Cyanotype (sa-YAN-no-type) is a historic photographic process. It was discovered in 1842 by Sir John Herschel, in the exciting early days of photography.

It is non-toxic, and it always produces a blue image or ‘blueprint’ (the color is ‘Prussian blue’).

The process is a chemical reaction of the cyanotype chemicals with UV-light (the sun, preferably), and lastly, water.

Learn more by watching my Mallorca video, here!

No. The cyanotype process is NOT toxic to humans and animals, and NOT harmful to oceans and rivers.

Unlike many historic photographic processes, which are silver-based and highly toxic indeed, cyanotype is based on iron. To make cyanotype solution, all you need is ferric ammonium citrate and potassium ferricyanide.

I contacted ‘the’ expert in alternative photographic processes, Mike Ware, a chemist who has written a detailed dissertation on the cyanotype process: ‘Cyanomicon’ (free read).

Mike Ware has this to say about the toxicity of the cyanotype process:

“The constituents of Herschel's cyanotype formula are pretty benign: The ferric ammonium citrate is not poisonous (it is taken medicinally, and used (E381) in a Scottish soft drink), and its components – ferric ion and citrate ion – are widely naturally-occurring.

Once washed out into the environment, the ferricyanide would quickly be reduced to ferrocyanide, which is almost non-toxic (it is a permitted food additive (E536) - used to keep salt free-running). The cyanide is not ‘free’ (which would be very toxic) but strongly bound to iron, just as it is to cobalt in vitamin B12 (cyanocobalamin) or vitamin B17 (amygdalin), present in many fruit seeds and stones.

Dumping apple cores in the lake would be just as damaging! The image substance, Prussian blue, itself is highly insoluble and non-toxic - it's taken internally as an antidote to certain poisons.”

Hope that soothes your concern!

Inevitably, when displayed, your cyanotype will fade over time, BUT! – hang tight, this is a magical trait of cyanotypes – you can restore its beautiful blue by placing it in a dark room or folder for a few days. I’m not entirely sure why this happens, but it’s true!

Paper can of course also fade. This can be remedied by placing the art behind high-quality UV protective glass or acrylic.

I mostly use watercolor paper of various sizes, made by different producers in different qualities. I started out using high-quality 100% cotton Arches paper, but later found that paper that has less cotton in it sometimes produces a brighter blue.

I sometimes like to work with Bristol paper, too. Bristol is not meant to be submerged in water like I do when I develop my cyanotypes, but I love the bright and crisp blues that it produces.

I keep track of which pieces are made with which paper, so you will always know this when you buy my art. It will either be written on the back, or I will have a record of it that I can share with you.

Most of my art will be unframed when you buy it and will be sent to you in a sturdy cardboard box or tube.

However, if you are in the US and if you would like to receive the artwork framed, we can use an intermediary for framing the work. I have worked with Simply Framed and with Framebridge before. Both are great and reliable.

As a rule of thumb, it is smart to display artwork behind UV-protective glass or acrylic. ‘Museum glass’ as it is often called is the best for UV-proof frames, but it is also twice as pricey as normal glass.

Do not press the artwork between two pieces of glass. I have been told by professional framers that this really destroys the artwork, because dust and humidity can enter in between the glass.

There is no harm in hanging your cyanotype without framing it in my opinion. (For exhibitions, I often use ‘X-Acto Bulldog’ clips. They come in different sizes and do not damage the artwork.)

Not yet. I am thinking of making prints available for limited series in the future though.

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Yes! Contact me directly with questions and ideas for commissions.