Some people focus on complicated and costly ways of creating cyanotypes, but I was fortunate to study with Frol Boundin at a one-day workshop at Runaway Press, where simplicity was part of the process.
Here are a few of my favorite tools, and how I use them:
Inkjet film for digital negatives: Pictorico is one of the most-beloved brands used by cyanotype artists, and I agree that their Ultra Premium Over Head Projector Transparency Inkjet Film is worth the investment. (Another brand from Amazon failed miserably). But availability for Pictorico has been inconsistent. With that in mind, here are two other inkjet films I’ve tried that were decent: Grafix and GoldUpUSAInc.
UV lamp: Don’t worry about buying a special UV unit (unless you want to). I migrated from sunlight (which can be questionable in the Pacific Northwest, where conditions change rapidly) to inexpensive 50W and 20W UV lamps that I hang from the ceiling. I loop zip ties to connect the lamps, so that I can easily vary the distance from ceiling to lamp, then use an inexpensive hook to attach them to the ceiling. You can also hang the lamp from the center pole of a tripod if you don’t want to damage your ceiling, or if you are traveling and want a more-portable option.
One consideration here: Even though cyanotype is a dimroom process, where you don’t need your environment to be pitch-black, shifting ambient light can impact your exposures, that can be 30 minutes long. So if you’re working someplace where you have no good control (e.g. blackout shades) over ambient light, a UV unit may be worth your while. It really depends on the variability of light in your space, and also your need for precision. My cyanotypes are one-off originals, that I am not trying to replicate, so infinitesimal exposure variations are fine for me. But if you’re trying to repeat a look exactly, you’ll want more precision.
Contact print frame or non-UV glass: Unless you can find thick, non-UV glass (I was lucky enough to find the perfect piece at an architectural salvage place), you’ll need to invest in a contact print frame to keep your digital negative tight against your paper, so that your images are sharp.
Watercolor paper: Many cyanotype artists talk about using pricier watercolor papers, but I found that that Fabriano Studio Cold Press Watercolor Pads return beautiful cyanotypes and consistent results at a more-affordable pricepoint, and that was an important consideration when I was just getting started and making mistakes, and even now when I am testing out a new design. No matter which brand you use, do buy cold press, as it holds the cyanotype chemistry in place much better. When you’re someone like me who includes visible brushstrokes as part of their process, rather than coating the entire paper, that’s important.
Here are a few other substrates that I have liked:
Ogura paper
Legion Yupo
Vellum
All three are much fussier than watercolor paper: Ogura can be too absorbent, and the other two are often not absorbent enough. So you’ll have to play with brushes and application styles to see if they work for you. I love them because I like playing with images on translucent or transparent surfaces.
Cyanotype chemistry: Photographer’s Formulary is my go-to for cyanotype solutions. I like the ease of their 2-part solution, where you don’t have to worry about measuring weights or volumes. Jacquard makes a similar set that has gotten good reviews from other cyanotype artists, but I can’t personally vouch for that option.
Measuring and related tools: For the liquid cyanotype chemistry, I find that 1 tablespoon each of parts A and B is a good amount to coat a number of pieces of paper, and you really only need inexpensive measuring spoons. But if you are getting more elaborate, and using powdered chemistry, you may need a scale, beakers, graduates, syringes and other tools. A strainer can also be useful, because sometimes mold develops in the chemistry. Though not dangerous, it can affect the chemistry application. Get one that’s slightly smaller in diameter than the container you use to store your prepared chemistry, and pour from the A or B bottle through the strainer and into your measuring tool.
Brushes: Your own style will determine the best brushes to use. Don’t go terribly cheap (although I do sometimes use throwaway foam brushes for certain effects), but you don’t need the priciest. This set, that includes two fan brushes—one of my favorite designs for wispy brush strokes—could be a good place to start. I also have been enjoying experimenting with Yasutomo hake brushes in various sizes.
Books: Anything from Christina Z. Anderson is a good choice as you experiment with cyanotypes and other alternative processes. I met and studied with her five years ago at the Lightbox Photographic Photographic Alternative Process Symposium.
Trays, tongs and drying screens: After exposing your print, you’ll need to rinse it with water, so you’ll need darkroom trays and tongs. I prefer buying trays as big as I ultimately plan to work, and in white, so that the tray color doesn’t impact how you view your work. You also might want to use a spray or two of hydrogen peroxide, so you can assess exposures almost immediately, rather than five minutes in. Afterwards, you’ll need to dry your prints. I recommend squeegeeing the print, then placing it top-up on a window screen, which you can buy new, or again, at an architectural salvage spot. I balance mine over the tub. Just make sure that your screens are spotlessly clean before starting your process!
Though Amazon often has the ease of fast, free shipping, supporting smaller businesses benefits the community. Here are a few of my favorites:
Photographer’s Formulary for chemistry, beakers and books. They LOVE photography, and can tell you all about your creative and technical options, so it’s more than worth not having fast, free shipping!
Blick Art Supply for paper, brushes and more. If there’s one near your studio or home, I recommend stopping by to browse and learn from employees, as most are practicing artists themselves, but if not, I have had good luck chatting with their online team.
B&H Photo and Glazer’s Camera for everything photographic. Both have grown in the decades I’ve been shopping at each one, but still have the same small-business care for customers.
I hope this shopping guide has been helpful. Contact me if you have any questions!
