When the exposed cyanotype net was refolded back into a room the effect of the sun “shadows” on the space was particularly effective. The model was just large enough to film from the short end. I made a small number of test footage of some of the cyanotype print rooms.
The prints from the cyanotype room/camera models are recorded below. I preferred the print to have the window wall at the bottom, so that it connected directly with the shadows on the floor. Occasionally I exposed them the other way up. On the 20th April (when most of the tests were conducted) there was intermittent sun and cloud all day. This had the effect that the solid dark blue “shadows” of the sunlight are not continuous, rather each marks the time the sun emerged from behind clouds.
While in NSW, visiting Jo, Redmond and Hollis this Easter I did some work with cyanotypes. Redmond is a cyanotype expert, and introduced me to the technique nearly 10 years ago (the pictures below shows him in December 2007 doing an exposure test strip in the back garden of their old house).
While in Perth I set up the three Yi model in my Mum’s back garden, taking advantage of the strong Australian light.
Before leaving for Australia I made a test filming of the three Yi model.
Having acquired a third Yi camera I wanted to produce a model room for the three cameras to film simultaneously, each in portrait, to produce a triptych. I calculated the proportions for a model which would provide an amount of overlap between each camera’s field of view, and which would include an amount of side walls, floor and ceiling.
I recently bought a third Yi camera to allow three simultaneous recordings. I wanted to get this while they were still available as this camera has now been superseded by a larger and much more expensive version, with round edges so it won’t stand on its short edge.