More experimentation with cyanotypes and toning in coffee. These are all old negatives.
I haven’t worked much with cyanotypes because I don’t really care for blue prints. But with Covid keeping me out of the darkroom and all the ingredients sitting in my studio, it made sense to try.
A little research made it clear that toning gave me more options than just blue. Here are the results so far. look for more as I work through the process.
The black: coffee
The gold: tea
Shamokin is a coal town in central PA. It seems to have been hit hard by the loss of coal and industry jobs and the opioid crisis. The population is about 7,000 now, down from a peak of 50,000 in the 50s.
Shamokin has an interesting labor history, including the Shamokin Uprising of 1877.
I only spent a few hours there—barely enough to scratch the surface.
Our friend Eric came over for Brunch on Sunday so I broke out the Crown Graphic and Harman Direct Positive paper for some coffee goodness. I’m very pleased with results of this session.
Christine and Marc came over yesterday to watch the World Cup final. I took the opportunity to get some portraits.
They’re a very photogenic family.
As a follow up to my previous post, I tried another test shot, this time adding a stop of time.
An EI of 0.8 had the expected result and delivered a negative that was significantly denser. There is still some loss in the shadows, but not nearly as much as with the EI 1.6 negative. I don’t understand how people are shooting this stuff at ISO 3 or 6!
Haven’t had time to test print, but here is a scan that I didn’t do anything to in LightRoom. Looks pretty good.
I don’t mind the loss of speed too much as I won’t be shooting this stuff handheld anyway. I’m glad to have the HC-110 developing option since I won’t have to buy more Dektol if I just want to shoot this occasionally.
At the beginning of my One Project, I decided to use Dektol as my developer because most of what I read suggested it was the best choice. I feel like I’ve gotten to a point where I am comfortable with Dektol. And as I come to the end of this project, I think it’s time to explore other options. I noticed on the Massive Development Chart a recipe for HC-110 at 1:200 dilution for 14 minutes. HC-110 appeals to me since I happen to have a bottle. So, I decided to run a little test to see if this recipe could get me similar results to the Dektol.
I set up a quick scene in my backyard with some blacks and whites and midtones to test. Here is a screen grab from my iPhone.
I took 2 shots of this at f4.5, 2 seconds. The first I developed in my usual Dektol 1:30 for 2:07 minutes @24°C. The second in HC-110 1:200 for 10:07 minutes@24°C.
As you can see from the negatives, the Dektol version had more detail in the shadows, though both were pretty thin. I think I should have added more time for reciprocity, but I can’t find anything online about reciprocity failure with this film.
Just to be complete, I did contact prints of both negatives. Both printed at 10 seconds at F32 (they were thin!) with a number 2 filter on Ilford Multigrade Fiber, glossy. As expected, the Dektol negative gave good shadow detail but also blown highlights
The HC-110 negative had much less shadow detail, but I did like the blacks better. Of course, a higher filter on the Dektol negative would probably get the blacks right.
While I was doing this experiment, Load Film in Subdued Light was also dipping his toe into Ortho Litho using HC-110. His recipe is 1+200 for 18 minutes. I am going to try that to see if the extra time helps with the shadow detail. If not, I will stick to Dektol.
Made a couple of prints this week from last week’s negatives. This Arista Ortho Litho 3.0 makes nice prints with the lith process but it’s harder to print on normal paper. Prints tend to come out flat
This lith print is awesome.
This regular print is flat.
Another nice one.
Some views from a rainy day above the 900 block of South Street.