June 20, 2024

Summer solstice 2024 pinhole images

Sue Reno, summer solstice 24, image 1
I am celebrating the summer solstice once again in my favorite fashion, by unveiling a new set of pinhole camera images. 
Sue Reno, summer solstice 24, image 2
I make the pinhole cameras, such as they are, using a beer can and some black and white photo paper, with a single pinhole to admit light.
Sue Reno, summer solstice 24, image 3
I mounted these out in various locales around my place on the winter solstice in 2023, and have been letting them slowly expose until now.
Sue Reno, summer solstice 24, image 4
Each stripe in the sky represents the path of the sun on a particular day.
Sue Reno, summer solstice 24, image 5
Today I took them down and scanned the photos. I then inverted them to a negative image and did just a light bit of digital cleaning up and enhancing.
Sue Reno, summer solstice 24, image 7
These may or may not be masterpieces, but they make me very happy and remind me that the visual world contains multitudes.
Sue Reno, summer solstice 24, image 8

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June 18, 2024

Experiments in wet cyanotype - part 90

Sue Reno, wet cyanotype, image 1146
More wet cyanotype goodness, this time with an assortment of oak leaves on mineral paper.
Sue Reno, wet cyanotype, image 1147

Sue Reno, wet cyanotype, image 1148

Sue Reno, wet cyanotype, image 1149
I also made some prints using pokeweed leaves, Phytolacca americana, on mineral paper.
Sue Reno, wet cyanotype, image 1150

Sue Reno, wet cyanotype, image 1151

Sue Reno, wet cyanotype, image 1152

Sue Reno, wet cyanotype, image 1153
I printed a large panel on cotton sateen using oak leaves, black locust leaves, and some of the ubiquitous Japanese knotweed. All of these were quick opportunistic arrangements, using leaves readily at hand. I used cyanotype solution with just a glug of Solarfast solar dye.  
Sue Reno, wet cyanotype, image 1154

Here are the prints after exposure but before rinsing. 

Sue Reno, wet cyanotype, image 1155

Sue Reno, wet cyanotype, image 1156
I can already tell at this stage that they are going to be complex and wonderful.
Sue Reno, wet cyanotype, image 1157

Sue Reno, wet cyanotype, image 1158

Sue Reno, wet cyanotype, image 1159

Sue Reno, wet cyanotype, image 1160

Sue Reno, wet cyanotype, image 1161

Sue Reno, wet cyanotype, image 1162

Sue Reno, wet cyanotype, image 1163
Here are the finished prints.
Sue Reno, wet cyanotype, image 1164

Sue Reno, wet cyanotype, image 1165

Sue Reno, wet cyanotype, image 1166
The backgrounds on these are giving me astrophotography vibes.
Sue Reno, wet cyanotype, image 1167

Sue Reno, wet cyanotype, image 1168

Sue Reno, wet cyanotype, image 1169

Sue Reno, wet cyanotype, image 1170

Sue Reno, wet cyanotype, image 1171
That bit of yellow on the bottom right of this cotton panel is making me very happy.
Sue Reno, wet cyanotype, image 1172


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June 12, 2024

Experiments in film soup - part 1

Sue Reno, film soup, image 1
In my ongoing efforts to look at the world through an alternative lens, I've discovered film souping, and it's tremendous fun to play around with.
Sue Reno, film soup, image 2
Basically, after shooting a roll of 35mm film, you "soup" it by soaking it for several hours in a solution of water and an additional substance, generally common household stuff. You then allow it to dry out, thoroughly, and get it developed. You can't just send it off to a regular developer, as it will contaminate their chemicals, you need someone who specializes in film soup. I used Film Lab 135 and am very happy with the service and with all the helpful info they post online. 
Sue Reno, film soup, image 3
This batch of photos is from a roll of Fuji film 200 in my Minolta Maxxum 50 camera. This is not a particularly sexy vintage camera; I bought it back when I needed to provide slides of my artquilts in order to enter quilt exhibitions. But it is reliable and easy to use so was a good baseline for me for this project.
Sue Reno, film soup, image 4
I souped this roll in a cup of hot green tea overnight, then dried it over time on the mantle of my gas log fireplace.

Sue Reno, film soup, image 5
As you might predict from my love of the wet cyanotype process and the way colors shift and alter in those prints, I am in awe and so in love with how these turned out. I think it's a function of the hot water combined with the slight alkalinity of the tea, and the randomness of where the solution penetrated into the roll. So, just as with wet cyan, it's a combination of deliberate action and serendipity.
Sue Reno, film soup, image 6

There were some duds on the roll, of course, but I learned a lot about what types of subjects to focus on and what to expect. It's definitely worthy of future experimentation.
Sue Reno, film soup, image 7

I think of my fiber work as my vocation, and this type of photography as an avocation, but that line is getting blurred.
Sue Reno, film soup, image 8

Sue Reno, film soup, image 9

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June 8, 2024

Experiments in wet cyanotype - part 89

Sue Reno, wet cyanotype, image 1126
Another summer, another deep dive into the never-ending adventure of wet cyanotype printing! 
Sue Reno, wet cyanotype, image 1127
I'm not the least bit tired or bored of doing it, and I doubt I will ever be. For me it's just the right blend of mastering a technique but with an element of unpredictability.
Sue Reno, wet cyanotype, image 1128
For this batch I started with mineral paper and small leaves gathered around the garden. There's Chinese wild ginger, some ferns, and elm leaves.
Sue Reno, wet cyanotype, image 1129
I'm using Jacquard cyanotype chemicals, with just a soupcon of Solarfast solar dye.
Sue Reno, wet cyanotype, image 1130
The papers were covered with glass and left to bake and develop in the bright sun on a warm day.
Sue Reno, wet cyanotype, image 1131
Here they are after exposure but before rinsing. I love this stage, but it's ephemeral, so I like to record the images.

Sue Reno, wet cyanotype, image 1132

Sue Reno, wet cyanotype, image 1133
The way the chemicals really scurry around on the mineral paper is spectacular.
Sue Reno, wet cyanotype, image 1134

Sue Reno, wet cyanotype, image 1135

Sue Reno, wet cyanotype, image 1136

Sue Reno, wet cyanotype, image 1137
Also included is a large (22" x 44") cotton sateen panel of black locust leaves (I forgot to take the pre-exposure photo, I'm out practice.)
Sue Reno, wet cyanotype, image 1138
Here are the finished prints. Since I'm being all French and fancy today, my response to them is mainly "Oh la la"! I couldn't ask for anything more from them.
Sue Reno, wet cyanotype, image 1139
They bring to mind all sorts of imaginary locales and situations.
Sue Reno, wet cyanotype, image 1140

Sue Reno, wet cyanotype, image 1141

Sue Reno, wet cyanotype, image 1142
The black locust leaves came out so crisp, and the background is swoon-worthy. It joins the queue of  prints to be stitched and made into quilts.
Sue Reno, wet cyanotype, image 1143


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