Blueprint: Parisian Architecture












These images are taken from a blueprint contact sheet.

As the title of the post suggests, both are from Paris. The image on the left is the comparison between artificial and natural shapes, seemingly the spiral staircase – structure – order, the  tree – nature – chaos. The image on the right is a backstreet of Paris.


The Ambiguous Black Book

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These are the full 15 images from my first book, which I created using the service ubyu.

Created for the purpose of course criteria, it was the opportunity to design and produce my own self published book. Ubyu were not exactly on the ball (still in beta form), anybody who used them came to find them arduous. Constant problems were scratches on pages, bad reproduction of the digital files and the guttering. But I came out fairly lucky on the other side of production, after paying a bit more for a large hardback landscape book, with a more textured quality of paper (the cheaper matt option). The book worked as black pages, with one blank page on the left then the image on the right without border so the image bleed into the black pages (this worked extremely well). The covering of the book, I gave it a cloth wrap with no image or text, this was a semi-conscious decision in which post-production would have to suffice (taking it somewhere which could do debossing, as the company hadn’t started the option yet).

But my first and only copy has still no impression of text or design, and has stayed as an ambiguous black book.

The book will soon be available from the book store, but that is yet another thing yet to be open, but when it is…

500 Photographers

This is a great blog set up by Pieter Wisse, in which over the space of 100 weeks (5 photographers a week, one a day…) 500 photographers will be archived for people to simply recognize the work being produced in the 21st century photographic medium.

Pieter Wisse is a Dutch photographer, who owns Four Eyes Photography & Art gallery and bookstore (which also publishes a magazine of the same name).

The site is great for its accessibility, from a few minutes cram to a late night sprawl, it’s a great place for inspiration and motivation, or just consideration of what is going on in photography.


Blueprint: Norwegian Landscape

An important lesson for me about my photography is to replicate it in different fashions of the photography medium.

The ‘cyanotype’ process was taught to me in a historical printing workshop. Standard process was to produce inter-negatives (photocopy photographs onto acetate) and apply it to the chemically applied material. The norm of sketch paper for its ability to absorb the chemical and work comparatively like darkroom paper was a good material to use. After learning the basics of the technique, I wanted to experiment with my medium format negatives as the quality of the inter-negatives were kind of redundant, although dropping in size of negative, I wanted quality over quantity (image/negative size). However this is kind of a problem with this kind of developing, as quality and quantity need to be both efficiently enough to produce a good cyanotype print. These images are made from (negative) inter-negatives.


“Basically it is a negative/positive contact printing process using paper coated in iron salts to produce a blue image. The traditional method of coating the paper is to prepare two solutions:

Solution A. Ferric ammonium citrate (green) 20g with water 100ml

Solution B. Potassium ferryicyanide 8g with water 100ml

These solutions can be prepared in normal room lighting and stored almost indefinatly. To use, equal parts of A and B are mixed together under subdued light – weak tungsten, not flurescent or daylight. Mixing the two solutions produces Ferric ferrocyanide or Prussian blue. On exposure to UV light the ferric salts are reduced to ferrious salts which are insoluable and form the image. Processing is a simple matter of washing in water to remove the unexposed ferric salts.”

“no one but a vandal would print a landscape in red, or cyanotype” – Peter Henry Emerson,  Naturalistic Photography

 – Extract from Beyond Monochrome, by T. Worobiec & Ray Spence

 What’s great about this process is (although very hit and miss) you simply place your image outside (away from direct sunlight, best on a hazy sunny day, due to the spread of the rays) and give it some time and then wash it then leave it to dry. Negatives take a much longer time than inter-negatives, I gave some of mine a good few hours, but it’s something you can just leave and come back to.