This notebook contains pre-defined pages with enough room to document 50 cyanotypes that will help you narrow down a universe of options to the perfect combination.
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How to use Cyanotype notes
By documenting your cyanotype experiments you can easily see what works and what can be improved. The customised layout includes:
- Chemical solution mix or pre-coated – Regardless if you use pre-coated material or mix your own chemicals
- Substrate – Whether you work on paper, fabric or any other surface
- Coating method – both for dry and wet cyanotypes
- Exposure time
- Rinsing process and any enhancers added
- Reflection – this is where you learn from your mistakes
A notebook for you to document your process
- Format: Paperback, 104 pages (enough space to document 50 prints)
- Colour cover, black & white interior
- Printed by: Amazon/Kindle and Lulu
- Size: 15.24×22.86 cm or 6×9 inches
- Publisher: AlternativePhotography.com (2023)
- Cover image by Martine Marie-Anne Chartrand
About the cyanotype notebook
Many artists start their alternative photographic process journey by exploring cyanotypes. Though it is an easy process to start with – and often taught in schools – it has endless possibilities for experimentation. Some artists choose to pursue cyanotypes using negative, some create pieces of art on fabric, some tone their prints in every colour there is, and some explore the wet-cyanotype process. Whichever path you are on, this notebook will help keep track of your experiments and evolve your process.
Cyanotype notes has a customised layout to document up to 50 cyanotypes, including types of chemical solution, choice of substrate such as paper or fabric, coating method, exposure time and rinsing process. There is also room to reflect on the final results.
From Malin Fabbri
This notebook was simply born out of my own need to document and learn from my process. I used to always think “I’ll remember what I did” and then, a few weeks down the line, find myself scratching my head wondering if I did add vinegar in that rinse or not or what the exposure time was. I find this a good way to keep notes and learn from mistakes and successful prints. I hope it can help others too.
About the author
Malin Fabbri grew up in Sweden, and in her early twenties moved to London to study. She earned an M.A. in Design at Central St. Martin’s School of Design, but publishing her thesis felt more like a beginning than an end. Malin decided to combine her academic and practical experience and started AlternativePhotography.com in 2000. The website still maintains its origins as a source of information and research for alternative photographic processes and represents almost 400 artists. Malin actively manages the expansion of the site as editor. She researches alternative photographic processes, makes her own prints and runs workshops. Malin has also worked professionally with big media names like Time magazine and CNBC Europe. Malin is the co-author of Blueprint to cyanotypes and From pinhole to print, the editor of the alternative photography art book Alternative Photography: Art and Artists, Edition I representing 115 artists working in alternative photographic processes, and the author of Blueprint to cyanotypes – Exploring a historical alternative photographic process, a beginners book on cyanotypes, Anthotypes – Explore the darkroom in your garden and make photographs using plants, which is the only book dedicated to the anthotype process, Anthotype Emulsions, Volume 1 which contains the anthotype research of 100 artists from World Anthotype Day, and creator of two notebooks Anthotype notes – Document your anthotype process and Cyanotype notes – Document your cyanotype process which is this notebook. She has a strong interest in all alternative processes. Malin now lives and works in Stockholm, Sweden and has two sons, Maximillian and Ruben.