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#alternativeprocess

Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
3 giorni fa

A white rose in Prussian blue.

Another cyanotype from my flower archive, printed with the brush marks left visible around the image. I rather like th

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A white rose in Prussian blue.

Another cyanotype from my flower archive, printed with the brush marks left visible around the image. I rather like the tension between the delicacy of the petals and the physical evidence of making the print.
12"x12"

A square cyanotype print of a rose, displayed on a small, paint-marked wooden easel against a dark background. The flower fills the central image, its layered petals rendered in pale blue, white and deeper cyan shadows. Uneven blue brush marks extend beyond all four edges of the image, particularly across the top and bottom, revealing how the sensitiser was applied. A broad border of warm white, lightly textured watercolour paper surrounds the print.

#photography #cyanotype #alternativeprocess

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
5 giorni fa

Dahlia, Cyanotype

Thought I would have a go at increasing the scale, not of the image but with a supporting border. I like how this one has worked ou

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Dahlia, Cyanotype

Thought I would have a go at increasing the scale, not of the image but with a supporting border. I like how this one has worked out. I don't think I will tone this. 16 inch by 16 inch sheet.

A square cyanotype print of a single Dahlia, made on Gerstaecker No. 3 watercolour paper and presented on a 16 × 16 inch sheet. The photographic image occupies an approximately 8 × 8 inch square in the centre, surrounded by a broad four-inch border of untouched paper. The cyanotype is a rich Prussian blue, with the sensitised area extending slightly beyond the image in visible, irregular brush marks, particularly along the top, left and lower edges. The Dahlia fills most of the blue square. Its many overlapping petals radiate outward from a tightly detailed centre, with the upper and central petals appearing pale and luminous against the darker background, while the lower and outer petals gradually fall into deeper blue tones. The large expanse of clean white paper around the relatively small image gives the print a restrained, spacious appearance. The finished sheet is photographed upright on a small wooden easel against a plain black backdrop.

#photography #dahlia #cyanotype #alternativeprocess #botanicalphotography

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
5 giorni fa

Making a Dahlia Cyanotype is not a simple as you think it might be!
 I’ve written a fully illustrated account of making the print, from the original p

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Making a Dahlia Cyanotype is not a simple as you think it might be!
 I’ve written a fully illustrated account of making the print, from the original photograph through to the finished image.
jevoncarey.myportfolio.com/making-the-d...

jevon carey - Making the Dahli...

#photography #cyanotype #analoguephotography #alternativeprocess

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
6 giorni fa

I've created a new negative (old on the left, new on the right). I won't bombard you with the step-by-step process, but once the print is finished I'l

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I've created a new negative (old on the left, new on the right). I won't bombard you with the step-by-step process, but once the print is finished I'll publish a link to a fully illustrated article on my website.

Two digital negatives of the same monochrome dahlia photograph placed side by side on a light surface. The original negative is on the left and the revised negative is on the right. In both, the flower fills most of the square image area while the surrounding background remains largely clear. The revised negative on the right is noticeably denser through the centre, middle and lower petals, giving those areas a darker appearance than in the original negative. This additional density was created using a 2.20 gamma correction before inversion, with the intention of holding back more ultraviolet light during cyanotype exposure and preserving greater tonal separation in the finished print. The comparison shows how the structure of the digital negative was altered while leaving the clear background largely unchanged.

#photography #cyanotype #analoguephotography #alternativeprocess

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
1 settimana fa

Final toned print, part dry.
I’m going to have another look at the negative and see if I can reprint it with a little more luminance in the lower midt

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Final toned print, part dry.
I’m going to have another look at the negative and see if I can reprint it with a little more luminance in the lower midtones.

An 8 × 8 inch hand-coated cyanotype of a single dahlia, photographed while still partly drying after bleaching and toning in black tea. The square print lies on a dark charcoal surface. The original Prussian blue has been transformed into muted warm brown, plum-grey and charcoal tones. The dahlia fills most of the image, with overlapping petals radiating from a dense central structure. The upper petals are lighter and clearly separated, while the lower petals gradually disappear into the darker surrounding field, creating a low-key, atmospheric image. A narrow cream paper border surrounds the sensitised area, with irregular hand-brushed edges and visible brush strokes along the top and bottom. The textured surface of the paper is clearly visible throughout the print. The image remains slightly damp, so its final colour and density are still settling.

#photography #cyanotype #analoguephotography #alternativeprocess

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
1 settimana fa

Final toned Dahlai print, part dry.
I’m going to have another look at the negative and see if I can reprint it with a little more luminance in the low

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Final toned Dahlai print, part dry.
I’m going to have another look at the negative and see if I can reprint it with a little more luminance in the lower midtones.

An 8 × 8 inch hand-coated cyanotype print of a single dahlia flower, shown part-way through drying after bleaching and tea toning. The flower occupies the centre of a roughly square image area, its layered petals rendered in warm brown, muted plum and grey-brown tones rather than the original Prussian blue. The lighter upper petals remain clearly separated, while the centre and lower petals merge more gradually into the darker background, retaining fine tonal detail but with a deliberately subdued, low-key appearance. The surrounding image field is a soft, dense brown with subtle texture from the paper and coating. Irregular hand-brushed edges remain visible around all four sides, leaving a narrow border of uncoated cream paper. Brush marks are especially noticeable along the upper and lower edges. The print rests on a dark surface and is still drying, so the final tone and density have not yet fully settled.

#photography #cyanotype #analoguephotography #alternativeprocess

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
1 settimana fa

Yesterday’s Dahlia cyanotype after being left to dry and oxidise overnight, allowing the deep Prussian blue to develop.
Next to it, the same print aft

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Yesterday’s Dahlia cyanotype after being left to dry and oxidise overnight, allowing the deep Prussian blue to develop.
Next to it, the same print after bleaching, ready for tea toning.

Image 1 — Oxidised cyanotype An 8 × 8 inch hand-coated cyanotype print of a single dahlia flower, photographed lying on a dark surface after drying and oxidising overnight. The flower occupies the centre of a roughly square field of deep Prussian blue, with its layered petals emerging in paler blue-grey tones. Fine detail and tonal gradation remain visible through the petals, particularly around the tightly structured centre and the lighter upper petals. The sensitised area has irregular hand-brushed edges, leaving a narrow border of uncoated white paper. Brush strokes are especially visible along the upper and lower edges. The print has developed the rich, dense blue characteristic of a fully oxidised cyanotype.

#photography #cyanotype #analoguephotography #alternativeprocess

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Jevon Carey
@jevoncarey.bsky.social@bsky.brid.gy
1 settimana fa

Dahlia, Cyanotype in Progress

Out of the wash and into the drying cabinet to oxidise overnight. Tomorrow, bleaching and toning in a nice brew of York

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Dahlia, Cyanotype in Progress

Out of the wash and into the drying cabinet to oxidise overnight. Tomorrow, bleaching and toning in a nice brew of Yorkshire Tea.

A square cyanotype print of a single dahlia flower, shown immediately after washing and before final oxidation, bleaching and toning. The flower fills most of the coated area, its layered petals emerging in pale blue and white against a rich, dense cyan-blue background. Fine tonal gradations remain visible across the petals, especially toward the centre, where tightly folded forms create a more intricate pattern of light and shadow. The hand-coated sensitiser extends almost to the edges of the paper, leaving an irregular white border and visible brush marks along the top and lower edges. The print rests inside a clear plastic washing tray on a wooden surface. The image was made from a digital negative created from an original monochrome photograph of the dahlia.

#photography #cyanotype #analoguephotography #alternativeprocess

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