The cyanotype process was developed in 1842 by Sir John Herschel as a way of reproducing diagrams (blueprints). In 1843, Anna Atkins, one of the first known female photographers, started using it to make beautiful images of her botanical collections. The name comes from potassium ferricyanide, one of the chemicals used to make the print surface light-sensitive, which also gives the prints their distinctive blue color.
Many artists, including Mr. Kazimierski, hand apply the chemicals to paper (or to cloth) using a brush. For this reason, each print is unique and for this reason carries an extra value.
Giclée prints / Archival Fine Art Prints
Based on the French word for nozzle, the term giclée refers to any sort of inkjet print. It was invented in the 1980’s to distinguish the first high-quality digital prints from other digital media. Commonly, today it is taken to refer to the kind of archival inkjet prints created for fine art purposes.
The phenomenon of light moving through a tiny hole and projecting an image onto another surface was observed as long ago as the fifth century BC in China. Medieval and Renaissance artists learned about making the camera obscura from the writings of Alhazen, a first-century Egyptian mathematician, but it wasn’t until the 19th century that the images could be transferred to film.
Pinhole cameras do not have a lens. One result of this is that there is no depth of field. Objects that are close are as sharp as ones far away. Because we are used to seeing a soft background when looking at pictures of small objects, in a pinhole image, the small object may seem to be very large.
It takes a long time to make a good exposure with a pinhole camera. For that reason, parts of the picture, such as moving water or people will often appear softer or blurred or, if they move quickly through the picture, they may not even register on the negative.
For all these reasons, pinhole camera photographs have a different feel from traditional camera pictures. For some artists, they become a fascinating and more personal art form.
Platinum Palladium prints.
In this process, developed in the 1830’s and 1840’s, the artist uses a brush to apply a light-sensitive emulsion to 100% cotton fiber paper. A large negative is used to make a contact print, in which the negative is placed directly on the paper while being exposed to light.
The resulting prints have beautiful warm tone as well as the greatest and most delicate tonal range of any monochrome printing process. Platinum Palladium prints are highly prized by collectors for their beauty and because they must be hand-made by the artist.