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cyanotypes
Exploring a historical
alternative photographic process
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system,
or transmitted in any form or by any means, electronic, mechanical, photocopying, recording,
or otherwise, without the prior written permission of the publisher.
Published by
Malin Fabbri, AlternativePhotography.com
Vikingagatan 45, 113 42 Stockholm, Sweden
ISBN: 978-1-4116-9838-3
M
alin Fabbri grew up in Sweden.
In her early twenties she moved
to London to study Design,
English and Photography. In London she
worked as a designer for video production
companies, design studios and big media
names like Time magazine and CNBC
Europe.
W
hy a book on cyanotypes? The developing process is straightfor-
The cyanotype is often the first ward. The chemicals are cheap, and most of
alternative process that people the other items used can be found around
try. Its relatively easy and safe enough to the house. Pre-coated paper is available, but
nurture a childs interest in photography. It one of the benefits of working with cyano-
can be seen as a gateway to further explora- types is the great flexibility of material and
tion of historic photographic methods. In paper available to you. Cyanotypes print on
addition, it gives experienced photographers anything made of natural fibre. Cotton, linen,
and artists a great excuse to take their eyes silk, handmade paper, watercolor paper and
off of the computer screen and get their rags are just number of alternatives. Some
hands dirty. Of all the alternative processes, artists even print on wood.
the cyanotype is the one closest to my heart.
So, if you want to explore a fun alternative
I made my first cyanotype in 1999. I was photographic process or seriously want to
intrigued by the blue images and wanted to experiment with producing unique fine art,
test the cyanotype process to see what it had make a cyanotype.
to offer. I bought chemicals and spent an
evening coating paper and cloth. The results
of the next days printing surprised me.
T
odays photographers manipulate handmade. She then went to publish further
and print images with ease. Given studies of plants. Eventually, pictorialists
the range of digital processes avail- latched onto the idea of cyanotypes and a
able, it is easy to forget that only 180 years special paper was marketed for them.
ago photography as we know it was not even
invented. Although silver
based developing
At that time, the competition to capture methods became
the perfect image was intense. Many the standard, the
processes were experimented with and ease of use and
discarded. Some techniques were too slow, the affordability
others too expensive, and some involved of the process set
hazardous chemicals. But one technique was the conditions for
so quick, inexpensive and safe that it was cyanotypes to take
nearly disregarded because of its simplicity, on other forms
the cyanotype. and survive. For
example, cyano-
The process was invented in 1842 by Sir types were used as
John Herschel. He discovered that ferric salts a proofing method
could be combined to create a light sensitive for photographers,
coating. That coating could be applied to and also by archi-
paper and used to transfer images. He was tects for copying
able to print the first successful non-silver architectural plans.
based photo. But there was one problem. The These images
images were blue. The idea of printing all had one distinct
images in shades of blue was not popular with characteristic, they
most photographic pioneers, who were still were blue the
struggling to perfect black and white. blueprint.
Anna Atkins
placed plants on
One botanist, Anna Atkins produced [1]
The photography world is changing cyanotype paper
and illustrated a book of British algae using rapidly and its uncertain if well even have to make prints of
them. The image
the cyanotype process in 1843. She felt that ordinary film cameras in the future. Artists above Reed in the
this photographic method of illustration have found a perfect compliment to todays Wind is made in a
similar fashion.
was a more accurate method to capture the advances in digital technology. The cyano-
minute details of the algae than sketching. type process puts the development in their
This was the first book ever made using hands.
photographic illustrations. Each book was
[1] Anna Atkins (1985) Sun Gardens - Victorian Photograms, Phaidon Press Ltd. A reprint was made in 1985 by Phaidon press,
it is unfortunately out of print, but can be found in rare bookshops. I was lucky to find a copy on www.powells.com
David says: I wanted to create images with the same processes Herschel and Atkins used.
T
he basic cyanotype recipe has not prints. The natural blue color of the prints
changed very much since Sir John is referred to as Prussian blue. Cyanotypes
Herschel introduced it in 1842. use iron based salts (Potassium ferricyanide
and Ferric ammonium citrate) to create blue
However, some advances have been made images. Ferric simply means a compound
by Mike Ware [2] in what is referred to as the containing iron and cyan means blue.
Cyanotype II process, or the New cyanotype
process. Wares cyanotype formula has less Prussian blue
bleed, shorter exposure times and a longer Prussian blue is often called the first of
density range than Herschels, but it is also modern pigments. It was made by the Berlin
slightly more complicated to mix and uses color master Diesbach in 1704 and is referred
more toxic chemicals. to as Berliner blue in Germany. It became
available to artists in 1724 and has been very
Cyanotypes are also called Blueprints, popular since its discovery.
Sun prints, Ferroprussiate prints and Iron
Mixing chemicals
The cyanotype is made up of two simple solutions.
Potassium ferricyanide and Ferric ammonium citrate (green) are mixed with
water separately.
The two solutions are then blended together in equal parts.
Preparing the canvas
Paper, card, textiles or any other naturally absorbent material is coated with
the solution and dried in the dark.
[2] For extensive technical information on cyanotypes, the different formulas and Mike Wares research, see his book:
Cyanotype: the history, science and art of photographic printing in Prussian blue by Mike Ware, published by the
Science Museum and the National Museum of Photography Film and Television, 1999.
Making a print
The formula
This recipe makes approximately 50 8x10 inch prints. The cyanotype is made up of two
simple solutions:
Solution A: 25 grams Ferric ammonium citrate (green) and 100 ml. water.
Solution B: 10 grams Potassium ferricyanide and 100 ml. water.
Tip!
If youre coating a lot
of papers of the same
size, it may be quicker
to cut a cardboard
template to the right
size, and use this as a
frame when coating.
Drying
O
nce youve finished coating the room, a chest of drawers or an airing
material, dry it in a completely cupboard may be the solution. To speed up
dark area. It is now sensitive to the drying process a hair dryer or a hot air fan
light and will begin to fog or change color can be used on moderate heat.
if it is exposed to
light. You can dry If you hang very wet material, be aware
the material by that the chemicals may cause both streaks
hanging it on a in the final print if the chemicals run, and
plastic clothes- stains on the floor below. Before leaving the
line, pegging material to dry, dont forget to clean up!
it with plastic Wipe all surfaces and remove any spillage or
pegs, or on a splashes. Any chemicals left can cause a nasty
flat surface. stain.
If you have
problems When the chemicals are applied to white
finding material it appears greenish yellow when dry.
a dark
The dried material can be stored for later
use, but some oxidation may occur and the
final print can be dark blue on lighter blue,
rather than blue on white.
If the coated material has turned dark To prolong the storage time of coated
green when you pull it out of the bag, it is material as much as possible, make sure it is
likely to have oxidised. Using aged material completely bone dry when storing it. Keep
will result in light blue highlights instead it in a black, light proof bag (those used for
of what should have been a clear white. The photographic paper are great) and press any
print will therefore have less contrast. There excess air out of the bag before sealing it.
is not much to be done about this apart from Keep the bag in cool and dry place.
T
here are several ways of preparing You make photograms by placing objects
an image that you want to turn into directly on top of the material and capture
a cyanotype. The basic rule is that their shadows as
whatever you place between your light source outlines. A simpl
and your canvas will effect the resulting e rhyme
Understa
image. You can also nding ho
image w w the fin
ill come al
draw on transpar- tricky th o u t may be
e first tim
The two most common methods of encies or glass, simple rh e. But th
yme pre is
s u tty much
creating images are contact prints using make stencils, m s it up gre
at for us
childrens ing on
negatives and photograms. or place other worksho
ps!
semi-transparent If it lets
light thro
You make contact prints by placing materials in front it will turn ugh
blue.
enlarged negatives on your material, which of your canvas. If it bloc
ks out lig
it will sta ht
creates a positive the same size as the y white.
negative.