Last year, I started studying Photography with the Open College of the Arts. Whenever I work on projects, I try to focus on subjects that genuinely interest me or hold significance in the world. Cyanotype Prints were a big inspiration for me, and this is why.
One of my first exercises was a creative challenge, and I chose to dedicate it to women in photography. That’s when I discovered Anna Atkins, and she immediately inspired me. She published Photographs of British Algae: Cyanotype Impressions, which is believed to be the first book featuring photographic illustrations.
Her images, beautiful, deep blue cyanotypes, fascinated me. There was something about them that made me want to create in the same way.
What is Cyanotype?
Cyanotype is a printing process believed to be one of the earliest ever. It is known for its amazing blue and white colours and was developed in 1842 by scientist and astronomer Sir John Herschel to create copies of his notes and diagrams.
To create the prints, you coat the surface with a light-sensitive solution made from a mix of ferric ammonium citrate and potassium ferricyanide, let it dry, and then expose it to UV light. The treated areas turn blue, leaving a white silhouette of objects or negatives placed on top. The print is then rinsed in water to remove the solution and develop the final image.
Beyond Photography
While cyanotype was mostly used by artists, historically, engineers and architects also used it to reproduce drawings—this is why the term blueprint is still used today. The process was quick, inexpensive, and created durable copies of documents, making it an essential tool before modern printing methods.
Source: https://www.encoresustainablearchitects.com/
My Own Creations
After learning about Anna Atkins, I decided to try cyanotype prints at home. A quick search showed that the solutions were easy to buy online, so I went for it.
I’m always looking for new ways to display my photography because I get bored with the ordinary—and I feel like others would too!
I ordered the solutions, got some postcard-sized paper, a UV light (because in the UK the sun isn’t always around to play!), picked a few of my favorite photos, and got to printing.
The photographs need to be turned into negatives and printed on see-through paper. This way, I can place them on top of the surface coated with the solution, and when exposed to the UV light, it leaves behind a really cool silhouette.
Check out this video I took of the process:
I had a UV light set up above a box where I placed my photo negatives inside on top of the coated paper, and I experimented with different exposure times, the amount of solution I used, and even different ways of coating the paper. It was a lot of trial and error, but that was part of the fun! Each attempt brought me closer to figuring out what worked best, and I loved the process of tweaking little things to get better results.
It took a few tries to get the right kind of blue and the prints I was looking for. At first, some came out too light, while others were overexposed—turning a deep, dark blue but losing all detail.
Cyanotype in Modern Photography & Art
Artists today experiment with textures, layering, and abstract imagery, often blending cyanotype prints with other processes like digital manipulation or even alternative print techniques. I’ve noticed that many artists and photographers use cyanotype to print on a variety of surfaces—fabric, newspaper, rocks, and more—adding a new layer to their work.
Inspired by this, I decided to try it out for myself not so long ago. I headed over to the craft store in Debenham and picked up some pieces of fabric. I printed a few more negatives and gave it a go.
The best way I found to get the image to show clearly on the fabric was to place a glass frame on top, which helped flatten the image down and keep everything in place. This is why you can see the square frame in the following image.
Other Techniques
While experimenting, I decided to try a sepia look as well. I brewed some black tea and rinsed my cyanotype prints in it, allowing the tea to soak in and subtly stain the paper. The warmth it added gave the prints a vintage, earthy feel, almost like an old photograph. The tannins in the tea not only darkened the blues but also brought out textures from the paper, creating a nostalgic vibe. It was a fun way to experiment with color and tone.
I haven’t quite figured out the best way to do this or the amount of time they should soak in the water to create the perfect prints, but I still think these look pretty cool!
Final Thoughts
I was really happy with the results, they looked great, and I think they’ll frame beautifully. There’s something so satisfying about seeing the final result of such a hands-on process like this.
One thing I really love about cyanotype prints is that the images I create are never perfect, and they’re never all the same tone. They always have these little imperfections, splatters, fading, and to me, that reflects the everyday experience we all have. It’s a reminder that imperfection is part of life, and I find that so meaningful. It just feels different from regular digital photography prints, more personal and organic.
I also really enjoy the process, it’s so relaxing, and there’s something about seeing the prints develop that’s just satisfying. It’s so nice to slow down and focus on something like that.
Looking ahead, I definitely want to keep working on my skills. I’d love to eventually sell my prints, make postcards, and maybe even do an exhibition in a gallery one day—that would be the dream!
Cyanotype prints have been such a great journey for me starting off with the inspiration from Anna Atkins, to creating my very own prints, giving me the chance to experiment, learn, and push my creativity in new directions.
I’m excited to see where this process takes me, and I can’t wait to keep exploring. Whether it’s creating more prints, trying out new surfaces, or maybe even sharing my work in a gallery one day, I’m looking forward to what comes next!
