Creative Cyanotype (eBook)

CHAPTER 2

GETTING STARTED

Cyanotypes are fun to make indoors and outdoors, and getting started is very straightforward. The process can be done easily and safely at home, and all the materials needed are easily accessible and inexpensive. Even though a specialised photographic studio or darkroom may be desirable for some, it is good to know that it is optional. A dim room that blocks daylight with curtains or blinds would assist your workflow in making successful cyanotypes.

The beauty of working with cyanotype is its simplicity compared to other historical photographic processes. Many alternative techniques, such as platinum, carbon printing, wet plate collodion and daguerreotypes, involve hazardous and complex chemistry and require sufficient preparation time and patience to master. These include developers, stopping agents and a fixative when processing the images. The cyanotype process is less complicated, yet it can be deceiving; it takes skill and creativity to make a beautiful cyanotype print, which of course, comes with practice.

SETTING UP A STUDIO

An art studio or a dedicated work area at home or shared studio space is a personal necessity for many artists. It is a unique and inspiring environment providing a private place to be creative. Furthermore, it is a sanctuary where all the thinking, planning and magical creation happens, allowing ideas to flow and flourish. Shared spaces can become a centre for creative excellence with collaborative thinking and friendly support when exploring ideas.

For cyanotype printing, a dim room is the only requirement, as the chemistry is not so sensitive to light that it needs a complete blackout. Mixing the cyanotype chemical solution and coating paper should be done in low light, bearing in mind that household light bulbs will not affect the sensitised paper unless they are daylight fluorescent tubes. Once your paper or other support has been sensitised and left to dry, it slowly becomes sensitive to ultraviolet (UV) light. Therefore, it is necessary to place coated papers in a darkened place. They must always be stored in light-proof photographic bags, light-tight dark storage boxes, or cupboards.

It is important to understand the light sensitivity of cyanotype chemistry. As with most alternative processes, a yellow light source (warm light) or, to be more precise, a tungsten light source with a colour temperature of 3,200 (or less) on the Kelvin scale will not have any effect on the chemistry. This is because the Sun, which emits the visible daylight spectrum, averages 5,500K. The human eye corrects this colour temperature almost instantaneously, so tungsten light bulbs and sunlight always appear neutral in our vision. On the other hand, UV lamps, such as amphibian or sunbed lamps, appear blue to the eye (cool light). Still, they emit a wavelength of 395–400 nanometers, suitable for cyanotypes and not harmful to the body. Exposures will be longer than using natural sunlight.

A room incorporating a sink with hot and cold running water, workbenches and plenty of storage areas would be ideal. Bathrooms and spare rooms with subdued lighting and good ventilation can be adapted and work perfectly as a temporary workspace. Garden sheds, garages, and even tents can be turned into great studios and, with some know-how, access to drainage and running water can be installed. Transportable water containers and buckets are helpful if working outside or on location, especially in remote areas.

Safe practice

Cyanotype chemicals must always be kept away from food preparation areas, so it is advisable not to work in your kitchen due to potential contamination from chemicals. Ideally, always ensure that you dispose of leftover chemicals in a considered way. However, the cyanotype sensitiser is not hazardous; the mixture is highly diluted compared to many household cleaners, bleach or hair dyes that are disposed of daily.

Working in a clean, well-ventilated space is essential, and it is always best to wear gloves, eye protection and a face mask when mixing dry components. Once mixed with water, the solution is much safer to handle. However, be wary of minor splashes of chemicals on your fingers that, if not washed off immediately, will stain your skin after UV light exposure. If not wearing gloves, blue fingers sometimes happen but will, fortunately, fade away after a couple of days.

Be organised

A well-planned workspace will help maintain a good workflow while making cyanotype prints. An organised area will facilitate all stages of making cyanotype prints, from chemical mixing to coating, drying, exposing and finishing. Consider providing yourself with designated areas, such as a ‘wet’ and a ‘dry’ side or, even better, a wet room and a dry print room.

During the process, the wet side is where water is required to wash your prints and prepare the cyanotype-sensitising solution. This area may also be where you coat papers and soak fabrics in the chemical solution. Be mindful of drips from papers while they are hanging over tables and floors. Always wipe down areas after accidentally splashing the chemicals, as this will ensure that even the tiniest drop of dried chemical does not contaminate other works in progress. Newly washed prints will instantly absorb any spilt dried chemical and spoil your beautiful image. I know this from experience: dried chemicals under my wet cyanotype, that I was unaware of, ruined a print I loved.

The dry side is where you will store paper, art materials and other items such as photographic negatives, perhaps a UV lighting system, tools and framing materials. This area must be free from accidental splashes of chemicals and should be kept clean and dry. Also, if you have a growing collection of dried botanical specimens, as I do, you will need to find a suitable shelf to store them safely away.

EQUIPMENT AND MATERIALS

Much of my equipment has been acquired over many years. Fortunately, I share some great tools and paraphernalia that my husband needs for his photographic processes. However, making cyanotypes requires very little equipment, most of which may already be in your home. Everything you need is available at the local homeware store or a photographic supply centre. The cyanotype chemicals, ferric ammonium citrate and potassium ferricyanide, can be purchased online. In addition, pre-treated papers such as sun printing kits have become available in some art and craft shops (see Sources, p.125).

Print drying rack

You will require a dry, clean area where you put down your newly coated wet papers to dry. Always put them in a dark place away from sunlight, preferably on a print drying rack, in a light-protective cupboard, or in a box. Alternatively, turn out the studio lights and leave things to dry overnight. Depending on the climate, wet-coated papers can take thirty minutes to one hour to dry.

My workbench is used for drying larger pieces of paper and fabric, which are placed flat on the top and left to dry. The surface of my worktop is covered with sheets of glass and perspex, which are used to flatten objects during my exposures. They have a double usage as they also keep my worktop surface free from staining and are easily washable.

I made a drying cabinet from a redundant filing cabinet for smaller pieces. The two large drawers were removed, and the drying racks were constructed using artist canvas stretchers. I covered them with a fibreglass fly screen mesh, which helps to dry papers more quickly by providing good airflow around wet papers. The mesh can also be cleaned and washed very easily.