When I run cyanotype workshops, I want people to have fun, learn something, have fun, and make things they can take home. The cyanotypes we make on paper are great, but often remain hidden indoors. So I get my guests to print a design on a tote bag. It serves …

For many years I carried a camera bag everywhere. At least one Nikon FE2, spare lenses, filters, film. Often a Mamiya C330S TLR medium-format, with a couple of spare lenses too. Rarely, all the large-format stuff plus a horrifically expensive tripod. I carried this bag every day while working as …

Following from Parts One (preparation) and Two (set-up and exposing) this final part details finishing the exposure and developing the image. Choosing when to finish an exposure depends on artistic choices such as the desired colour and level of detail in the final image.  See Part Two for more details. …

Previously, I described setting up ready to make a cyanotype on paper.  Below, I will explain how to set up the image for exposure, and how I judge exposure based on what is desired in the final image. The success of a contact photogram depends primarily on two things – keeping the …

I have been making cyanotypes for over 15 years.  It is a simple process to use, and incredibly effective for the right subject.  While any source of ultra-violet light can be used to drive the photochemical change which results in a permanent image, I have chosen to work using only …