The "Welch Method" for Cyanotypes on Japanese Washi Paper
Вставка
- Опубліковано 26 вер 2024
- If you came here just to see Leia then skip to 02:15 😊
This is a technique I've developed for performing the wash process on cyanotype prints made using Japanese Washi paper. The "Welch Method" is fairly straight forward and requires very little in terms of tools. With practice, it can be performed easily with consistently repeatable results. This video was constructed from the printing of various cyanotypes over the past few months.
Full text article at AlternativePhotography is here. It is an extremely detailed explanation (with photographs) of the entire Welch Method wash process. www.alternativ...
The actual print from the video is available as a finished, toned collectors piece here:
bit.ly/32mxKln
The video I mention of Masayuki Nishimaru can be found here: • Platinum printing on T...
Watch the fascinating art of making traditional Washi paper here: • 黒谷和紙 ー Making of Japan...
I HIGHLY recommend using a more budget friendly washi paper for learning and practicing the Welch Method. The paper I use in the video is not a handmade washi paper but if you can print with it I dare say you can print with anything. More expensive washi papers will likely be much easier to handle. You can find the paper from the video here: amzn.to/3rrnMI0
I'll cover a beginning to end, step-by-step printing of a traditional Cyanotype in an upcoming video. These are the two chemicals I use for constructing my emulsions:
Potassium Ferricyanide amzn.to/33zATPp
Ferric Ammonium Citrate amzn.to/3GNY46Q
Don't let their names fool you, they are both relatively non-hazardous....
Here are a few other things that help out immensely to keep everything running:
'ON THE LEFT: Photographs from the Edge of California' book
amzn.to/3q3STtK
My wild pony book 'FACES OF GRAYSON': bit.ly/2HrwtO0
'THE PHOTOMAKER'S JOURNAL' personal notebook
amzn.to/3GntVek
Find me on Instagram / adamwelch.photographist
Learn to see your photographs differently with my new book on composition bit.ly/ModernC...
CAMERA JOCKEY CLOTHIERS(custom designed stuff for photographers)
bit.ly/CameraJ...
Get 25 FREE Lightroom presets at bit.ly/2UEfqLq
My $5 preset packs for Lightroom bit.ly/PROpresets
My comprehensive video course and eBook guide to Lightroom: bit.ly/contrast...
Find me on Facebook / adamwelchphotographist
The Nobel Prize committee has viewed your video and is awarding you its first Nobel Prize in Cyanotography. Next stop for you: Stockholm, Sweden! 😸
Just wait until my idea for powdered beer gets off the ground....
@@AdamWelch Powdered beer? If you make that a reality, it'll make cocaine obsolete! When you film the promotional videos, get Al Pacino to reprise his Tony Montana character. Seat him at a desk in front of a pile of powdered beer - tagline: "Say 'hello' to my *new* leetle friend; Adam Welch's Powdered Beer!"
Yeah - I'm taking a day off from making cyanotypes. Does it show? 😸
@@TheStockwell I could tell you were a fellow person of culture! Aside from the powdered beer I'm actually working on a coca-derivative gummy candy; I call it "Cocandy".
...I've said too much....
@@AdamWelch😂 😅 👍
Outstanding in every way!!! Crystal clear - and every word spoken with the most warm, encouraging tone - for which I thank you.
Oh man, what a wonderful compliment to read first thing on a Sunday! Thanks so much for the kind words.
Ironically, and I've been saying this for months now, I intend on doing an update episode on my cyanotype printing that folds in literally everything I know and have been working on for the past couple years. It will include the basic chemistry, of course, but also a talk on papers and washing methods with considerations for developmental adjustments, digital negatives, toning, and my cyanotype on glass process which I've MOSTLY got down to a good working formulae.
I've actually just had a very weird (but good) life even take place which is likely going to put me in a place with a lot more space and resources to help present all these things more efficiently and accurately. I wouldn't be surprised if a giant cyanotype update episode popped up in the coming months :)
Cool video! Thanks for showing us how.
Hey thanks a lot, Gilbert! This is going to be an ongoing process of refinement. I've actually just successfully managed to bleach and tone the print from the end of this video. I'll be sharing a complete, beginning to end process of making a single print on both washi and regular water color paper soon. Well, that is if I can manage to make the washi toning process consistent :D
Great idea! thanks for the info! Alternatively, place the roll in a pipe for uniform processing. )) good luck and thank you!!!
Interesting, Dmitry. Can you explain in more detail about your pipe idea?
Excelente trabajo. Muchas gracias por compartir sus conocimientos.
Saludos desde España.
¡Muchas gracias! Me alegra que te unas aquí en el canal. También perdone cualquier error de esta traducción de Google jaja
@@AdamWelch, no hay ningún error, todo es correcto.
Very cool
Interesting video. Have been considering doing a cyanotype on hand made paper which gives you the same problems as washi. The paper making process might be of help when you roll out your paper from the screen. With papermaking I put another screen on top and gently put a sponge over the wet paper and soak up the excess water. Do this until the paper is able to pull away from the screen. Hope this helps.
Thanks a lot, Sybille. Do you ever encounter any indentations from the screen with this method?
@@AdamWelch A nice flat sponge works great. It does take time to get most of the water out. Another screen on top will help.That keeps it flat.
@@sybillemuschik I have encountered indentations in the washi when I have left the paper on the screen unfortunately. I tried a method similar to what you mention but whenever pressure was applied the crosshatch pattern was imprinted into the paper. What (approximately) weight paper are you using? Perhaps mine is too thin.
That's fascinating. I was planning on using an inert mesh to assist in drying fragile papers, and you have just simplified and improved on this. It will also help with fabric and likely eliminate some of the mess. I suspect it can eventually reduce water consumption in the darkroom and aid in the pre-soak in acid needed for many otherwise suitable papers. Do you realize that drying it on plexiglass or glass results in ferrotyping?
Gordon, wow...brace yourself because this is going to be along response. I had NEVER considered that this could be a version of ferrotyping until you mentioned it. I suppose I always construe ferro with some sort of metal plate but at it's most basic, slicking down the surface with the plexi is more or less the same thing. In the written article that hopefully is publishing soon I actually suggest placing the print emulsion side down on the drying surface to aid in reducing any possible "crosshatching" from the screen. Again, just like you said, this could be a form ferrotyping minus the ferro. The gentleman I mention in the video, Masayuki Nishimaru, has a process where he pulls an enormous platinum print by laying a piece of cloth onto of the washi paper in large tank; the print adheres to the cloth and he then rolls it onto plate glass. Think carbon transfer if that helps. Anyway, here's the whole video ua-cam.com/video/qcdXq9dlcvE/v-deo.html I think you'll find it extremely useful if you decide to go big with your prints. I believe my method is could be infinitely scalable but at the same time it hasn't been proven yet.
@@AdamWelch I realized after viewing the video again and thinking through some of the issues, I realized there's an improvement possible-using a Teflon mesh screen would eliminate or minimize some of the sticking problems. Nothing will stick to Teflon. Teflon mesh screens are widely available. The mesh basically gives one a paper spiral. This could be used for tube processing of any cyanotype on paper. That could really simplify the size requirements-a PVC tube takes a lot less space than big trays. Throw in a few holes, and you've got a custom and really cheap print washer, or simple way to add citric acid/rinses or toners. For pre-washing a paper that has an unfortunate calcium carbonate buffer, rolling the paper into a spiral on a non-stick inert medium is likely the way to go.
I've just completed a Joomchi & momigami workshop so was wondering if cyanotype printing could be done using Japanese washi ... then boom your video popped up on my YT feed. #brilliantvideo #excellenttutorial #grateful
...they're always listening. Seriously though, glad you found the episode and hopefully you get some use from it.
beautiful!
Thanks a lot, Markus. I've enjoyed your channel and your work for years.
@@AdamWelch thank you so much! Have you ever tried any alternative photography process?
@@mhaustria Yes, the cyanotypes and now I've began salt printing. I dabbled in anthotypes but lost interest. I've just acquired an 11x14 camera and will (slowly) be moving into dry/wet plate at some point in the future.
@@AdamWelch sounds great, looking forward to that!
DANM!!
Thanks so much for sharing! I happen to have just replaced a flyscreen and have an offcut that I'm sure I can experiment with
Hopefully it'll work well for you!
Leia 😍😍
"Oh don't mind me...just time for a back scratch." Haha
@@AdamWelch literally haha. I need to meet her 😍😍
Fascinating process.. What would happen if you let the paper dry on the mesh? Either rolled up or flattened? I assume the texture of the mesh would be imprinted in the paper, but if you're going to wet it again to tone it might not matter?
Interesting idea. You're correct in thinking the mesh would certainly be imprinted onto the surface of the paper (especially with extremely thin stocks such as this) but as you said that would essentially be negated later. My only concern would be the paper becoming permanently bonded in-between the mesh and tearing either as the fibers retracted during the drying process or when the paper was removed from the mesh. If you try allowing it to dry while still attached to the mesh let me know your results please. I might eventually test that myself with a blank sheet of washi.
I wondered if you'd tried ironing your prints through thicker industrial paper once dry, so it keeps its texture but evens out?
I have actually attempted ironing but with a strange result which I'm still not certain about repeating. In my case, the image on the paper nearly completely faded. I researched extensively and didn't find much information outside the fact that true "blueprints" (architectural) involves heat, which in turn made people recommend not applying direct heat to the cyanotypes. At the same time, someone mentioned they had dry mounted their prints with no ill effects. All that to say I've not repeated the iron flattening since then personally.
Just get Hakkinshi paper. That one is really strong for what you need and you won’t get a really messy full of wrinkles print
What properties of hakkinshi would make it more suitable? I was under the impression it was a blend of kozo and gampi?
@@AdamWelch It was specifically designed for platinum palladium printing and I’ve been using it in many different ways and it gets really strong
@@diegoa.vignon4587 Ah. So it was engineered to be more durable during washing? What wash method do you use with your PP prints with that paper if you don't mind me asking? And what is a good source for the hakkinshi?
Noice!
Great!