Trendspotters tell us analog photography is back—shooting with film is cool again. And as long as we’re going retro, why not go alllllllllll the way back to cyanotype? One of the earliest forms of photography, it requires a couple of chemicals, paper (or another flat surface), household objects, and some sunlight and results in a contact print in a vivid blue. Hallmark photographer Kevin C. showed us how simple it is.
WHY TRY CYANOTYPE
Cyanotype is a really simple technique, and you get results very quickly.
The cool thing is that it’s not just for artists. When I started photography, it was the very first class you took. Before you loaded up your camera and went through the whole development process, you did this simple form where you just use the chemicals and go out in the sun, then you put the paper in water and an image comes up…and it’s magic.
SUPPLIES FOR CYANOTYPE
SIMPLE, ICONIC OBJECTS
SOMETHING TO PRINT ON: PAPER (WATERCOLOR PAPER GIVES NICE RESULTS), FABRIC, PLAQUES
JAR, OR AN OLD BOWL OR CUP
TWO-INCH PAINT BRUSH
OR JUST USE PRE-TREATED PAPER
OPTIONAL: GLASS AT LEAST AS LARGE AS YOUR PRINT (LIKE FROM A FRAME)
WORK LIGHT WITH A UV BULB
SHALLOW TRAY OR CONTAINER LARGER THAN YOUR PRINTS, FILLED WITH WATER
CLOTHESLINE OR DRYING RACK
*Because “chemical set” sounds scary, here’s an explanation: It’s a two-part solution. Part A is ferric ammonium citrate, and Part B is potassium ferricyanide. Neither poses a serious health risk unless you’re one of the few who would have an allergic reaction to the chemistry. Ferric ammonium is often found in iron and vitamin supplements. Potassium ferricyanide only becomes a risk if heated to 300 degrees or is combined with an acid. (So, you know, don’t do that.)
I tell people to bring simple objects. Favorite flowers, tools, buttons, fabric, lace…anything translucent is really fun. Try the types of things that are fun to put on a piece of paper and get a silhouette. This exercise is all about experimentation.
Botanicals are very popular. It’s a beautiful form, and you can really concentrate on the shapes. If a flower’s petals are translucent, it really comes through and has a nice feel.
CYANOTYPE, STEP BY STEP
- Measure equal amounts of parts A and B in a small, nonmetallic container, such as an old bowl or cup. It’ll be good for a couple of hours after mixing together.
- Working in a low-light area, brush your paper (or fabric, or whatever) with the mixture—it’ll turn a real slight yellowish tone. (The light should be subdued because the chemical is sensitive to daylight.)
- If you want to move a little faster, dry your material with a hairdryer.
- Once it’s dry, arrange your objects on the printing material. If you’re using botanicals or something delicate, like lace, you can put a piece of glass on top to keep things in place.
- Turn out the lights and turn on the UV lamp to expose your print—it should be directly over your print. Leave it under the lamp for about 15 minutes, or place it in the sunlight for five minutes.
- Remove the objects, and “develop” your print in a tray filled with water. Wash it for a few minutes—the image should appear like magic.
- Hang it to dry on a clothesline or drying rack.
I’ve taught this class three times—to high school kids, too. Kids really get into it.
You can get on YouTube or Google and see all kinds of samples and examples of ways to do this—tint the colors, find different surfaces you can work with. It’s endless. The basics we use are just the beginning.
CHANGING THE COLOR OF YOUR PRINTS
The common color is cobalt blue—a really strong, blue color. You can put hydrogen peroxide—about three tablespoons—in the water to get a deeper, richer hue.
And you can soak your paper or fabric in coffee or tea before you paint it with the chemicals to change the color.
NEXT-LEVEL CYANOTYPE PRINTS
I was exploring ways to use photos I shot to create cyanotype prints. You could use any kind of artwork. I printed them on overhead projection film—ran them through a copier. Sandwich that in glass, then expose and develop it the same way.
You’re making a negative, so you may have to play around with the curves in a photo editing app to make the image light enough to work. You can also try inverting your image from positive to negative—sometimes that’s more striking.
And you may need to flip the image, or just turn over the transparency, so the image comes out the right way.
There’s a huge resurgence of young people today trying analog photography. I think it has a lot to do with working with your hands, not just pushing a button. I get a great deal of satisfaction from working with my hands. And you can always scan a cyanotype print and play with mixed media—using the old way and the new way. It’s all up to your imagination.