View Full Version : Golden Jubilee Bridge

10-07-2010, 04:22 PM
A 7x7inch cyanotype taken on the Golden Jubilee Bridge in London (it is by Embankment tube station). The camera was f128 approx 37mm fl. The scan of the negative is here (http://f295.f295.org/uploads/Blah.pl?m-1257283034/s-0/highlight-37/#num2)

Cyanotype was classic 1:1 A : B mix onto cartridge paper sized with gelatine with a dash of Formaldehyde. The enlargement was via a digital negative.

Best regards,

Evan Attached files http://f295.f295.org/uploads/bridge_london_cyan_7418.jpg (http://f295.f295.org/uploads/bridge_london_cyan_7418.jpg)

10-07-2010, 07:06 PM
I like this image. Very nice!


10-07-2010, 09:36 PM
This is a nice range of tones, Evan. Which digital negative method are you using? I am in the middle of learning the calibration methodology for Mark Nelson's PDN. It is complicated by my sorry lack of Photoshop skills, but I think that I am gaining on it. Soon I should have big prints from my 4x5 negatives as well as the 8x10's made with camera negatives. Have you made a carbon print with a digital negative yet?

10-08-2010, 03:18 PM

After a series of inconsistent results with digital negatives, I finally seem to have found a workflow that suits me. First I had inconsistencies with printing out the negatives as the printer driver seemed to keep trying to be clever and made subtle adjustments that I did not want. I then found that the ink combination that was being laid down gave different printing results in sunlight compared to my UV tubes as different colour combinations were being laid down for different densities. I found I could print light tones on the negative quite consistently, but the darks would blob and separate sometimes too.

When I tried to make a print, scan it and then adjust the curves to get a more linear response, the results were crazy. I finally found how to stop my scanner making subtle corrections that were throwing out my results and then I had a small degree of success, however not all images would print as they appeared on the screen.

One of the big breakthroughs was discovering QTR for driving my Epson printer directly. By printing with just the black ink, I could achieve a decent linearisation after scanning the print, however the results were quite coarse looking and I could not achieve a deep enough black for getting good whites with carbon.

I found that by using all the inks, each at the same proportion, I could get a decent dark for printing the highlights in carbon, a much finer graduation between the steps and finer details were captured well. For the cyanotype curve, I print with a maximum density of 17% of the possible full ink load the printer is capable of delivering and with an almost linear curve, just a slight darkening of the shadow regions on the negative to make the shadows less dense. For carbon I am still fine tuning the exposure vs. dichromate concentration for my latest batch of tissue before I start adjusting the curve. I have moved away from detailed curve adjustments and settled on small tweaks made by eye; after seeing the effect of so many small adjustments I am getting quite good at deciding what part of the curve needs modifying! The carbon I posted here (http://f295.f295.org/uploads/Blah.pl?m-1285680711/) was with a digital negative.

My printer is an old Epson Photo R220 so I am limited to A4 paper maximum and I print onto cheap ink-jet transparency sheets.

Best regards,


10-09-2010, 09:02 PM
Thanksfor the detail Evan. This is a great cyanotype; maybe time to fire up the uv lights.......