Blue Print Photography The Cyanotype Blue Print Photography Image by Tony McLean

The Cyanotype, also known as the blueprint process, allows the artist to create images from varied methods that result in an image with strong emotional connotations associated with the color blue. Image by Pavel Nastin

History The Cyanotype was first discovered by John Herschel in 1842, when he was trying to find a way to copy his astronomy notes. He used hyposulphite of soda with paper coated with iron salts to capture his images. When washed in water, it left a white image with a deep blue background. Herschel later coined the photographic terms photography, negative, positive, and snapshot. In 1843, Anna Atkins used the cyanotype process to illustrate a biology book. She incorporated the cyanotype process by placing real plant subjects directly onto the treated paper, then exposed it to light, very similarly to the photogram process used in a darkroom. Later the pictorialists latched onto this process. Because the photographs could be printed on textured papers it enhanced their “painterly” style. Ferro-prussiate paper was marketed to the pictoralists because of its popularity. Other than art, the cyanotype process was used extensively for copying architectural plans, until the computer recently replaced this process.

Image by John Herschel Ladty with Harp 1853 Image by Anna Atkins Image from her book of ferns Published 1843

Advantages of the Cyanotype An image can be printed on fabric, textured papers, or anything else that will accept the chemical formula. The image can be produced using found objects, large format negatives, or transparencies of photos or images. One does not need a darkroom for processing the image, just bright sunlight and water. The size is determined by how large one can prepare the surface. Bed sheets have been used to print life sized images of people. Surface must be made of Natural materials, no synthetics.

The Process… 1. Treat the paper or base with the cyanotype chemical formula by brushing it on in a dimly lit room. Make sure even coats are applied with a brush or roller. Allow the base to dry thoroughly in dim or no light. Place object or negative onto the base and set out into direct sunlight or UV light. Time will vary depending on the intensity of the light. (The sun does not work well in winter) You will see the image oxidize in the light. 4. When the exposure is complete, wash the base in water to remove any unexposed emulsion.

Contact Print Areas that blocked the sun Area that received full sunlight Image by Karl Burke

Negative / Transparency Print Dark area of negative Clear area of negative Image by Dale Cook

The chemicals used to coat the paper are dangerous. Caution is needed. *** Safety *** The chemicals used to coat the paper are dangerous. Caution is needed. Wear safety goggles Wear rubber gloves Wear an apron Wear a face mask Use in a well ventilated area Keep all food and drinks out of the area Clean the work area thoroughly when finished

Cyanotype Chemical Formula Solution A: dissolve 36g ferric ammonium citrate (green) in 100 ml distilled water. Solution B: dissolve 16g potassium ferricyanide in 100 ml distilled water. Store each solution in brown bottles out of the light in between uses. Mix equal amounts of solution A and B for the desired amount to cover the paper.

Martin Helmut Reis Pont Paris

Quartier Latin

The Border

Edwardo Aites Persistence of Vision

Ely

Eastern Trinity Dancer 3

Francis Baker Bodice Back 5 Pot Bound Root 2

John H. Bolgiano Jr. Thomas Viaduct

Snowtrain

Using a pinhole negative

Jouni Haapakoski Jonna Ifi

Kathy Tarantola Face

Resources: Aurora Nilaam www.alternativephotography.com Barbara London Photography 7th ed. www.mikeware.demon.co.uk/cyano.html http://photography.about.com/library/glossary/bldef_cyanotype.htm www.mikeware.demon.co.uk http://www.dgbn.com/photo/list_photo_p.php?process_id=4