there are no stains on your work. Evaluation Dynamic Composition Voice Value/Tonal Range Craftsmanship Planning/Reflection Timing