Raw or Cooked? Comparing Dry and Wet Anthotype Emulsions

Can a wet anthotype last longer? Anthotypes are known for their delicate beauty and their temporary nature. Made from light-sensitive plant pigments, they gradually fade over time, making impermanence part of the process. But what happens if the emulsion is exposed while it is still wet instead of allowing it to dry first? In this article, Chilean artist María Piedad Aguirre compares dry with wet anthotypes. She explores how different preparation methods affect image quality, contrast, and – perhaps most surprisingly – the longevity of the final print.

Writer and photography / María Piedad Aguirre

“When I discovered the anthotype technique, probably through Alternative Photography, I was amazed by the idea of not having to use inorganic chemicals. The ability to capture flowers using their own pigments felt like a subtle and clean way to create botanical images.”

At first, when I started learning about the process, I found using a mortar and filtering the emulsion through fabric rather tedious. So, I opted to develop the emulsion using a cooking method. All I needed were petals and water. I would cook them until the desired pigment was extracted, and since the petals remained intact, I could simply remove them with a spoon.

For my first anthotype, I applied the emulsion to the paper. Yet, I had a considerable amount left over and didn’t want to waste it, so I decided to pour it all onto the paper and let it dry during the exposure process. This method produced an unusual result that was quite different from the examples I had seen online. You can see this result in Anthotype Emulsions Volume 2.

Over time, after carrying out multiple tests with various floral species, I wanted to conduct a small experiment comparing the traditional method with this new wet approach.

The Aizoaceae Family

For this experiment, I chose to work with the Aizoaceae family, as I had achieved good results with them in previous tests, and there were still flowers blooming in August. Keep in mind that I live in the Southern Hemisphere, where August is winter.

Some Aizoaceae species are very common in Chile’s public spaces. They are often used for erosion control on slopes, as ground cover, and as ornamental plants because of their vibrant colors.

Their flowers are solitary, with numerous fine, elongated petals that vary in color, including white, yellow, orange, red, pink, and magenta. Since their petals are very thin, and to avoid overharvesting a single plant, I selected three species from the same genus, all with pink flowers, for these tests:

• Lampranthus spectabilis (Trailing Ice Plant)
• Drosanthemum hispidum
• Carpobrotus chilensis

The Object

My artistic research focuses on creating botanical images, so for this photogram I used a fresh, unpressed piece of Lampranthus spectabilis.

Two Types of Emulsions: Raw and Cooked

Emulsion 1 – Raw: I placed a handful of petals in a mortar and added a tablespoon of alcohol as a solvent. Then, I filtered the mixture through a fine fabric, resulting in a semi-transparent, intense pink emulsion.

Emulsion 2 – Cooked: I placed a handful of petals with half a cup of water in a pot and cooked them until the pigment was extracted and the water became colored. This produced a transparent, dark orange emulsion.

Two Types of Processes: Dry and Wet

Dry Process – Emulsion 1: I applied three layers of the emulsion with a brush onto 300 gsm Canson watercolor paper. Once everything was completely dry, I placed the flower on the sensitized paper and exposed it to the sun for six hours (UV index 4).

Wet Process – Emulsion 2: I applied a generous layer of the emulsion onto the paper, placed the flower on top, and then poured the remaining emulsion directly onto the paper without letting it dry. I exposed it to the sun for 15 hours (UV index 4). This method takes more time because the accumulated liquid needs to dry completely during the exposure.

Results

Dry Process – Emulsion 1

The resulting image had a pink hue similar to the petals. While the figure was identifiable, some edges were blurred due to the object’s volume. The emulsion showed good photosensitivity, allowing for a significant tonal change in a short time, which produced good contrast. However, its durability was limited. Within a week, the image began to fade, and after a month and a half, only a pale pink background remained, with no trace of the original design.

Wet Process – Emulsion 2

In this case, the depicted object stood out clearly against the very light background, while the dark orange color was concentrated in the flower. The plant’s fine petals were well defined, and the pistil and some stamens were visible in the flower’s center, albeit without much detail. The stems and leaves appeared blurred. Marks left by the emulsion settling on the paper were also visible, slightly muddying the final result.

In terms of durability, the image has remained nearly unchanged after five months, with only a slight shift in tone. It’s worth noting that no UV protection or varnish was applied.

Conclusions

One of the most interesting results of the experiment using the Wet Process – the cooked emulsion 2 was that, despite the longer exposure time, the image’s durability was significantly higher. This is supported by tests with other species; I even have anthotypes that are nearly two years old in which the images are still visible.

This finding is particularly noteworthy, considering that one of anthotype’s defining traits is its ephemeral nature, with images typically fading over time.

Regarding image fidelity, pigment stains occasionally distort the final result. In this case, the image was recognizable, but in other experiments, the plants produced more abstract outcomes. This process therefore leans toward an artistic approach that, depending on how it is applied, can range from abstraction to more defined results. Furthermore, the type of flower used can produce darker pigments that, when concentrated on the paper, create images with greater contrast.

Recommendations

To determine whether an emulsion is suitable for this type of process, start by boiling petals (or other plant materials) in water. If the extracted pigment dyes the water with a strong, consistent color, it is likely to work well. On the other hand, if the water turns pale yellow or very light brown, it probably won’t be effective.

One important thing to keep in mind is that this method might not be the best for reproducing negatives. While I haven’t tested it myself, I suspect its success comes from how it interacts with three-dimensional objects. This interaction allows the emulsion to settle along the contours of the object, creating richer colors and a more visually interesting result.

María Piedad Aguirre is a Chilean visual artist. Her work explores the emotional connection with nature, specializing in experimental photographic techniques such as cyanotype and anthotype.