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E-raamat: Cyanotype: The Blueprint in Contemporary Practice

(Professor of Photography at Montana State University, Bozeman)
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Cyanotype: The Blueprint in Contemporary Practice is a two part book on the much admired blue print process. Part One is a comprehensive how-to on the cyanotype process for both beginner and advanced practitioners, with lots of photographs and clear, step-by-step directions and formulas. Part Two highlights contemporary artists who are using cyanotype, making work that ranges from the photographic to the abstract, from the traditional to the conceptual, with tips on their personal cyanotype methods alongside their work. These artists illustrate cyanotypes widespread use in contemporary photography today, probably the most of any alternative process.

Book features include:











A brief discussion of the practice of the process with some key historical points





How to set up the cyanotype ÒdimroomÓ





The most extensive discussion of suitable papers to date, with data from 100+ papers





Step-by-step digital negative methods for monochrome and duotone negatives





Chapters on classic, new, and other cyanotype formulas





Toning to create colors from yellow to brown to violet





Printing cyanotype over palladium, for those who want to temper cyanotypes blue nature





Printing cyanotype on alternate surfaces such as fabric, glass, and wood





More creative practice ideas for cyanotype such as handcoloring and gold leafing





Troubleshooting cyanotype, photographically illustrated





Finishing, framing, and storing cyanotype





Contemporary artists advice, techniques, and works

Cyanotype is backed with research from 120 books, journals, and magazine articles from 1843 to the present day. It is richly illustrated with 400 photographs from close to 80 artists from 14 countries. It is a guide for the practitioner, from novice to expert, providing inspiration and proof of cyanotypes original and increasing place in historical and contemporary photography.

Arvustused

This text is a phenomenal guidebook for the beginner or seasoned cyanotypist, providing a comprehensive overview of the process, its history, numerous creative applications and innovative techniques, along with valuable trouble-shooting tips and contemporary examples of inspiring artwork.

Amy Holmes George, Fine Art Photographer

Christina Z Anderson has again excelled herself with this the third book in the 'Contemporary Practices in Alternative Process Photography' she has written. This two-part book is both educational for the beginner to the advanced practitioner as well as being inspirational with images from some of the best contemporary cyanotype artists.

John Brewer, Alternative Photographic Process Artist

A wonderful explanation and invitation to enter alternative photo with cyanotype. Information for the novice, advanced amateur, and professional alike. Contemporary examples inspire one to give it a try.

Jim Patterson, Photochemist and Alternative Photo Experimenter This text is a phenomenal guidebook for the beginner or seasoned cyanotypist, providing a comprehensive overview of the process, its history, numerous creative applications and innovative techniques, along with valuable trouble-shooting tips and contemporary examples of inspiring artwork.

Amy Holmes George, Fine Art Photographer

Christina Z Anderson has again excelled herself with this the third book in the 'Contemporary Practices in Alternative Process Photography' she has written. This two-part book is both educational for the beginner to the advanced practitioner as well as being inspirational with images from some of the best contemporary cyanotype artists.

John Brewer, Alternative Photographic Process Artist

A wonderful explanation and invitation to enter alternative photo with cyanotype. Information for the novice, advanced amateur, and professional alike. Contemporary examples inspire one to give it a try.

Jim Patterson, Photochemist and Alternative Photo Experimenter

Preface xi
Chapter 1 Cyanotype-History and Practice
1(10)
Cyanotype's benefits
2(1)
Cyanotype's detriments
2(1)
Singing the blues
2(1)
The psychology of blue
3(1)
Of reproduction and amateurs
4(1)
Where to next?
4(1)
A few key events in cyanotype's history
4(7)
PART ONE Cyanotype Step-by-Step
11(166)
Chapter 2 Setting Up the Cyanotype Dimroom
13(8)
Safety first!
14(1)
Classic cyanotype chemistry
14(1)
New cyanotype chemistry
14(1)
Toning chemistry
14(1)
Palladium chemistry
14(1)
Equipment and supplies
14(2)
Useful dimroom aids
16(1)
Solid measurements
17(1)
Liquid measurements
17(1)
Sources for supplies
17(1)
Sources for paper
18(3)
Chapter 3 Papers for Cyanotype
21(26)
Unbuffered papers made for alt
22(1)
Washi and delicate Asian papers
23(2)
Vellum papers
25(2)
Bristol papers
27(1)
Papers for your first foray
28(1)
Papers with color options
28(2)
And the list goes on
30(6)
Pre-acidifying buffered papers
36(1)
Sulfamic acid pre-bath
36(3)
Dmax--the holy grail?
39(1)
Dmax chart
40(2)
Quick peek paper chart
42(5)
Chapter 4 Digital Negatives for Cyanotype
47(14)
Transparency film
48(1)
Determining exposure the low tech way
48(1)
Determining exposure the high tech way
49(1)
Curving the negative
49(3)
A word about ink density
52(1)
Monochrome digital negatives
53(1)
Duotone negatives from RGB
54(2)
Duotone negatives from CMYK
56(2)
Troubleshooting the digital negative
58(3)
Chapter 5 Classic Cyanotype
61(16)
Classic cyanotype formula
62(1)
My favorite classic cyanotype formula
63(1)
Bleeding
64(1)
Novo's cyanotype formula
64(1)
Brown vs. green FAC
65(1)
Valenta's cyanotype formula
66(1)
Ratio of FAC:PF
66(2)
Whitaker's cyanotype formula
68(1)
Combining solutions and shelf life
68(1)
Classic cyanotype with oxalic acid
68(1)
Double coating cyanotype
69(1)
Mold in Solution A
69(1)
Adding dichromate to the formula
69(1)
Tips
70(3)
Historical formulas chart
73(4)
Chapter 6 New Cyanotype
77(6)
The benefits of new cyanotype
78(1)
Drawbacks to new cyanotype?
78(1)
Papers for new cyanotype
78(3)
New cyanotype formula
81(2)
Chapter 7 Further Formula Exploration
83(8)
Wang's formula in a nutshell
85(1)
Quick `n' easy hybrid formula
86(1)
Wall's formula
87(4)
Chapter 8 Making the Cyanotype Print
91(16)
Brushes to use
91(1)
Coating the paper
92(1)
Tips
92(1)
Drying the paper
92(1)
How long does coated paper last?
93(1)
Coating washi and tissue-thin papers
93(1)
Coating vellum papers
93(1)
Exposing cyanotype
93(2)
Exposure tips
95(1)
Ballpark UVBL exposure times
96(2)
Exposure scale
98(1)
Processing cyanotype
98(1)
Processing with acidified water
99(1)
Vinegar development for CC
100(2)
Citric acid development for CC
102(1)
Citric acid development for NC
102(1)
Sulfamic acid development for CC
102(1)
Sulfamic acid development for NC
103(1)
Hydrochloric acid development for NC
103(1)
Hydrogen peroxide use
104(3)
Chapter 9 Toning Cyanotype
107(12)
Choice of alkalis, called "bleaches"
108(1)
Choice of acids, called "toners"
108(1)
Quick and easy measurements
108(1)
Highlight staining
108(1)
Toning tips
109(1)
One-bath toners
110(1)
Trisodium phosphate toner
110(1)
Sodium carbonate toner
111(1)
Borax or ammonia toner
111(1)
Tea toner
111(1)
One-bath tannic-sodium carbonate toner
112(1)
Lead acetate toner
112(1)
Two-bath toners
113(1)
Generic two-bath alkali-acid toner
114(1)
Pyrogallic-hydrogen peroxide toner
115(4)
Chapter 10 Printing Cyanotype Over Palladium
119(10)
Supplies needed
120(1)
Paper choice
120(1)
Preshrinking paper
120(1)
A word about brushes
120(1)
Developer choice
120(1)
Potassium oxalate developer
121(1)
Ammonium citrate developer
121(1)
Developer tips
121(1)
Clear formulas
122(1)
Citric acid clear (acid)
122(1)
Di-EDTA clear (acid)
122(1)
Di-EDTA/citric acid clear (acid)
122(1)
Tetra-EDTA/sodium sulfite clear (alkaline)
122(1)
Coating formula
123(1)
Making the palladium print
123(1)
Exposing
124(1)
Processing
124(1)
Printing with the palladium negative
125(1)
Printing with RGB duotone negatives
126(1)
Printing with CMYK duotone negatives
126(1)
Troubleshooting palladium
126(3)
Chapter 11 Printing Cyanotype on Alternate Surfaces
129(10)
Cyanotype on fabric
129(1)
Cyanotype formula for fabric
130(1)
Fabric formula
130(1)
Coating fabric
130(1)
Exposing fabric
131(1)
Processing fabric
131(1)
Toning fabric if desired
132(1)
Laundering cyanotype fabric
132(1)
Tips
132(1)
Sources for cyanotype fabric
132(1)
Cyanotype on glass
133(1)
Purchasing the glass plate
133(1)
Cleaning the glass plate
133(1)
Subbing the glass plate
134(1)
Coating the glass plate with cyanotype
134(1)
Exposing the glass plate
134(1)
Processing the glass plate
135(1)
Printing cyanotype on OH P
135(1)
Printing cyanotype on wood
135(4)
Chapter 12 More Creative Ideas for Cyanotype
139(16)
Printing cyanotype over gold leaf
139(1)
Supplies
140(1)
Sources for gold leaf supplies
140(2)
Writing on a cyanotype print
142(1)
Postcards
143(1)
Punching a cyanotype print
143(1)
Handcoloring
143(1)
Watercolor pencils
143(1)
Supplies
143(1)
Photo oils
144(1)
Supplies
144(1)
The wet cyanotype process
145(2)
Combination printing
147(1)
More creative ideas
148(7)
Chapter 13 Troubleshooting Cyanotype
155(16)
Potential problems
155(1)
The FAC solution has turned blue
156(1)
The FAC solution is moldy
156(1)
FAC and PF when mixed turns blue
157(1)
Paper turns blue while drying
157(1)
The exposure is extremely slow
158(1)
The print is underexposed
158(1)
The print is overexposed
158(1)
The cyanotype print washes off
159(1)
The shadows bleed into the highlights
159(1)
The print is too low contrast
159(1)
The print is too high contrast
159(1)
The print is grainy
160(1)
The highlights are fogged blue
161(1)
There are lavender stains in the print
162(1)
The highlights are yellowed
162(1)
The print is mottled
162(1)
The print is dull
163(1)
The prints are inconsistent
164(1)
There are blue spots or streaks
164(1)
The print is splotchy or crystallized
165(2)
There are round white spots in the print
167(1)
The shadows are solarized
167(1)
The image is unsharp
168(1)
There are blue stains
168(1)
The print has faded
168(3)
Chapter 14 Finishing, Framing, and Storing Cyanotype
171(6)
Keeping record of works
172(1)
Varnishing cyanotype prints
172(2)
How to best store the print
174(1)
Editioning work
174(1)
Matting and framing
174(3)
PART TWO Contemporary Cyanotype Artists
177(122)
Chapter 15 Contemporary Cyanotype Artists
179(120)
Mariana Bartolomeo
181(4)
Jennah Ward Bentley
185(4)
Laura Blacklow
189(2)
Jonah Calinawan
191(4)
Wendy Catling
195(4)
Kimberly Chiaris
199(4)
Monica Chulewicz
203(4)
John Dugdale
207(2)
Jesseca Ferguson
209(4)
Peter Friedrichsen
213(4)
Annette Golaz
217(4)
Jacek Gonsalves
221(2)
John P. Jackson
223(4)
Teresa James
227(6)
Shannon Johnstone
233(6)
Max Kellenberger
239(4)
Sandy King
243(4)
Tasha Lewis
247(4)
Galina Manikova
251(6)
Constanza Isaza Martinez
257(4)
Sehera Nawaz
261(4)
Zeva Oelbaum
265(4)
Emma Powell
269(4)
Meghann Riepenhoff
273(4)
Judy Sherrod
277(4)
Gerardo Stubing
281(2)
David Underwood
283(4)
Harrison D. Walker
287(4)
Sam Wang
291(4)
Mike Ware
295(4)
Bibliography 299(3)
Index 302
Christina Z. Andersons work focuses on the family snapshot and contemporary vanitas printed in a variety of 19th century photographic processes. Andersons work has shown internationally in 110+ shows and 40+ publications. She has authored books which have sold in 40 countriesThe Experimental Photography Workbook, Gum Printing and Other Amazing Contact Printing Processes, Gum Printing, A Step by Step Manual Highlighting Artists and Their Creative Practice, and Salted Paper Printing, A Step-by-Step Manual Highlighting Contemporary Artists, along with Handcrafted: The Art and Practice of the Handmade Print (in Chinese) coauthored with Samuel Wang, S. Carl King, and Zhong Jianming. Cyanotype is her sixth book. Anderson is Series Editor for Focal Press/Routledges Contemporary Practices in Alternative Process Photography series and Professor of Photography at Montana State University. To see her work, visit christinaZanderson.com.