Playing with Cyanotypes

A new adventure for me this month has been discovering the wonders of cyanotypes. After taking an inspiring RPS course on Ecological and Experimental Photography with the brilliant Elizabeth Woodger, I wanted to explore the world of camera-less image-making even further.

The cyanotype process, invented in 1842 by Sir John Herschel, involves coating paper with a solution of ferric ammonium citrate and potassium ferricyanide, then exposing it to sunlight to produce rich, blue-toned images. I first encountered cyanotypes while researching early female photographers, which led me to Anna Atkins—a 19th-century botanist and a pioneer in scientific photography. Atkins was the first woman to use photography as a tool for scientific documentation, and she embraced the cyanotype process to capture delicate botanical specimens. In 1843, she published Photographs of British Algae: Cyanotype Impressions—the first book ever printed and illustrated entirely through photography. You can see images from the book on the National History Museum site here.

I enrolled in a course by Stephanie Johnson, one of my original mentors for ICM photography, on blending digital and analogue processes, such as cyanotypes and ICM and multiple exposure images. We started with the basic cyanotype process, in the way of Anna Atkins.

I prepared the paper, let it dry and them added botanicals from my garden. I liked that it would represent the garden at this time of the year, with hellebores, primulas and daffodils. I put a sheet of glass on top, placed them outside..... and waited. Determined to be environmentally friendly, I decided not to buy a UV lamp, but to rely on natural daylight instead. The changes were subtle, but once the prints were rinsed a few times I was astonished to see what emerged:

I scanned them when they were dry. The next step was to find some suitable ICMs and Multiple Exposures to blend with the cyanotypes. This was another wonderful rabbit hole of exploration! I found that the different blend modes created different effects:

Some quite unexpected:

Stephanie then encouraged us to experiment with different ratios of the chemical before arranging the botanicals, and to play with adding vinegar, salt and bubbles, and also to create wet-on-wet cyanotypes. We finally spiced it all up with turmeric and paprika, with a spritz of lemon juice:

I loved the variety in the colours and textures that these different elements added to the cyanotypes, and the unpredictability of the process. I also tried adding some watercolour paints:

Taking the scanned images and adding ICM provided another dimension to the experimenting:

I am now hooked, and already on to the next course: Experimental Cyanotypes, with Natalie Day an abstract landscape artist from Cornwall. Now all I need is a bit of sunshine..................

 I realise that I have just dipped my toe into this medium and there is so much more to learn. Thank you Stephanie Johnson for your guidance and inspiration!

Other artists exploring cyanotypes include Joy Gregory's Girl Things;

The Alternative Photography website has a wealth of advice, including basic cyanotype guidance, and nearly 300 examples from World Cyanotype Day 2024 on the theme of Enchantment.

#cyanotypes; #experimentation; #ecologicalphotography; #botanicals; #intentionalcameramovement; #multipleexposures; #magic