I underestimated cyanotypes and the emotional power they contain. Simple things are like that. One color, limited tones, and two-part formulas connect me with feelings and ideas like no other process. This winter, I’m digging into the process and learning a new visual language.

Cyanotypes can have limited tones if the user isn’t mindful. It is a simple language form with humble beginnings. It was used to copy notes and proof negatives in the 19th century. Cyanotypes were not made as an end product until fairly recently. Yes, I’m aware of Anna Atkins and other exceptions to this but, generally speaking, it’s true.

I use analog film to make images but, since this is a contact printing process, I also make inkjet negatives from the scanned film. It’s easier to interpret my negatives and make larger prints. I have to plot a new curve for the paper I’m using (COT 320). While there are several ways to do this, I use is Mark Nelson’s Precision Digital Negatives. It’s the first method I learned and I’ve found it works very well.

I also purchased Christina Z. Anderson’s incredible book “Cyanotype: The Blueprint in Contemporary Practice (Contemporary Practices in Alternative Process Photography)” which opened up worlds within worlds for this process. To anyone interested in making cyanotypes, I highly recommend this book. It is the result of extensive research and testing. I find her writing easy to understand and very informative.

Currently I’m using the classic cyanotype formula but am very interested in a formula that Sam Wang developed. It is a mixture of the classic and new cyanotype formulas. The “New Cyanotype” formula was discovered by Mike Ware and solved some of the problems Classic Cyanotype has presented. Sam Wang has blended both versions and that gives the best of both worlds. I made my order to Artcraft Chemistry and we shall see what happens.

It’s exciting to start a deep dive on such a common process. The learning curve is long, much like the real tonal scale, and much less expensive than platinum/palladium. I’m interested in combining both processes in the future but also develop a visual palette with the blueprint process. There are a lot of variables and unknowns in cyanotypes. I want to see what the process opens up for me creatively.

I’ll be teaching a cyanotype workshop at The New England School of Photography in January. It will be fun to pass on what I’m learning.