I shall discuss the art of making a monotone gum bichromate print over a cyano type using burnt sienna  water color in this article.

I shall use the first coat of cyano type and then four layers of gum bichromate on this picture.

The camera calibration and the white balance

A suitable photograph for the making of a gum bichromate is the one in which you have an easier “control”. An Image which shall help later to make a good gum bichromate print.

An adequate practice is to do a perfect custom white balance.

I usually use an expodisk, however, any other standard white balancing tool is suitable.

Also, it is important to have a better metering as well for an excellent exposure. This shall give a long tonal scale in the “Negative”.

Similarly, if possible, the use of color charts will give a perfect color calibration.

It is an important step for making a desired digital negative, which can produce a nice looking handmade gum bichromate print.


Dslr and Color Calibration
Expo disk, color chart and my digital camera.

The original scene

I picked a very flat subjective scene. There is not dramatic lighting in it.

It is only a demonstration about a gum bichromate which is printed in this kind of lighting as well.

The original picture is below. The gum print shall be in the monotone.


Original Digital Photograph
Original Image

The Preparation

Creating an ICC profile gives a simulation on the screen for the color gum bichromate print . So that in the software like Adobe Lightroom or Adobe Photoshop, the edit is according to the custom proof.

If you are making ICC profiles the advantage is that, it also saves time from making the curves.

For Black and White and monotone, a curve is enough. For the color  GUM BICHROMATE an ICC profile is important in my experience.

However, a “monitor calibration” is extremely crucial. So most of the time I do use the simulation.

an excellent achievement is to :-

“Make a good negative with a full tonal scale, for a good print “.


The Color Management
Spectrophotometer, test charts

Preparation of the negative is easier in Adobe Lightroom. However I do separation of the Negative in Adobe Photoshop.

Use gloves , mask and goggles for protection.

The watercolor paper needs sizing and then stretching.

The Sizing of the paper before printing will help in making smooth images.

Because of a good sizing., the pigment does not sink into the paper.

Gelatin tub sizing is the best and many of the watercolor master artists recommend it.

Paper stretching keeps the paper straight and is helpful in registering better with the negative.

I usually outline the negative to print the image in the center and give borders to all four sides.

The Digital Negative

I have tremendous respect for the wet and dry plate collodion negative makers and the silver based film users.

However my personal approach is that living in the today’s digital world, one can not ignore its capabilities .

The ability of making curves,  profiles, simulations and masking gives an immense control over the color gum bichromate process .

My Negatives are inkjet. After the editing I use screen film for printing.


Outlining the image area
Scale, triangle scale, pencil, light table.
Sizing details

Preferably, gelatin sizing with a 2.5% solution is enough. I use the formaldehyde bath for hardening. This is after the gelatin bath dries. This prevents an image from sinking in the fibers.

*Precaution!!!

Use Goggles, gloves and mask while handling Chemicals.

Formaldehyde is extremely pungent and dangerous for eyes, use of goggles is must.


Tub Sizing with gelatin
Sizing

Paper Stretching

Before any of the coating, stretching the paper is a good practice. It keeps the registration perfect and the paper straight.


Masking tape for streching
Stretching 

Marking and Outlining

I like to have borders on all four sides.

One of the side, however, will have punch holes for the registration pins.


Masking of the negative & paper
Masking the Paper edges

Cyano type as the first coat

A common aspect of both the cyano type and the gum bichromate is that they develop in water.

Although most of the print makers around the world coat in subdued light.

My choice is still to coat and dry the paper in a dim red light. In this way, I can avoid even a very slight fog.

Using the pin registration is an easier option . But there are several more registration methods..

Multiple coatings are nicer. So good registration will intact the sharpness.

And my UV light source is the home made burner shown in the picture.

The Cyano type as a base coat has many advantages, both in color and in monotone gum prints.

It is crisp, and tonality is maneuverable while developing.

Later, the softer gum over the cyano type blends very well and gives a very pleasing look to the print.

Water temperature

Consistent results require good measurement practices. When the weather change, the behavior of the development is also different. I prefer 22-24 degree Celsius in all seasons.


Temperature control of water
Water developing temperature

The Cyanotype

The red light reminds me of the old black and white days. I prefer a synthetic and a goat’s hair brushes.


Brushing the cyano type mixture
Mixture of hexacyanoferrat and ammonium iron citrate on watercolor paper

Contact print

After the emulsion is dry. I attached the negative and the watercolor paper with the registration pins for the contact print.


Contact printing of cyano type
Negative over paper.

The UV light source

This is my home made UV light source.


UV light source for printing
The print burner

Developing the cyanotype

I use three dishes.

The developing is by paper face down in the water.

The total developing time is normally thirty minutes. Ten minutes in each dish.

The Development

This is the aqueous development.


Cyano type & Gum bichromate developing in water
Water developing 
First dish

The first developing is extremely sensitive and important, as the bubbles between the paper and the water surface can cause stain and ruin the print.


The 1st dish developing
1st dish
The second dish

Although the water pulls out most of the dichromate in the first dish. However, the second dish cleans the image, and the development continues for the third dish.


The 2nd dish developing
2nd dish
Last dish

At the end, the third and last dish is complete. Now the print feels stable.


The 3rd dish developing
3rd dish
 Cyano type printed

The 1st coat is of cyano type which gives a crisp base
First coat.

The Gum Bichromate over the Cyano type

The gum’s bichromate mixed with the burnt sienna pigment and the potassium dichromate solution is now turning the bluish cyano-type image into grayish color.


1st Coat of Gum bichromate
The gum in the second coat
The 3rd emulsion

Now the third emulsion makes a warmer tone of brownish.


2nd coat of burnt sienna water color
Brown looking
The 4rth coat

The fourth coat makes the brown tone, more orangish


3rd coat of burnt sienna water color
Orange
The last coat

Finally, the fifth emulsion is there, the density remains neutral, however a bath of potassium metabisulfite will clear the orange, which is because of the dichromate.


The 4rth and final coat is of burnt sienna in gum bichromate
The final coat
The Clearing Bath

The metabisulfite bath extinguishes the orange color .

After this thorough washing cleans the metabisulfite..

So it is a handmade print, it is important that small spots are to be retouched by the brush.


Spotting and finishing
Finishing touches

The display image in frame
In the frame

Mounted and framed

A hand made gum bichromate print ready for display.

 

Zaidis Photographers Abbottabad
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