John Dugdale, who presents a series of melancholic cyanotypes lost his sight.
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Digitized now are cartes de visite, stereoviews, hand-painted tintypes, cyanotypes, and daguerreotypes.
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These cyanotypes involved feathers, ferns, and flowering plants, arranged for art instead of science.
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These paintings in a monochromatic shade of blue are reminiscent of cyanotypes and just as ghostly.
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In later years, she produced albums on flowering plants and ferns, continuing to work with cyanotypes.
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The algae bristle and undulate in Atkins's cyanotypes, whose rich blues, of course, recall the ocean.
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She printed the cyanotypes herself, in a process that took about 25 minutes per sheet of images.
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To do this, she created hundreds of cyanotypes from images of PUAs and then digitally manipulated them.
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These cyanotypes were created by placing dried specimens on light-sensitive paper and exposing them to the sun.
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Cyanotypes: Photography's Blue Period continues at the Worcester Art Museum (55 Salisbury Street, Worcester, Massachusetts) through April 24.
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Before she experimented with cyanotypes, Anna worked on drawings for his 1823 translation of Jean Lamarck's Genera of Shells.
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Photographs of British Algae features 307 blueprint-like cyanotypes of seaweed and aquatic microorganisms captured between 1843 and 1853.
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Additionally, Andres is known for her paintings and cyanotypes, which refers to a printing process that results in cyan-blue images.
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That ease has brought cyanotypes roaring back to relevance, attracting a surprising number of true-blue adherents showing their work in galleries.
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Anna Atkins created the first photography book with cyanotypes that showed the shape of algae, something difficult to relay in drawings or specimens.
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Add to these two the printed pale blue form (the color is reminiscent of cyanotypes) on the far left, and something inexplicable happens.
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Ms. Lopez created a dress pattern cut from tamale wrapping paper and printed all over with cyanotypes, which have a distinctly cyan-blue color.
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Her collages of blue moonscapes on found material turn cyanotypes into precious objects reminiscent of the Victorian-era trend of collecting keepsakes in albums.
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Mounted either within the text or on separate leaves, the 22 cyanotypes are perfectly suited for the handbook, capturing the intricacy of lace patterns well.
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The images are just now getting their first full-blown museum exhibition, "Cyanotypes: Photography's Blue Period," on view at the Worcester Art Museum in Worcester, Mass.
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Early images ranged from depictions of phantoms and janky, ghost-like blobs to abstract representations of spirits on X-rays, cyanotypes, and other light-sensitive materials.
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Susu Attar and Tina Takemoto prepared a table of Japanese snacks and ingredients, some of them for eating and others for visitors to use to create cyanotypes.
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Mr. Ruff, who lives and works in Düsseldorf, starts with historical sepia photos and does a transfer that results in the look of cyanotypes (early blueprint-like photography).
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As cyanotypes are not made from a negative, each Atkins photogram was one-of-a-kind — making "British Algae" an arduous enterprise that took a decade of labor.
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When Atkins first started making her cyanotypes, the general public was just becoming aware of what photographs were and how to understand them, never mind how to make them.
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However, they also reflect the interest in botanicals and systematic documentation of photography in the 19th and early 20th century, such as Anna Atkins's seaweed cyanotypes, or Karl Blossfeldt's flowers.
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"British Algae" has its place in the history of photography and book publishing, but these resonant cyanotypes are also artifacts from a time when science and art were better acquainted.
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Emily Gui's "How I Got Here," a mostly blue-hued collage of cyanotypes and various media spanning nearly the length of a wall, feels rife with loss and life at once.
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At De Soto Gallery, Ivan Forde, in a set of large-scale cyanotypes that look more like paintings or prints than photographs, brings mythology, colonization, and self-portraiture simultaneously to life.
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"As of the 1960s, people started to be interested in reviving old photo processes," said Dusan Stulik, a former senior scientist at the Getty Conservation Institute who has studied cyanotypes for decades.
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The gorgeous cyanotypes of the upper Mississippi by the Prussian-born draftsman and mapmaker Peter Henry Bosse, made under the aegis of the U.S. Army Corps of Engineers, transcend their documentary purpose.
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Many are incorporated into Kaplan's studio practice, with a series of cyanotypes and other works that utilize before-photos of the courts and scraps of deteriorating nets that he sometimes finds there.
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Instead of trying to invent something utterly new, she has been turning to a 174-year-old photographic printing process — cyanotypes, once used for copying architectural drawings — and giving it her own distinctive twist.
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Anna Atkins, considered by many to be the first female photographer and the first person to create a book of photo-based images, blended science and art in botanical cyanotypes, starting in the 1840s.
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"One of the best-selling points of this exhibition is that cyanotypes are both underrepresented and trendy at the same time," said Nancy Burns, who organized the Worcester show with Kristina Wilson of Clark University.
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Advertise on Hyperallergic with Nectar Ads In 1842, British scientist Sir John Herschel experimented with the effect of light on iron compounds, inventing a process to produce the blue-tinted prints we know as cyanotypes.
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The fine-art application was scarce for more than a century after Atkins's day — rare enough that Steichen once called his use of cyanotypes a "secret" in a letter to his friend and mentor Alfred Stieglitz.
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Many of her photographs are cyanotypes of archival records related to J&L, from Ford's personal collection, including statistics about fatal accidents dating back to the early 20th century, insurance claim settlements, and workplace safety concerns.
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Anna Atkins was also a botanist, and her desire to catalog certain botanical specimens led her to create the cyanotypes in "Photographs of British Algae: Cyanotype Impressions," often considered the first book to use photographic illustrations.
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Anna Atkins, who is often referred to as the first female photographer, experimented with homemade cyanotypes in the mid-19th century, creating photograms of "ocean flowers" — marine botany — that were eventually anthologized in the first-ever photography book.
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McIntosh will be exhibiting hand-painted cyanotypes created at the Vatnajökull Glacier in Iceland, while Knuth's contribution is the No Survival Guide, an artist book featuring burned, cut, and reassembled strips of thermal survival blankets and the American Flag.
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Such cyanotypes emphasize the information-oriented mindset of many who embraced the method but again, the ease of the process: creating and distributing such tools would have been a much simpler and cheaper alternative to providing students with actual cadavers.
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Cyanotypes: Photography's Blue Period explores 150 years of the cyanotype, examining the many ways around 40 artists have experimented with it to create expressive works from a process cherished for its speed and ease — characteristics that also caused many to fail to appreciate them.
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In place of the iPhone snaps and Instagram feeds that have become de rigueur in contemporary art galleries, there are "heliographs" made using sunlight; hand-prepared glass negatives; and "cyanotypes," produced with the same technique as the cobalt-colored blueprints used by 19th-century engineers.
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PHOTOS WITHOUT CAMERAS The booth of the photography specialist Hans P. Kraus Jr. contains perhaps the most beguiling work in the fair: "British Algae," a book by the English botanist Anna Atkins that documents aquatic plants via cyanotypes, or impressions on photosensitive blue paper.
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Nearly every major art movement has found its own way to honor and reinterpret them, and unsurprisingly, they've had similar popularity in photo history, starting with Anna Atkins's cyanotypes and Cromer's circa 1845 Amateur daguerreotype of flowers, and extending through Karl Blosfeldt, Imogen Cunningham, and countless others.
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Not only are their cars and clothes of distant vintage, but they have inhabited homes without electricity, used antique camera equipment to produce their photographs (cyanotypes hovering in a blue haze of the medium's early origins), and made paintings dated to subjects, events (often calamitous), and periods past.
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Since her residency space in a century-old home didn't have a darkroom, she found herself crawling into a stiflingly hot attic to create cyanotypes from her photographs, a 19th-century technique inspired by the natural history work of Anna Atkins, who visualized algae (Atkins's work was previously covered on Hyperallergic).
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Collections joins Sobsey's Grand Canyon cyanotypes with North Carolina bird scans, along with scans of specimens from places like Everglades National Park in Florida, which has its share of alligator and turtle bones, and Acadia National Park in Maine, where the Carroll Homestead is littered with old shoes and other human artifacts.
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"The simplicity of them means you give up control, but the limitations are interesting," said the German-born artist Marco Breuer, who lives in the upstate New York town of Oxford and who has made hundreds of cyanotypes over the years, including an abstract-looking work in the Worcester show, "Untitled (E-33)" (2005).
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Sifting through the more than 180,000 images, there are numerous collections to explore, with photographs from the Farm Security Administration, including hundreds by Walker Evans and Dorothea Lange; manuscripts by Walt Whitman; letters and papers from Alexander Hamilton; photographs by Lewis Hine of Ellis Island immigrants; 19th and early 20th-century baseball cards; 1843 cyanotypes of algae by Anna Atkins, the first know photography by a woman; old illustrations of military uniforms; prints from John James Audubon's Birds of America; and over 40,000 stereoscopic images of the United States.
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Despite the market's evolution away from film, there is still a desire and market for products which allow fine art photographers to produce negatives from digital images for their use in alternative processes such as cyanotypes, gum bichromate, platinum prints, and many others.
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"Abstract Art Online. January 2001. Several white plastic bags hovered in the gallery, echoed by the banner's billowing shapes. Hill elaborates, "The immediacy of this process serves as a counterpoint to the more deliberate and labor-intensive tasks of building sculptural forms, whose invisible dimensions are revealed in the after images of their companion cyanotypes.
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Later processes moved toward a black-and-white image, although photographers have used toning solutions to convert silver in the image to silver sulphide, imparting a brown or sepia tone. Similarly, selenium toner produces a blue- black or purple image by converting silver into more stable silver selenide. Cyanotypes use iron salts rather than silver salts, producing blue images. Most modern black-and-white films, called panchromatic films, record the entire visible spectrum.
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This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any surface capable of soaking up the iron solution. Although watercolor paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.
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Interest in all types of film photography have been in the process of a revival. The Lomography movement started in 1992, which, BBC claimed, has saved film from disappearing Lomography started manufacturing updated versions of Toy cameras like Lomo LC-A (as Lomo LC-A+), Diana (as Diana F+), Holga, Smena and Lubitel. Film photographers started experimenting with old alternative photographic processes such as cyanotypes, double exposures, pinholes, and redscales. Worldwide Pinhole Photography Day is observed on the last Sunday of April, every year.
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Dashti used cameraless photography techniques such as cyanotypes and photograms to create plant imagery in this work. Unlike most of her work, she moves heavily into abstraction in Still Life and closes in on her organic subject matter. By composing the plants often in disarray, she wants the viewer to be intrigued by the imagery and notice their strangeness because of the fact the plants are decontextualized. Due to the tight framing, the viewer can examine the ways in which Dashti has manipulated the subject matter.
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Annabel Dover was born in Liverpool she has a BA (Hons) in Fine Art from Newcastle University (1998), MA in Fine Art from Central Saint Martins, London (2002), and a PGCE in Art and Design from University of Cambridge (2003). Dover uses a variety of media including painting, photography, video, drawing and cyanotype. Her approach is one of exploring social relationships that are mediated through objects. The Imperial War Museum acquired a set of Dover's cyanotypes which also feature in 'Blue Mythologies' by Carol Mavor.
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Abraham Lincoln. Salt Print Photograph Inscribed and Signed by Lincoln to Fanny Speed, wife of his closest friend, Joshua Speed, 1861. From the Stephan Loewentheil Photography Collection,19th Century Shop Loewentheil's photography collection is rooted in early photographic methods of the 19th century – daguerreotypes, cartes de visite, albumen prints, tintypes, and cyanotypes. Much like his rare book collection, Loewentheil's photography collection has a historical theme, featuring rare portraits of some of the most notable Americans of the 19th century - John D. Rockefeller, Abraham Lincoln, Clara Barton, and John C. Calhoun, among many others.
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Hahn is best known for her explorations of alternative processes in photography, using both older methods of darkroom developing such as gum-bichromate and cyanotypes, with other art mediums, including hand-painting and even embroidery. She is noted as one of the first photographers to successfully integrate such a variety of art mediums. Hahn encourages the viewer to think more deeply through not only the use of different physical processes in her artwork, but also through the multiplicity of meanings in her photographs. In most of her work, Hahn integrates humor and irony as she explores the meanings generated by formal combinations.
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In 2011 Franko B exhibited Someone to Love in the Peter Scott Gallery including commissioned work. In 2013 Iain Forsyth and Jane Pollard exhibited the newly commissioned Jumpers (what must I do to be saved). Wu Chi-Tsung was presented in the gallery and at The Storey as part of the national Recalibrate programme in 2014 the world included Crystal City, cyanotypes from the Wrinkled Textures series and several examples of still life video works. Other notable exhibitions that premiered new work were by Mel Brimfield in 2012 (This is Performance Art - Part Two: Experimental Theatre and Cabaret)and 2014 (Testing Media: Mel Brimfield); and Paul Mcdevitt in 2015 (Hunker Down).
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In contrast to most historical and present-day processes, cyanotype prints do not react well to basic environments. As a result, it is not advised to store or present the print in chemically buffered museum board, as this makes the image fade. Another unusual characteristic of the cyanotype is its regenerative behavior: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment. Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soap so as to not turn the cyan to yellow.
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This process has several features:Ralph W. Liebing Architectural Working Drawings, John Wiley & Sons, 1999 page 576 Introduction of the blueprint process eliminated the expense of photolithographic reproduction or of hand- tracing of original drawings. By the later 1890s in American architectural offices, a blueprint was one-tenth the cost of a hand-traced reproduction.Mary N. Woods From Craft to Profession: The Practice of Architecture in Nineteenth- Century America University of California Press, 1999 , pages 239–240 The blueprint process is still used for special artistic and photographic effects, on paper and fabrics.Gary Fabbri, Malin Fabbri Blueprint to Cyanotypes – Exploring a Historical Alternative Photographic Process Lulu.
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Monochrome (black and white) photography was first exemplified by the daguerreotype in 1839 and later improved by other methods including: calotype, ambrotype, tintype, albumen print and gelatin silver print. The majority of photography remained monochrome until the mid-20th century, although experiments were producing colour photography as early as 1855 and some photographic processes produced images with an inherent overall colour like the blue of cyanotypes. In an attempt to create more realistic images, photographers and artists would hand-colour monochrome photographs. The first hand-coloured daguerreotypes are attributed to Swiss painter and printmaker Johann Baptist Isenring, who used a mixture of gum arabic and pigments to colour daguerreotypes soon after their invention in 1839.
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Mark Sink started his career using the Diana, a 120mm plastic toy camera, whose soft focus and inconsistencies create beautifully romantic black and white images. The artist used this simple tool to create moving and intimate portraits of Jean-Michel Basquiat, Warhol and Rene Ricard, Grace Jones, Keith Haring, Adam Fuss, Edward Ruscha to Uma Thurman and many others. Sink's long career includes work from darkroom to digital, photo silkscreen, Polaroid, cyanotypes, and silver prints, as well as platinum printing. In the past decade, Sink and his partner Kristen Hatgi Sink have been using an early photographic process of collodion wet plate for romantic portraiture, photographing friends and models to Governor John Hickenlooper, Gogol Bordello, Ryan McGinley and Dennis Hopper.
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The collection – which focuses on images of everyday African-American life and includes cartes de visite, stereoviews, hand-painted tintypes, cyanotypes, and daguerreotypes – was fully digitized in February 2017 and is available to view in its entirety on the library's website. Loewentheil is a member of the Board of Trustees for his undergraduate alma mater, Washington & Jefferson College. Loewentheil has been a supporter of the New York Public Library, and of the Library's annual Young Lions Fiction Award for over a decade. Since its inception in 2001, the award, given each spring to an author under the age of 35 of a novel or collection of short stories, has honored such luminary young writers as Molly Antopol, Karen Russell, Jonathan Safran Foer, and Uzodinma Iweala.
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Since the Alexander Makenzie album of Henry Bosse cyanotypes surfaced at a Sotheby's auction in 1990, Henry Bosse's cyanotype photographs have been included in the permanent collections at the J. Paul Getty Museum in Los Angeles.Weston Naef, Photographers of Genius at the Getty, The J. Paul Getty Museum, Los Angeles, p 64, 2004 The San Francisco Museum of Modern Art in California, The New York Metropolitan Museum of Art, the Amon Carter Museum of Art in Texas, the Nelson-Atkins Museum of Art in Kansas City, MO,Keith Davis, An American Century of Photography: from Dry-Plate to Digital, Hallmark/Abrams, p. 216/217, 1995, the National Museum of American Art in Washington DC,Merry A. Foresta, American Photographs: the First Century, Smithsonian Institution Press, 1996, p. 123, and the Minneapolis Institute of Arts in Minnesota.
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Weil was born in New York. In the late 1940s she was involved in a relationship with Robert Rauschenberg. The two met while attending the Académie Julian in Paris, and in 1948 both attended Black Mountain College in North Carolina to study under Josef Albers. In 1949 Weil introduced Rauschenberg to a technique for making cyanotypes, also known as blueprints, which she had learned in childhood, and they collaborated on a number of these works over a period of several years. One such piece, Blue Print Photogram For Mural Decoration was included in the 1951 exhibition "Abstraction in Photography" organized by Edward Steichen for the Museum of Modern Art in New York. On April 9, 1951 a three-page article in Life magazine titled "Speaking of Pictures" appeared, with photographs by Wallace Kirkland documenting Rauschenberg and Weil making blueprints, many of which no longer exist.
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