Green Sunrise II (20 x 18" Abstract Cyanotype)
(120 × 18" Original Abstract Cyanotype on Paper)
Unframed.
*The sky in this is a deeper yellowish green and the hills are a darker green than in the taller 24 × 16” “Green Sunrise”. This is experimental photography, not paint or ink that can be squeezed out of the same tube and reproduced exactly.
No ink or paint was used to make this. Though it resembles a monoprint made with ink and a printing press or a watercolor painting, this is actually a form of photography called a cyanotype, photogram or sun print. What you see is a multiple-exposure lensless photograph.
Cyan means "blue" in Greek, and thus the usual color of a cyanotype is bIue. This green monotype started as a blue print, was then "toned" (bleached) yellow, and once that dried, recoated with light-sensitive chemicals, and a second blue print was exposed on top of the yellow print for varying amounts of time yielding multiple shades of green and blue.
Each exposure left a line of demarcation where the shade or color shifts.
These exact lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing which was timed.
A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water.
(120 × 18" Original Abstract Cyanotype on Paper)
Unframed.
*The sky in this is a deeper yellowish green and the hills are a darker green than in the taller 24 × 16” “Green Sunrise”. This is experimental photography, not paint or ink that can be squeezed out of the same tube and reproduced exactly.
No ink or paint was used to make this. Though it resembles a monoprint made with ink and a printing press or a watercolor painting, this is actually a form of photography called a cyanotype, photogram or sun print. What you see is a multiple-exposure lensless photograph.
Cyan means "blue" in Greek, and thus the usual color of a cyanotype is bIue. This green monotype started as a blue print, was then "toned" (bleached) yellow, and once that dried, recoated with light-sensitive chemicals, and a second blue print was exposed on top of the yellow print for varying amounts of time yielding multiple shades of green and blue.
Each exposure left a line of demarcation where the shade or color shifts.
These exact lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing which was timed.
A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water.
(120 × 18" Original Abstract Cyanotype on Paper)
Unframed.
*The sky in this is a deeper yellowish green and the hills are a darker green than in the taller 24 × 16” “Green Sunrise”. This is experimental photography, not paint or ink that can be squeezed out of the same tube and reproduced exactly.
No ink or paint was used to make this. Though it resembles a monoprint made with ink and a printing press or a watercolor painting, this is actually a form of photography called a cyanotype, photogram or sun print. What you see is a multiple-exposure lensless photograph.
Cyan means "blue" in Greek, and thus the usual color of a cyanotype is bIue. This green monotype started as a blue print, was then "toned" (bleached) yellow, and once that dried, recoated with light-sensitive chemicals, and a second blue print was exposed on top of the yellow print for varying amounts of time yielding multiple shades of green and blue.
Each exposure left a line of demarcation where the shade or color shifts.
These exact lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing which was timed.
A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water.
