Posts Tagged: Project
Cyanotype – The Shoot
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| Copyright 2013 Francois Cleroux |
I have already shown some nude samples from images I had shot in the past. And, although they may be perfect to show as examples, I decided in ‘creating’ my images from scratch specifically for this project. Why?
First off, the images themselves, what should they be of? Should I do classic full body nudes, should I do tighter cropped body and light studies (which I like) or should I shoot something in between, perhaps with more complex frame filling compositions?
What about the format? Should I use the standard 35mm 2:3 aspect ratio, the traditional 4:5 aspect ratio or perhaps do some square (1:1) images?
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| Copyright 2013 Francois Cleroux |
The reason this is all important is because when creating a body of work or more specifically a project or collection, it is essential that the images have a coherent feel and look to them that holds the collection together. They should look like they belong together.
This can be achieved by keeping the lighting the same (or similar), by having all your images the same aspect ratio, using the same focal length lens and so on. There are many photographic attributes and characteristics that can be used to cohesively define a collection. This will be important with my Cyanotype project.
More importantly than the above however, shooting specifically for the Cyanotype Project will give me the control that I require when creating the Cyanotypes. Cyanotypes are generally fairly high contrast with few or limited mid-tones. By creating new images specifically for this media type I can better control the mid-tones. I can do that by making sure I start off with the right lighting, shooting RAW and then keeping the mid-tones in mind when I process my digital images, create my digital negatives and then finally creating my Cyanotypes.
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| Copyright 2013 Francois Cleroux |
On the lighting, as you can probably see from most of my nude images I tend to like rather dark high contrast nudes. By using a softer light that gives me softer transitions from light to dark, I can create larger mid-toned transitions between the light and dark areas. The overall contrast will be the same, but with slightly enhanced mid-tones.
Also, because the Cyanotypes are high contrast, any areas within an image that are very faint with just slight detail showing within a dark area will be lost in the Cyanotype process and will be turned to dark blue. Some of the faint detailed areas are important to the overall balance of some of the images and so one must make sure that these show up on the final Cyanotype image. By increasing the amount of light in those areas and properly exposing those normally faint areas, I can ensure details will be retained through the negative creation process and on to the final Cyanotype print.
As you can see from this post the Cyanotype Project truly starts pre-camera shutter release. The right lighting from the onset will translate to properly detailed Cyanotypes.
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| Copyright 2013 Francois Cleroux |
Next time you head out on a shoot, think about what you will be using the images for and on what media types you will be printing on. Will you be printing on high contrast glossy paper or on lower contrast matte paper or on some other media type. Properly exposing and making any adjustments before you print will greatly improve the quality of your printed work.
For my first shoot I photographed two models in a studio setting using studio lighting and a traditional black backdrop. The images here are different contrast levels that I will use to explore the process with. I did want to do some High Key images but will try that on my next shoot to see what that would look like in a Cyanotype. An afterthought I’d like to explore.
For me, this process has given me some excellent digital images I can work with to continue the project. Next up, let’s discuss the digital editing of the Raw files and then look at creating the Digital Negatives and the Specific Curves required for properly creating Cyanotypes.
© 2013 Francois Cleroux
(Version 1.00 – April 2013)
Cyanotype – The Project
I did a lot of soul searching in my classes with Russel and Wendy Kwan trying to decide what photographic direction to go in, I finally decided to do a project on Long Exposure Landscapes but not your typical Michael Levine long exposures everyone is doing now.
Specifically, they will be different in subject matter and in the way they will be photographed and they will be printed as hand-made Silver Salt prints. Not a simple process but one I want to challenge myself with. They will also…. oh, wait, it’s a secret. A cool secret at that, and one that has me very excited. Later, when the project is closer to completion, I will share this secret with you.
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| One of my fake Digital Cyanotypes. |
Why Silver Salt Prints? Silver Salt printing is a process that was used in the early 19th century and has the same timeless qualities that I love in photography and one I want to bring to my landscape images.
My first challenge was to figure out how to create the Silver Salt prints. Something I had no idea about when I first had the idea but having been schooled in the darkroom and having a great understanding of photographic processes, I was able to make a fairly educated guess at the work that would be involved.
I then did some studying on the subject which led me to read and learn about many other old world processes including the Cyanotype. While investigating the Cyanotype I decided I liked the look of the blue print but also it’s toned variants that can be made Pink, Red, Brown, almost Black and various other colors. As much as I liked the Blue color, I liked what the Cyanotype process did to the images themselves. It reduces details in the highlights and shadows, and contrast gets enhanced because of the reduction in tonal range. The slightly grainy effect also reduces sharpness a little but good sharp lines can still rendered. The images tend to be somewhat darker with a softness about them.
This process I decided would look great with some of the nudes I have been shooting and could bring out their classic beauty while reducing their personal nature. The final results of the monochromatic images would reduce the overall brashness of a typical nude. Cyanotype prints also seem to take on a feeling of nostalgic beauty that can be viewed without the modern interference and harshness that is present in most digital images.
The basic process of Cyanotypes involves mixing an emulsion from chemicals and then coating paper with the emulsion before exposing the image under a UV light source or the Sun. This process is very similar to the Salt Print process but much simpler in that it doesn’t require a darkroom and is safer and cheaper. This would be a good start to lead into creating Salt Prints for my Landscape project.
A new project is born. Deciding that I liked the look of the nudes with the Cyanotype process and that the Cyanotypes were a perfect lead-in to the Silver Salt prints, I decided to create a series of Classic Nudes printed as 16×20 handmade Cyanotype prints.
The project in its infancy still needs to have a few things hammered out. What will the nudes be? One woman? Several women? All classic beauties or women of varied body types, shapes and sizes? Will the images themselves be studies of light, shape and form of parts or whole bodies? Will they be made more personal by including faces?
Now I also have the technical issues to deal with. Will the Cyanotype prints be classic Prussian blue or toned? What paper should I use and how do I create the perfect Digital Negative for these Cyanotype prints? I have already been working on the Digital Negatives and have been developing Photoshop curves.
I have named the project mostly because I keep notes in a record book and I will also be blogging about the project and so I will need a reference name. Later, as the project comes along and gets more refined, I may decide to change the name to something that is more reflective of the project itself, but, for now it’s called Embodying Femininity.
Once I have mastered the Cyanotypes, whether my Cyanotype project is finished or not, I will start the Silver Salt Landscapes project.
Next Post – Cyanotype – The Negative
(Version 1.01 – March 2013)
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