Cyanotype WITHOUT Killing Plants! - alternative photography prints | Ben Panter | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Cyanotype WITHOUT Killing Plants! - alternative photography prints

teacher avatar Ben Panter, Alternative Photography & Game Making

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (45m)
    • 1. Introduction

      2:25
    • 2. Supplies

      5:18
    • 3. Your First Question

      1:23
    • 4. Take Your Photo

      4:26
    • 5. Edit Your Negative

      20:32
    • 6. The Control Example

      3:19
    • 7. Make Your Print

      2:39
    • 8. Final Analysis

      4:36
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

27

Students

--

Projects

About This Class

Wouldn't it be nice if you could make a cyanotype of a flower or plant without having to kill it? Have you ever wished you could make a cyanotype print of a plant that you weren't allowed to pick? What if you wanted to make multiple prints of the same plant?

In this class you will learn a method to make a cyanotype print of a plant without killing it. We'll use a hybrid approach that uses some digital negative techniques, some digital processing and some good old fashioned cyanotype that will give you results that look like a traditional cyanotype print, but without needing to kill the plant.

NOTE: This class does assume that you have experimented with the basics of the cyanotype process before. If you need a refresher on that process, see some of my introductory classes below.

Meet Your Teacher

Teacher Profile Image

Ben Panter

Alternative Photography & Game Making

Teacher

My name is Ben Panter and I am an artist, professor and game-maker. My art is photography based and I enjoy experimenting with and combining new and old media. I've been honored to have several artist residencies through the National Park System over the past few years, including Rocky Mountain National Park and Acadia National Park.

I've also been designing board games for about a decade now. Like many in the field, I started out very casually, but have more recently committed to creating a more steady flow of games. I especially believe in helping others enjoy game design as a hobby unto itself, and through my classes on skillshare I hope to make it accessible for more people.

You can view more of my photography work on my website, benpanter.com, and follow me on Instagr... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Well, hey there, my name is Ben and I'm here to present a problem to you. Maybe you've experienced this width cyanotype before. There's this beautiful flowering plant and you think that would make a lovely cyanotype print. But then what's your next step? You have to take a pair of scissors or knife and you have to kill the plant in order to print it. And that's sort of this conundrum, this dilemma of wanting to make this beautiful print but having to kill the plant in order to do. And so there's that limitation of saying, Well, maybe you don't want to kill the plant or maybe it's not yours to do with what you want that limits your options. I've been thinking there's gotta be a way around this. And I started experimenting and I think I found something that's a workable solution. And so what we're going to be learning in this class is how to use a camera in order to take a photograph of a plant that's separated from the background so that you can then make a digital negative that you'll be able to use to make your final print. Now this is not just how to make a digital negative. There's a little bit more of a method to this in order to make sure that your flower or plant is separated from the background, right? Because if you look at a standard cyanotype print, There's nothing back here, right? It's just a solid color and that's one of the trademarks of the cyanotype prints. And so we need to have that for our final prints in order to have it look like those original cyanotype prints. So let's take a look at the results we're going to have, right? We have an option where there's a white background and option where there's a blue background and we're going to be messing with the contrast to make it more or less of a silhouette. That makes it more like the original cyanotype that you might be familiar with this process. Not really that complicated. It just takes a little bit of a workflow to take those digital images, turned them into the negative you want so that you can make your final print. And the best part is this makes these images repeatable. That's right. You don't have to try to arrange the flower the same way multiple times to get the same print. If you want to make 10 of these, well, you have digital negative so you can make ten of them. No sweat. So I'm excited to jump into this project to give you this method that we can work on together. And then kinda set you loose and see what new things you're able to print through this method. In the next video, we're gonna talk about the supplies you'll need in order to pull this up. I'll see you there. You're distracting. And we're not going to get hit by a car. 2. Supplies: Hey there and welcome back. Once again, my name is Ben and in this video we're going to be talking about the supplies needed to complete this project about making a Santa type print without killing the plant. So the first few are ones that if you've done cyanotype before, you're very familiar with. And in fact, this video, we're not going to really be talking about how to do the cyanotype process itself. Very much. This is more about the prep and the thought required in order to get the results we want to. So real quick, right? You need Parts a and B of the cyanotype solution. And those are, you can also use the pre-coded paper, but I prefer to coat my own. You need of course, some paper to put those chemicals on. And I recommend using some kind of mid quality watercolor paper that will hold up to a few washings of being in water. And I actually already have some coded and ready to go because I wanna make this thing. And then the other part that we're going to need is dealing more with the computer with printing, printing a negative. So the easiest way to get the best results is probably to print on a transparency. I have some of these old ones that I have, multi-purpose transparency film. There's a couple of things to be aware of what these one is. They are made specifically for either laser or inkjet often. And so you need to make sure that kind you get matches the kind of printer you have access to. And the other thing is sometimes some printers have sort of like paper profiles you need to set and things like that. And there's maybe just a bit of a hassle factor because this is not like a standard piece of paper. But in general, if you're willing to work with a little bit, this, these will give you the best quality negatives. If you don't have those because they do cost a little extra money, you can of course, just make a paper negative. And I've made an entire video dedicated to working with paper negatives. I still use paper negatives occasionally and they can give you really good results. The end product tends to have a little bit of that paper negative texture to it, right? The texture of the paper itself. It can be an extra step, especially if you go through the process of oiling it. So it's really down to preference. And if you don't have this on hand, then it might be easier to do paper if you do have some of this on hand, well then I'd recommend using it and you might look into buying some online. And then of course, if you have, if we're going to be printing negatives, you need access to a printer, ink, jet, laser. Both of them will work as long as they are doing decent image quality. And again, some of that is just kind of up to your threshold for what you like. The last thing you'll need, of course, is the standard printing materials in terms of a frame or contact printers. Some way to sandwich everything together, especially since we're dealing with, are going to be dealing with negatives. You need to get things really, really flat to get them as crisp as possible. And then of course you're going to be printing this either outside your OR, and you can, if you built an indoor printer, you can print this inside as well. I will personally be printing outside today. Of course, it should go without mentioning you will need a plant of some type. So go outside, look in your yard. The advantage of this project is you can even look in your neighbor's yard or local park or something like that in order to find a plant you want to print. And then last but not least, we will need a piece of software to turn these images we're going to be taking into the negatives that will kind of look like a standard cyanotype print at the end. So we have two options for that. There's of course, Photoshop. Photoshop is the best for photo manipulation, getting image to look like you want it to. But if you don't have access to that or if you find that too intimidating, There's also a web-based photo editor that you can use called Pixlr. And I'll have the direct link to that in the comments. And I'm going to be doing the demo in Pixlr. My thinking is that if you're not familiar and you don't have Photoshop, then you can follow me step-by-step and Pixlr. But if you are familiar with Photoshop, There's a lot of similarities and so you'll be able to get the same results just by following along your own way in Photoshop. And one more thing I almost forgot to tell you, and that is, of course, you need the background. And you can choose whether you're going to use a white background, black background, or maybe you want to experiment with both. For me, I'm going to be using this kind of pop up five part reflector. And I'm going to be using the white side and the black side. But probably just as easy or even easier would be a piece of white or black foam core. Since they're rigid, since they're completely flat, that's going to be the easiest thing possible to edit after the fact. Of course, poster board, if you have white or black fabric just lying around, that could work as well. So there's a lot of different possibilities that you could use for that background. So those are all the supplies you need for this project. I'm excited to jump in and see what awesome results that we can get without killing plants. 3. Your First Question: All right, I wanted to make this extra little video so that I could address one question that I thought you might be having. And the question is, are you able just to take a plant and kind of bend it down, printed and then let it go without cutting it. Like wouldn't that give us the results we want? Well, yes and no. See, I've done that before and it can work. I've done specifically with some sort of a field, grasses and weeds, kinda non-specific plants that I was printing and it worked. Okay. It did damage the plants every time you sandwich it in together, you're smashing it together and it has a negative impact on the plan. So eventually it would probably kill it anyway. And I don't think it's going to work that well with anything flowering because flowers are, as you might be aware, barely three-dimensional. And if you are sandwiching that together with your, with your frame, with your paper, that's going to get beat up very, very quickly and you might technically leave it alive, but it's going to be a lot worse for the wear. So I wouldn't really recommend that as a method. That's why I started exploring with this new method where we are taking photographs of the plans separated from its background and then able to work with that as a negative that we can print more easily. So join me in the next video to see how that works. 4. Take Your Photo: Hi there, Welcome back. In this video, we're actually going to walk through the steps of taking the photographs of your plants, your flower, or whatever it is you're trying to capture. And remember again, the purpose of this is to experiment with what if we wanted to cyanotype a flower without killing the flower? And so I'm going to show you how we can go about doing that. Now the results aren't going to be exactly the same, but they're going to be pretty close and you might like what you get. So we're going to head over to flower that I spotted recently, and I'll show you how we do this element. So honestly, if I wanted to fix some of this Listeria, we probably could, but I thought it would be a nice flower to experiment with for right next to the road. So just excuse if you're here in the traffic, I think you can follow along. So what we're gonna wanna do is we want to create a neutral backdrop. So we're going to be taking a photo of these flowers. But if we take it with a white or black backdrop, we're going to kind of separate it from reality and it's going to seem much more like the traditional sino types where we take the plant and we lay it directly on the paper. And so what you need is something that's flat and black or flat and white. And I'm going to do both and we'll go through the process with both so you can see which one you prefer. Of course, I have these fancy reflectors. Honestly, just any old piece of paper, something like foam core is ideal. Anything like that will really get the job done. So let's go ahead and just see how it goes. It really is pretty self-explanatory. Okay, So I found a flower that I want to focus on. And if there's anything in the way, you might want to just get it out of the way. So it's not going to be in the frame. And all we're gonna wanna do is put whatever your backdrop is, white or black behind the flower. And you'll notice today, right now this is a very soft light. That's because it's getting later in the evening. It's also overcast and soft light is ideal if we had a harsh noon sunlight, you're going to get lots of shadows. There's going to be higher contrast. And so this soft light at the later time a day or early morning is ideal. So you might want to think about trying to do these photographs at that time. Again, I'm going to try to just move some of these extra branches so I get a nice clean shot, okay, and when I light it up, I don't actually want the flower right against the background. I want it back a little bit. And again, that's to reduce the amount of shadows that are falling in the background to make it as neutral as possible. And then it's really just as simple as snapping a photo. I mean, even just using my smart phone. And I'm really going to be focusing on the lower part of this flower. So something along these lines, take a few photos. Get these ones out of the way, right? Maybe I'll try one a little bit closer to some detail. Okay, something just like that is going to do the trick. Now I'm going to flip this over to the white side. So we have a few of those, so experiment with as well. Okay, So we're back. I flipped over to this white sides. And again, something like foam core actually would probably work better. It's all these little wrinkles are going to make my life a little bit more difficult later on. So if you use something like a flat piece of paper, poster board, something like that, it's going to be a little bit easier for you. But we're gonna go ahead and do the same process. I put it behind, not too close because then you can see all these shadows. So back it up a little bit. Get my phone to open up. There we go. And same thing. I'm going to take one back a little bit that I've got, of course, some stains on here. Okay. One get a little closer to some of the details too. Okay, and that's an end. I'm actually also going to pick one of these. So we're going to have three final prints side-by-side, the normal cyanotype. One on the black background, one of the white background, and we can see which one we like the most. So in the next video, we're gonna talk through how we process these photos that I just took on my phone so that we can get them ready as negatives for the cyanotype process. I'll see you there. 5. Edit Your Negative: Well, hey there, We're here at pixlr.com. This is what you're going to want to type into your browser or use the link down below this video. And you want to click on the button that is labeled Pixlr E. That is the advanced photo editor. Okay, so we can see this editor and, and before we even get into the editing tools, you have to upload the image. So if you had your images on your camera or on your phone, you need to get those in your computer. If you had it on your camera, you could, of course, just like AirDrop or something like that, you could send it in an e-mail. You need to get your images onto your computer as easy as you can. From there, we can go right here and click on open image. And you want to navigate to where you have your saved. I'm going to start here. This gives you some options about the size. You probably want to go full size unless you're dealing with a very, very large file, but ultra HD, as long as it will work. Okay? So we have the image and now we need to do some things. Can't remember. The end goal here is that we are actually making a negative. But this isn't just any old negative. We want the negative to have pretty much a solid background, okay, right now you can see all these wrinkles in here that don't look very good and they wouldn't look good in the final print. So we want to turn this into more or less a solid background. We want it to be a negative and we want to, what you'd call like flatten it out. Meaning we don't actually want all these mid-tone values in the flowers. We want that to be more or less flat so that it looks more like what we get with the silhouette of a classic cyanotype where we actually put the flower onto the paper. So we're going to try to mimic that. Look as closely as possible. And before we start here, let me just go over a few things. First, this pixlr editor is similar enough to Photoshop that if you're more familiar with Photoshop, I'm expecting that you'll just be able to follow along using the basic tools that I'm talking about. All the tools I use here are absolutely available in Photoshop. So you should just be able to follow along. If you are following along with me in Pixlr, this is certainly not something I am as comfortable with using. I'm much more familiar with Photoshop. And so I might not do things in the exact perfect order. And I don't think there's really a perfect pattern to follow here. Your images are going to be a little different than mine. So just do your best to get the results that we're talking about as we're going here. Okay? So the first thing I wanna do is that this image is sideways. And so I'm gonna go ahead and do a rotation, Image Rotation. Left. There we go. And I'm going to actually go ahead and start making this image black and white. So I'm gonna go to adjustments and do an auto, black and white. You could also go down into D saturate. You can, you can mess around with whichever one of those you like best. Ok. Auto, black and white. So that kept the flowers pretty light and the background pretty dark, which is actually good for what we want. Okay, I'm gonna go back into adjustments. And I'm going to go into highlight and shadows. Okay, so highlight and shadows allows us to essentially control the brightness and darkness of the highlights are the brightest part of the images separate from the shadows or the darkest parts of the image. So that's really helpful with this image. Where I'm going to darken down those, that background. And really ultimately we're going to want that background to get completely black. So I'm going to just lower that all the way down and still see we have lots of nice detail. If you had a darker colored flower, this might be a little more challenging, but since we had a lighter colored flower, that works pretty nice and with the lightness, I don't want to completely lose all that detail yet, so I'm going to just leave that as is. And I will apply. One thing to be aware of is if you do something and you don't like how it looks, you do have the option to control Z or undo, edit, undo, and that will step backwards. This is not the same as dealing with layers in Photoshop, but it does give you the ability to step back one step at a time, which might be important. Next, I'm still looking to do a little bit more with these darker areas. So I might actually come in and I'm going to look at the curves tool. Curves tool is one of those that it might take you a little bit to wrap your mind around. But essentially we have the dark side of the image right over here. Which I can lighten or darken. And we have the light side of the image over here, which once again I can darken or I can lighten by dragging this around. You can, it's kind of like an all in one exposure contrast, even color control. By going into the different color channels, it's really powerful. It can be a little confusing to people, but essentially all we're gonna do here again is click a point. Sorry, double-click. You gotta read the directions right on here, double-click to add a point. So that's like I'm still in the pretty dark area and I'm just going to be dragging down. You can see up on the top of my image is getting very, very dark. While the highlights are still pretty well untouched. Once again, I'm going to double-click to add another point and I'm gonna make sure those highlights are still saying nice and bright. Okay? And once again, at this point, we can start thinking, well, how am I going to make this look more like the actual cyanotype? How do I make that happen? And that is, there's an, I don't want that much gray tone in the middle of these flowers. So one way to get rid of that is just to start adding contrast. Now, the result is we are going to start blowing out some of these highlights. But that's okay. We're fine with that right now. Okay. I'm getting the background really nice. Nothing else we're dragging up. All right, and I'm gonna go ahead and click Apply. And I think it's actually time that we go ahead and do the invert. So I'm going to do adjustment invert K. So now we are looking at what our actual negative is going to be looking like. And, and this is pretty good. There's a lot of this is just white, which is what we want. That's going to be letting all the light through a little bit of gray area to clean up here. This I'm going to clean up. And then I might do kind of one more level of adjustments. So to clean up these areas, you have a few options. You could go in and try to select areas and remove it or delete it. I think after, since I have a pretty clean background, I think the easiest thing to do is actually just to go in with a paintbrush. And actually first I'm gonna go grab the eyedropper, although I'm pretty sure I'm going to be painting just with white, but I can grab that color. So just click. Then go back to the paintbrush that I had. And I'm going to go ahead and make that a little bigger. Softness. I like to keep the softness at least halfway so the edges don't accidentally get too much. And there you can see I'm just kinda painting in with a white. I can get a little closer to the flowers. There we go. Alright, and that softness just means even if I did miss a little bit somewhere, it's not that big of a deal because it'll fade off kinda gently. Then I'm gonna do the same thing over here. Just painting away because I don't want that. All right. So that looks pretty good for the background. Again, I want to go to my adjustments and I'm going to go ahead and just look at the highlights and shadows once more and how we've inverted it. So now we kinda need to think about this in the opposite. We want our shadows, which is going to be the lighter areas of the image, of the final image. But we want the shadows right now to be getting darker, to have less of that contrast. And we want the highlights to be getting pretty much blown out. Somewhere in there. Again, there's no perfect answer to this. This is experimentation, so we're going to click Apply. And I think this is looking pretty much ready. And so again, this is a negative. And so our final image is going to be mostly a blue, black ground background with the white of the flowers, this silhouette coming through in the center. So what do we do now? Once you're done? You do file and you can export, or you can do File and Save. Save the image as you'd like and you download it. Okay, So we can do one quality, 90 percent should be fine. That's the size. And I will download. Okay. Then. And I will go back to home and now open up another image. So that was the first one. Now I'm going with second one, still go with the ultra HD option. Now I'm going to be doing. Pretty much the same thing but reverse. So first thing, image rotation to the left. This where I can see everything. Okay, first thing I'm gonna do adjustment, instead of doing the auto black and white this time I'm going to try the de-centering. That's completely desaturated. Just mints. And you might see me use a few different tools this time than I did last time. Again, this is sort of an experimental thing. You're essentially just trying to separate the background from the flowers themselves. So I'm gonna go ahead and use the highlights and shadows again and see what results were able to get. So actually want these flowers to get darker. While the background and gets lighter. You can see. So I'm adding quite a bit of darkness to these flowers, trying to really increase that contrast. And we can do another adjustment. Let's try a Levels. Levels is another tool that can be really, really powerful. Essentially, this is your graph of your image in terms of the values. And so you're telling it what values are going to count as the black point. Let me see if this is going to do anything we want. So we can start clipping some of the white, which would be good. And that's going to be kind of fading the whole image. I don't think this is really doing what I want it to. So I'm going to click Cancel. I'm going to go back to adjustments and do some curves. Once again. Okay, We're going to, in order to get this image looking the way we want, we're going to need to do a pretty drastic curve on here, especially for this area right here, right? This is where the background wasn't quite as white as it could have been. And so now we're having a harder time separating that because it was a pretty white flower. So this might be some lesson that you can take that if you have the most contrast between your flour in the background, the better. Okay, I'm gonna just apply that there. We can go in steps. So that's not a, not a big issue. That's Min. We're going to go ahead and go back to these highlights and shadows that just kinda makes for some easy adjustment. Let's again start pulling those out. Okay? And so I don't think we're going to be able to get rid of anymore without just going to paint brush. So to get to the paint brush, I'm going to go ahead and color picker. And you could have, of course, just select white, but sometimes this isn't actually pure white. This is something else. So I like to just select that and then go back to wherever I have the paintbrush. Here we go. And with the paintbrush and it go and just start getting rid of this stuff. This is definitely not the perfect way of doing it. But again, by the time we get this, we printed on the negative, printed onto the cyanotype. We're like several steps removed from this digital image that I don't think any of the small imperfections where leaving in here are going to be too noticeable, which, you know, it's a big advantage. I don't like spending too long having to work on these images digitally. You can always zoom in to rid of that, add. Zoom in to get rid of some of this closer stuff. K. Go back to this other side, get rid of this over here. I'm not sure. I don't need to get rid of those up there. I don't mind. Then the last thing to do, once again, is to hit the Adjustments and Invert. And we have our negative. I'm gonna go ahead and file save. Okay? Okay, and then I'm going to create a new blank document. Create new ultra HD. And create. Okay, and now I'm going to bring in those files I just downloaded. And the reason I'm gonna do that is because I'm going to print both of these on the same negative. I don't necessarily want a huge image for these. They can be pretty small and I'm going to compare them side-by-side with the exact same exposure to see which one I really prefer. You can skip this step if you want to, but I'll show you how I go about doing it. Transform. Move this down, scale it down. So it's the right size. Scale this up, so it kinda fills an image a little bit better. Okay, then I'm going to bring in the other image right next to it. Alright, so I have my negatives printed, are ready to print side-by-side. Now I'm going to do a final save and go ahead and open this up in my computer. So now that I have this ready, I'm gonna go ahead and print this to my home printer. It's a laser printer on that transparency that I have. Hopefully, what you've learned from this is one that's not a perfect process, depending on the image you got, how much difference there was between the color of the flower and the color of the background. It's going to be either easier or more challenging to get the results you want. But really at the end, we just want a very high contrast with a clean background image. That's what we're going for. And in the next video, we're going to actually go through the process of printing this. We're gonna go through that pretty rapidly and then we can see our results and decide how much we really like to see in the next video. 6. The Control Example: Welcome back. In this video, I'm going to walk through sort of our baseline test of making a traditional cyanotype by printing the silhouette of this, we're going to actually do a standard cyanotype. Now I know if you're watching this video, this is probably review, but I just wanted to make sure that everyone's on the same page and that we have a real point of comparison. So we can look at our two kind of alternative methods of making this print, as well as the traditional method. So I'm not going to belabor all the fine details, but I do want to just show you that I am making a cyanotype print. So jumping with me and we'll build this print. Okay, so first things first, I need my plant. Okay? And this was picked about eight hours ago and you can see it's already wilting, which you could say this is one advantage of our new methods that we're testing is that once you get a photo, you like you have all the time in the world that you want to print it. Okay, I'm gonna do something like this and trying to get a little bit of a curve in there to make for a more interesting composition. Something like that. Okay, now I have my cyanotype paper that I've coded, coded a little bit ago, but I think it will still be fine. And now I just kinda have to line it up as best as possible. And it's kinda thick flower, so I really do have to press down. I'm going to put down backing and paper, just a little extra stability. And then the back of the frame. And we'll just pop that in place. Me just double-check that thing is completely wrong. All right, so I'm already seeing where some areas or parabola going to bunch up, down here is getting a little wrinkly, but it's got a nice curve to it. I think I'm happy with that. A few nice places of detail in there. So I think I'm going to leave that print how it is. And actually in the back house and do this on this frame, the edges are a little springy, they're not quite flat. So I go in and I possible push this guy n and that kinda pushes those corners a bit more flattened. All right? So it's kind of a gray rainy day outside. So I'm going to be using my indoor UB printing backs. And again, if you're interested in making that, I did make a Skillshare class walking through that whole process. It's really pretty simple. And so I need to pop it in there for about 20 minutes. Then I'll develop it in the final video. We're going to be looking at the results so we can compare them side-by-side. So I'll see you in the next video. 7. Make Your Print: All right, Welcome back. In this video we're going to be actually compiling our print, printing it out in the sun. And then in the next video we'll be looking at the results and seeing what we liked. What we could do different next time. So first of all though, this video, let's take a look at the negative that I printed out. You can see it right here. Sort of not the best way to see and I get, but you can see I have one side with a black background, one side with a white background. And I'm going to be printing them side-by-side. I already have my coded dried paper right here. And so let's go ahead and put this thing together. I'm going to take it outside and print it so we can see the results. Okay? Okay. 8. Final Analysis: Hey there and welcome to this final video where we are going to look at the results of the prince we've done about analysis, right? What do we like? What do we not like? What would we do again and what would we change? So first, let me show you some of the results you solving go through the standard cyanotype process or we took that flower, we kill it, brought it inside, printed it like normal. And this is the result that we got. And you can see if we get this up-close here, the background is nice and solid, solid blue, and the flower itself is pretty much pure white. There's no information, There's no detail in there. The light didn't really go through except for maybe a couple little areas in there. But this is pretty much a pure silhouette. So that's sort of the original method you are familiar with. Now let's look a little more closely at this final image for the black background and the white background techniques. Okay, So what are my thoughts on these results? Well, it's not exactly like the original cyanotype. I don't think we're ever going to get there perfectly, but it's also not like your standard just print off a negative photograph and printed either. It's definitely more of a, a silhouette then as standard Cytotec negative would be. And I think if we took this and then said, All right, we need to push in a little farther so it's a little more silhouetted. We could go in there with a brush, we could darken some things and we could, we could make this even more of just a pure silhouette. Is it going to look exactly like the original? No, I don't think so, but I think it would be pretty close. The advantages for you might outweigh the cost of it not looking quite like that traditional cyanotype. The advantages being one, if I wanted to make multiple prints of this, I could, and they would be pretty much exactly the same versus the the printing from a plant. Well, that's going to be a little different every time the plant is going to wilt pretty quickly. And so I need to either get a new one or I need to I have a limited timeframe in which I can make more or even the original and the negatives. That's something that I can improve on, right? I print out a negative, I make a print and I say, All right, how can I make this better? I can improve the negative and I still have that like that core file that I can make better. So there's a lot of advantages to the Working with a negative format or the workflow for a cyanotype. Am I happy with these specific results? Well, actually the part that I'm least happy with is the flower itself. I think from a competition standpoint, didn't really give me a whole lot of options. If I wanted to use this for a finished art print, I would want to add in some other elements, maybe some grasses, some smaller flowers just because it ended up being sort of chunky maybe. And that's not necessarily the most appealing. Other than that though, I really liked the results. I like the process that we came up with for separating it from the background and coming up with that kinda simplified silhouetted negative. And I'm excited for seeing what you are able to create with it. And let's keep this in mind. This is really a method for you to take what is closer to a traditionalist cyanotype print and make that from just a standard photograph, right? All you need is that little backdrop, whether it's black or white, to put behind something and you can make it look much more like a traditional cyanotype. And so that opens up a world of possibilities of things you can print, right? You're no longer limited to stuff in your yard or stuff that people won't be missing from the local park. You can shoot something from your neighbor's yard and you can print it. You can take something from a local garden and you'll use that or you can even take the photograph of a flowering plant in your yard that you don't want to cut. So to me, I think that opens up a lot of exciting possibilities for new subject matter for you. So that's all I have for this project. Thanks so much for joining us. I really hope that you'll take a photograph of your process of your finished prints so that we can see them. And I can comment, classmates can comment on your progress. It's always fun to get to look at your artwork. Thanks so much for joining me. I'll see you in the next class. You're distracting. I think we're not going to get hit by a car.