It's fun to mix things up a little.
I make cyanotypes using the Victorian process as invented by John Herschel in 1842 which resulted in striking images of a white silhouette against a Prussian blackground. To make a print, watercolour paper is coated in a solution of light sensitive salt. Next, a composition is laid on top, traditionally ferns and other botanicals. It is exposed to UV (sunlight) which brings out the contrasting colours, with the masked areas turning white. Anna Atkins, now considered to be the first professional female photographer, used the technique to catalogue seaweed for which she became rather famous. She had them printed into a book – the first ever photographic volume.
Makers of modern cyanotypes add a little chaos into the mix, by spritzing the paper with salt, vinegar, magnesium salts, citric acid – you name it. This creates ethereal patterns in the chemicals and the result is altogether more abstract – and unpredictable – which is part of the fun.
Cyanotypes also lend themselves to mixed media. This piece started as a digital negative of Kenilworth. The ‘constellations’ above are an over-exposed print of angelica and ferns, all collected on my dog walks around the castle. Ditto the other ferns in the border. The details at the base is a fragment of another digital negative of a Tudor-style tapestry to echo the history of the castle and its link to Queen Elizabeth I. As for the moon, without giving away too made trade secrets, let’s say it only cost me 2p. I started making cyanotypes to fill a blank wall in my hall.
It has rather taken over and now I’m busy selling prints, cards, collages and banners at local art fairs. My pantry is stuffed with dried ferns and the shelves lined with mysterious brown dropper bottles.
Heaven.