Cyanotypes are one of the simplest and most accessible alternative photographic processes, a group of photographic methods that use hand-applied chemistry, natural light, and historical techniques rather than automated digital tools. Cyanotypes require no darkroom, use relatively safe chemistry, and can be made with sunlight. The slow, manual coating creates visible brushstrokes and surface textures that make each print unique. Many artists enjoy the tactile, hands-on nature of the process – an opportunity to step away from the digital world. It’s a bit like knitting a sweater yourself instead of buying one ready-made.
Always be careful when handling chemicals. Read the health and safety instructions.
Absolute beginners can start with pre-coated cyanotype paper or ready-mixed solutions, and once they get the hang of the process, move on to mixing and coating their own materials. I much prefer preparing the chemistry myself and brushing it onto the paper – the tactile steps are part of the pleasure. Selecting the paper is also central to my process, as much of the final visual expression comes from its texture, absorbency, and tone. Once you begin choosing your own materials, the artistic possibilities expand: every paper, coating, and brushstroke introduces a new variation, making the work increasingly personal and expressive.
Why I Love Cyanotypes
Seeing my first cyanotype in 1999 was the start of a long journey. The visible brushstrokes, the deep Prussian blue, and the handmade quality drew me in, and that moment eventually led to founding and becoming the editor of AlternativePhotography.com, writing books – including Blueprint to Cyanotypes, a beginner’s guide – and building a community around alternative photographic processes. Today, the website covers the full range of alt-process techniques, and I balance editing, organising events, running workshops, writing, and making my own art. There are never enough hours in the day. Cyanotypes still keep me curious with their endless possibilities – from digital negatives and botanical photograms to toning, fabric printing, and mixed-media work. There is always something to explore and a new rabbit hole to go down!
A Short History of Cyanotypes
The cyanotype process was introduced by Sir John Herschel in 1842. Unlike silver-based photography, it uses iron compounds that react to ultraviolet light, and the basic formula has changed very little since its invention. An interesting fact is that the first book ever illustrated with photographs was made using cyanotypes. Botanist Anna Atkins, a friend of Herschel, realised it was faster to document plants with cyanotypes than by hand-drawing, leading to her landmark publication Photographs of British Algae: Cyanotype Impressions, a remarkable achievement and inspiration for many of the cyanotypes made by fern and other botanicals that artists still love making.
In the late 20th century, Mike Ware refined the method into what is now called the New Cyanotype process, offering higher contrast, shorter exposure times, and reduced bleed–through with more complex chemistry.
Cyanotypes can be made from images taken with your phone and printed onto a film to act as a negative. In this article, we’ll keep it simple and work with objects. An easier, hands-on approach is to skip the camera entirely and create a photogram by placing objects – flowers, lace, glass, or any interesting shapes – directly onto coated paper. Photograms let you experiment with composition, layering, and transparency, producing unique, one-of-a-kind prints.
The workspace
First, set up a suitable workspace. You don’t need a darkroom, but you should work in a dim area away from direct sunlight, UV-lamps and LED lamps – sources that could cause accidental exposure. Keep your chemistry separate from food preparation – never use kitchen utensils – and protect your table with plastic or newspaper. For safety, wear gloves to avoid skin contact, and use goggles and a mask when mixing powders or handling chemicals. This ensures a clean, controlled, and safe environment for coating your materials.
Choosing Paper (or Fabric) for Cyanotypes
Then, get a good paper or fabric to print on. Cyanotype can be printed on many papers, fabrics, wood and other surfaces, but the result will vary depending on the surface. Cyanotypes work best on surfaces that absorb the chemistry well. Natural fibres let the ferric compounds penetrate, creating dark blues.
Paper: Unbuffered papers are ideal, but many watercolour and art papers work too. Some options to start with are Arches Aquarelle, Bergger Cot 320, Canson XL Watercolor, Canson Montval, Hahnemühle Lanaquarelle, Hahnemühle Platinum Rag, Legion Rising Drawing Bristol, and Strathmore 500 series. Experimenting with different papers and fabrics is part of the fun. Thin or thick, smooth or textured, white or colored, each will add to the visual and tactile expression. A lot more info on paper specifically for cyanotype can be found in The Massive Paper Chart.
Fabric: Natural fabrics like cotton, linen, and silk work best. Make sure they are clean and free of finishes that could block the chemistry.
How to Make a Cyanotype
Cyanotypes for Absolute Beginners: Using Pre-Coated Paper or Pre-Mixed Chemicals
If you’re new to the process and want a quick, simple introduction without mixing chemicals, there are two easy options:
- Use pre-coated cyanotype paper: Pre-coated cyanotype paper is sold in many art shops and online (even large retailers). The paper quality varies, but it’s a convenient way to see how the process works. By getting precoated paper, you skip the chemistry step and go to step: Arranging the Cyanotype, then just expose, rinse, dry and then you’re done. Find suppliers here or check Amazon.
- Use premixed liquid solutions: These come ready to brush onto paper or fabric, letting you skip the measuring and mixing stage. They come in two separate bottles, one for Solution A and one for Solution B. Work in a dim area, cover your surfaces, use gloves and follow the instructions from the manufacturer. As a general rule, just add water and mix the two in equal amounts, then go to step: Coating the Paper or Fabric, dry, expose, rinse, dry and done.
These options let you focus on exposure, washing, and handling your materials – just to get the feel for the process—before moving on to mixing and coating your own chemistry. Find suppliers here or check on Amazon.
Cyanotypes for the Curious Mind – Mixing Your Own Chemicals
Once you’re familiar with the basics, mixing your own chemistry is the traditional – and, in my opinion, much more enjoyable – way to make cyanotypes. This hands-on approach gives you control over paper choice, coating style, and the final look – one of the most satisfying parts of working with cyanotypes. The classic cyanotype formulas, introduced in the 1840s, are still used, but as you get deeper into the process, you’ll find many variations that can increase tonal range in midtones with some papers, or shorten exposure times, but the starting point is the classic cyanotype formula.
1. Materials for cyanotypes:
First, you need to go and buy chemicals, jars, brushes and paper.
Chemicals (suppliers):
- Ferric ammonium citrate (green), at least 25 grams
- Potassium ferricyanide, at least 10 grams
Equipment:
- A precision scale for measuring chemicals, a kitchen scale can be used; it is a little less accurate, but good enough (like these ones)
- 3 glass jars or cups, one for solution A, one for solution B and one for mixing them
- Stirring rod or spoon (not from the kitchen) (like these ones)
- Gloves, the surgical kind (like these)
- Apron to protect your clothes (our own designed aprons can be found here)
- Plastic or newspaper for protecting the surface
- A wide brush, hake or foam brushes are my preference
Optional:
- Distilled water. Most tap water will work, but if you have water that is unclean, distilled water may be needed both for mixing chemicals and for the final rinse (like this)
- Brown glass bottles for storage, in case there is any solution left over, you want to keep (like these ones)
2. Using and mixing Chemicals (Traditional Formula)
2. Using and mixing Chemicals (Traditional Formula)Cyanotypes use two simple solutions, and they are referred to as Solution A and Solution B. The recipe for the traditional cyanotype formula is:
Solution A
25 gram Ferric ammonium citrate (green)
Water to make 100 mL (distilled if you don’t have clean neutral pH water)
Solution B
10 gram Potassium ferricyanide
Water to make 100 mL
- Mix each chemical separately in about 80 mL of water. Stir and once fully dissolved, top up to 100 mL.
- Mix equal parts of Solution A and Solution B in another jar. About 5-10 mL of mixed solution is enough to coat a sheet of 24 × 32 cm (9.5 × 12.5″), depending on how absorbent the paper is.
- If there is any solution left over once you are done, store the two solutions in brown bottles, away from light.
3. Coating the Paper or Fabric
3. Coating the Paper or Fabric- Work in a dimly lit room, away from daylight and UV light.
- Pin the paper to a board or tape it down to stop it from curling.
- Using a wide brush – a hake brush or foam brush works well – paint the mixed solution onto your paper or fabric. Brush first vertically, then horizontally, in slow, even strokes to ensure full coverage. There is no need to dry and coat again; one time is enough.
- Let the material dry completely in the dark. Drying can take anywhere from an hour to a day, depending on temperature and humidity.
You can start the next step while the chemicals on the surface are wet, but this may produce different effects and can damage any objects placed on the paper.
4. Arranging the Cyanotype
Printing a cyanotype can be done in many ways. Two common approaches are:
Using a digital negative: Print a digital photograph onto a transparent film, making sure to invert the image first. Place the negative directly on the coated surface and cover it with a sheet of glass to keep it flat and in close contact. In this article, we will not go into full detail on digital negatives, but you can find more information on negatives here.
With objects (photograms): Starting out with cyanotypes, the easiest way is to skip the camera and make prints using objects. Placing an object on the coated paper creates a silhouette: the areas covered by the object remain white, while the exposed paper turns blue. This silhouette is called a photogram.
- Arrange leaves, flowers, or lace directly on the surface. Once your arrangement is ready, weigh it down with a sheet of glass and secure it with clips.
- Use household objects like scissors or paper clips. For bulky items, keeping them in place using glass is impractical. Use them as is, or cover them lightly with cling film to keep them in place.
5. Exposing the Cyanotype
Using sunlight: If the weather is on your side, expose your print outside in direct sunlight. Exposure times vary from around 10 minutes to an hour, depending on the strength of the sun. You’ll know the print is ready when it shifts to a greenish tone. Sunlight can be unpredictable, but that’s part of the fun!
Using a UV or LED lamp: If the weather is unstable, a UV light or LED lamp is a reliable alternative. This method also allows for repeatable results: once you find that 15 minutes gives a good exposure, you can use that as a starting point for the next print. Simple tanning lamps work well for UV light, and screenprinting LED lamps are also suitable. Exposure is complete when the print turns greenish.
6. Washing and Drying
Rinse your print in cold water for at least 5 minutes – 10 minutes is even better – until the water runs clear. Don’t skip this step, as insufficient rinsing can lead to discolouration or yellowing of the whites over time. The rinse is where the magic happens, and you will see the image emerge and the blue deepen.
After rinsing, hang the print to drip-dry. When it has stopped dripping, lay it flat (hanging on a line may leave peg marks). Once dry, you can flatten the paper by pressing it under a stack of books for a day.
7. The final colour
The print isn’t quite finished yet. The cyanotype will continue to oxidise over the next day or three, and the blue will deepen to its final rich hue. If you’re impatient, you can spray a dilute solution of hydrogen peroxide onto the wet print after washing to speed up this natural darkening. If you are doing this with other people, here is where you get the “wow” effect! Personally, I prefer to use as few chemicals as possible. After decades of working with cyanotypes, waiting a day or two for the full depth of blue feels effortless.
Some troubleshooting
If the image washes off…
- Check you printed on the correct side of the paper – this is surprisingly a common mistake, especially with precoated paper.
- Make sure your paper or fabric is natural (cotton, linen, silk). Chemicals won’t adhere well to synthetic materials, and the image may wash away.
- If the colour was pale and the image faint, it may be underexposed; increasing exposure usually solves this.
Does it stop there? Oh no… this is where the real fun begins. Once you understand the basics, there are many paths to explore. You can focus on developing your technique, expressing yourself artistically, or doing creative projects.
Exploring the Cyanotype Technique
-
Seaweed on Beach, a wet cyanotype by Malin Fabbri Use digital images and print negatives to reproduce photographs
- Experiment with toning prints using tea, coffee, or wine to get the old-fashioned looking sepia-toned cyanotypes
- Try bleaching and re-toning for different blue and white contrasts
- Explore wet cyanotypes for textures and surprising results
Using Cyanotypes for Your Artistic Expression
- Layer multiple exposures for depth and complexity
- Combine cyanotypes with drawing, collage, or embroidery
- Play with different textures and papers to alter visual effects
- Explore abstract compositions with repeated shapes or patterns
Creative Cyanotype Projects
- Print on fabric to make quilts, t-shirts, or a bedspread
- Create botanical photograms with flowers, leaves, or lace
- Make handmade books or journals featuring cyanotype pages
- Produce cards, bookmarks, or wrapping paper
- Craft cyanotype lamps or decorative wall panels
Cyanotypes offer a simple entry point into alternative photographic processes. With sunlight, water, and a few basic materials, you can create expressive handmade images that evolve with each experiment. The process is endlessly adaptable – and who knows, it may turn into a lifelong obsession?
Learn more and find books here (or below). Good luck!
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Dear Sabine,
Yes, i can’t see why not, but you need to make sure it does not wash off again. There is extensive information about this in Galina’s book:
https://www.alternativephotography.com/cyanotype-on-glass-and-ceramics-e-book/
Good luck!
Can I re-use pieces of porcelain (Biscuit baken) ? I used the pieces to experiment with cyanotype but the print washed off…so can I cover them again with cyanotype emulsion- let them dry and print on again?
Hi Igor,
I don’t have much information about your process to go on here, so guessing:
-Could it be old emulsion?
-Could it be exposed to light somehow during coating?
Hello!
Final solution gets blue with out UV.
Used befor same chemicals and same proportions and everything was ok.
Wat can be an issue?
Hi,
It’s kind of hard to advice you on this since I don’t know how you will be using it. 🙂
Thank you for the cyanotype tip! Nice one!
Hello everyone,
I am trying to figure out which side of the pictorico film to face up or down? Can anyone assist? Dark side up or light side down?
Also I read some comments on how to bring out the blue. My Professor showed me a trick on making it darker. First rinse it like normal, then fill it with water and at one to two caps of hydrogen peroxide to the water. Make sure it is mixed before you rinse your paper again. This will bring the blue out more. It was said by another Professor from a different college, it would work on photos that that have been made and have not been rinsed in the hydrogen peroxide. As my Professor does not deal with cyanotype on a daily, she does not know everything. As to why I am asking the question up top. She does know of the chemicals and how to bring out the blue.
Hi,
Depends on where in the world you are, have you seen the Suppliers directory?
https://www.alternativephotography.com/directory-of-suppliers/darkroom/
You can turn your cyanotype sepia by bleaching them in bicarbonate and then dipping them in tea or coffee.
Good luck.
Where is the best place to get 365nm lighting?
And how do you turn cyanotypes to sepia?
Just found your site (teaching a photography class and dining cyanotypes today). Great information! Might try my hand at mixing my own chemical this summer!!
Has anyone tried using Master’s Touch Watercolor Canvas from Hobby Lobby? It’s pre stretched and has a fairly fine surface. It is primed with some type of acrylic mix. I’m soaking it in a mild HCL solution now (200 ml 20% HCL in 2 liters of water). There was some minor bubbling that lasted about 10 minutes. One thing I noticed is that the acid solution did not penetrate the canvas, so I am going to try sizing it with either arrowroot or gelatin after washing and drying it. Any thoughts?
@alice: It depends on where you are and how strong the sun is. Here are different findings from around the world. Do contribute with your own too when you’ve found the perfect exposure time:
https://www.alternativephotography.com/the-big-cyanotype-exposure-survey-results/
hello i was wondering how long you should expose the paper in the sun or under UV light – and does it depend on the amount of sunlight – eg will the work on an overcast day?! thanks!
Question!
I’m trying to make the blue a richer, deeper blue and I am wondering if anyone has a trick for this? I have tried exposing for longer and double coating. The former produces uneven results and the latter increases the contrast but not the richness of the blue colour itself 🙁
I’m thinking adjusting the formula, but wanted to throw it out there in case anyone had any ideas?
I have produced these rich blue before but can’t seem to get it anymore. I think it might be that my chemicals are coming from a new supplier possibly. Either way, trying to solve and appreciate any suggestions!
Thank you!
Jessica – I use Somerset Satin think it’s about 300gsm. Or really any printmakers paper of a similar weight works best. It’s worth bearing in mind the different textures of the paper and what you prefer.
(I’m an artist working with cyanotypes for 5 years or so!)
Hi, what paper do you suggest to use for cyanotypes? I used Canson’s watercolor paper and it came out a dark green not blue. I know I mixed the chemicals correctly because when I went to dispose of the paper bowl I used for mixing the chemicals together and went out into the sun it turned blue almost instantly so I’m thinking that it’s the paper I am using.
@April: I have stored material for 10 years and it remains printable.
I am about to coat fabric with cyanotype solution. How long will it remain light sensitive if stored in dry, cool and dark conditions?
@Sally-Jane. That is a nice idea.
Tap water vs distilled: I have not done an archival test to test tap vs distilled, but unless your water contains a lot of strange chemicals, use ordinary tap water. To rinse in distilled water would take a lot of water. If your water contains a lot of chemicals, you may want to mix the solutions with distilled water though.
Keeping from fading: You can use a UV-spray to extend the non-fading time. If a cyanotype fades, the beauty of it is that you can put it back in the dark and it will come back. Magic!
Good luck.
I am using cyanotype for the first time to print my Christmas Cards.
What will be the difference between using tap water or distilled?
How do I stop the prints fading?
Can anyone comment on what affects the intensity of the blue color in a cyanotype? Today I created three images. Same paper, same exposure time in the same UV exposure unit. The paper was coated about 11am, and I made the first print around 1:30. By 2:30, all three prints were done. The coating in each case was 12 drops each of Solutions A & B, taken from the same containers with the same uncontaminated eyedroppers (one dedicated to each solution). Each bottle of solution was well-shaken each time it was used. All three digital negatives were made by the same process, and printed on the same type of film by the same printer. The coating on the dried sheets, when pulled out of my dark drying area were yellowy-green – none appeared to be fogged. One of the prints is a rich, dark blue. The other two are anemic, even around the edges where absolutely nothing was printed on the film. Even the brushstrokes that extend beyond the area covered by the film are anemic. Any ideas?
@Frances: No, not in my experience. You can use them right away.
Do the sensitizing chemicals need to “cure” for a certain length of time before mixing and using on fabric?
Hi Blanka,
I have not had trouble…
Are you using pre-sensitised paper or are you painting on the cyanotype solution yourself?
If you are painting it on yourself, perhaps you don’t have the correct chemical ratios.
Are you painting it on in the dark and leaving it until it is completely dry before exposing to sunlight?
I have had the best results with a heavy textured watercolour paper.
Hi, could you please help me? I was trying with paper, when it’s exposed it looks good, but then i washed it and it washes basically everything even the blue and the picture disappears. Can the paper be a problem?
Thanks
Hello! I want to make large cyanotype images of my naked body onto fabric (Currently studying Fine Art in University if that explains anything haha!), and I don’t exactly live in a private area so I don’t want to be bathing naked in the sun where my neighbours can see me!
Is there alternative solution to developing the image from UV light in-doors? I’m not sure if the bulbs I can buy on websites like Amazon or eBay are strong enough or legitimate UV Bulbs for obvious reasons (i.e. http://www.amazon.co.uk/Black-lightbulb-violet-energy-Bayonet/dp/B000L97W74). Would I even be able to use these kind of bulbs just to make smaller projects?
Any advice would be much appreciated! Thank you
@N.I: Yes, the green can be substituted for the brown and vice versa. Good luck!
Hello.
I wanted to know if the green version of ferric ammonium citrate can be substituted with the brown version of ferric ammonium citrate. I can’t get my hands on the green version.
Thanks for your help
Sue Corr: Not too light and not for too long, it will start to affect the paper eventually.
I have a place to dry the coated emulsion on the paper in the bathroom. It is almost dark apart from the edges of the door frame just a tiny bit of light comes through…..will this be a problem…
@ Stacey: that sounds like a lot of fun! Try bleaching it with bicarbonate soda, just like when bleaching a print for toning.
Hello,
At my work, we held a children’s camp and made cyanotype t-shirts. Some of the solution fell onto the brick where it seems to be getting more potent, even though it has rained. Any suggestions on getting cyanotype solution off of brick?
is it necessary that the photograph which we want to print should be a negative and should be printed on a transparent sheet kind of a thing?
Can I coat porcelain tiles with the cyanotype chemicals and, using various masks, produce a cyanotype print on the tile?
@Alice Goh: Yes, brown Ferric Ammonium Citrate works too. Good luck.
Will the brown Ferric ammonium citrate works as well?
I can only find Ammonium ferric citrate (brown), can this works for the blueprint.
Or i should buy other chemical to have the blueprint effect?
@alice: You can find plenty of suppliers of chemicals here, most ship anywhere:
https://www.alternativephotography.com/directory-of-suppliers/chemicals-kits/
Anyone know where to purchase the chemical in sg?
Try http://www.artvango.co.uk kits are £7.25 and postage is basic Royal Mail.
I put my Cyanotypes in the dark (a cupboard or under the stairs) for a few days to bring the colour back.
Re buying cyanotype chemicals – I bought mine from a chemical supplier – a company that supplies school and university science departments.
Where can I buy the chemicals cheapest with Free or low UK postage? I’ve looked all over the place, I’m just looking for a reliable cheap website
I have old cyanotypes that I made 30 years ago. They are fading. Someone told me that if I put them in the sunlight the blue would darken. Has anyone tried this? Someone else told me that if I put them in the dark they would darken – completely the opposite advice. I could experiment but I don’t want to damage the old images.
Any ideas? Thanks
@Chloe: You can use any spoon. I’ve even mixed chemicals in a rusty old jar once, and it did affect the print but still printed:
https://www.alternativephotography.com/cyanotype-chemicals-in-a-rusty-old-jar/
Should I use only a plastic spoon?
I have stainless steel spoons. Do they affect the solutions?
I skimmed over all of these comments, but PEROXIDE is the ultimate blue booster. Once you put your print in some water with about a tablespoon of peroxide (don’t quote me on that) the blues just POP! Try it. It’s all an experiment anyway 🙂
Deborah: Contact frame suppliers can be found here:
https://www.alternativephotography.com/directory-of-suppliers/darkroom/
Where can I find or buy a contact print frame?
Absolutley. Just make sure it’s not too creased when drying.
Is it possible with a light fabric, like a silk scarf, to just dip the entire piece into a container of cyanotype solution (and maybe wring it out with gloves on?) rather than coating by brushing?
@Grace… the solution should be yellow or greenish when you brush it on. Blue when you have rinsed and a deeper blue after a day.
I use this solution but when I brush it on the colour is a lot darker and bluer than the pictures show and I can’t figure out what went wrong.
I am using 100% cotton and the print is just washing out. I’ve done this before but I bought the fabric pretreated. I don’t know what I’m doing wrong. Help??
I just used this yesterday in a daring and dangerous camp we hold every summer. (All safety precautions were upheld.) It was great. A lot of the teens thought this was their favorite experiment of the day. I never imagined it would be so easy to make sunpaper. Thanks for posting the process!
@Tommy
Most literature says you should expose the day after coating, or as soon as it’s dry enough. I am however doing some experiments on how long the coated paper will last. I keep it in a dark dry place and have so far used 5 year old paper with success. So, don’t feel too stressed about using the paper up right away! 🙂
How long can you wait to expose your paper after you have allowed the chemistry to dry? Some of my prepared papers ( I’m coating 100% cotton paper ) are turning green overnight. What is the ideal amount of time between coating and exposing?
Hello all,
do cyanotypes have to be strictly done with negatives for best effect or are there other ways to get a larger print,
I thought maybe placing a transparent print instead of a neg?
And if so, how would i go about finding a method/service that does this.
Any info appreciated.
I use a negative produced off of photo shop, printed on canvas and I left it outside for about 35-40 mins. Most of it look normal except for one area that just a vivid puple
@Shayne
Which exposure time do you have?
I’ve been making cyanotypes for a few months now, and I seem to have a re-occuring problem. When I look at my finshed prints there is purple in places it should be white. My instructor said it was from my canvas not being dry, but we both made sure it was 100% dry before exposing it. What could it be then?
@ carol
I suppose you can just underexpose the print and it will be lighter.
I really like the cyanotype print blue color that appears after about 5′ of washing (after exposure). For me, it is much richer than the dark blue that comes when the print dries. Is there any way to get this softer, lighter blue print as a final picture? Thanks
@ Oliver:
I have not tried this, the process needs UV light. I doubt it will work, but please try and let us all know!
I have brought all the things needed to make a cyanotype and i will make a start on it next week. One question, do you think it would be pssible to make a cyanotyp by enlarging onto the sensitized paper as if it was normal photosensitive paper?
The book is very good to start up with cyanotype. I’ve used it a lot, actually it’s my 1st book in this topic.
The things to check when your print disappear:
The material: is it natural (if you are using pre coated paper this SHOULD be fine). If you are printing on cloth, make sure it’s not any synthetics in it, also wash it beforehand to remove any starch.
If you are using paper, it may be sized. To remove any sizing, use a white vinegar soak.
The coating: Make sure there is no white light, sunlight or tungsten lights that may affect your print.
The exposure: Make sure it’s long enough. As a test, try exposing for an hour or so, and see if the same thing happens.
The wash: Is your water alkaline? Can you try rinsing somewhere else to compare the result?
I hope this works!
I used the ‘sunography’ paper product sold in packets of 6 sheets specifically for this process.
I rinsed the paper with tap water. I also even tried using some peroxide solution as I saw this on the internet
It is being sold everywhere at the moment eg.
http://www.vandashop.com/shopimages/products/normal/Sunography.gift.
any help gratefully received
@ Karen. More questions: Which material did you try printing on, and did you rinse in tap water?
hi,
I tried it various times, some for 30mins ( cloudy day) some for less time.
The impression before rinsing was a pale white with bluish surround
@Karen
How long did you expose the image for? Was there a clear print (green or yellow) before you started rinsing it?
I, like Pete above have had problems developing the print on
ready prepared cyanotype paper.
The image is there and then when rinsed, it disappears!
How do you fix it, please.
I am using a pack of ‘sunography’ paper
What type of photographs that works best with cyanotypes depends a little on what you are after. You can print a very contrasty negative and get good effects, though cyanotypes are also capable of a wide range of mid tones.
As far as the motif goes, I think architecture and symmetry works really well in cyanotype. If you like toning them sepia, then portraits and landscapes are working well too, but it’s very subjective, and depends on what you like.
what types of photos works best w/ cyanotypes?
@Judy Garin
To coat cyanotypes, or work with the chemicals, no extra ventilation is needed, though it’s always good to have sufficient ventilation for other reasons! You don’t need red light to prep either, a dimmed room light is fine. Just be careful with using tungsten light, or daylight. Good luck!
I would like to know if you hood or directed high ventilation to do cyanotype and if you need red light for prep or could you yellow light.
Thanks
@Pete
I’m assuming you can see the print when you have exposed it?
I would try some problem elimination. First get a 100% cotton material, wash it, and then try printing on it. If that works, you know it’s the wrong paper you are using.
Second I would try using distilled water. If that works, you know it’s the water you are using.
Let us know how it works out!
I have been having problems the entire print is washed away during th wash process. I have tried various papers from the recommended paper list to no avail. I am wondering if there is something in the water that is bleaching the print. Our water is pretty tasty and has no strong chlorine smell.
Any Ideas?
Thanks,
Pete.