![\"Ditch](\"https:\/\/static.toiimg.com\/thumb\/msid-130351320,imgsize-131142,width-400,height-225,resizemode-72\/cyanotypes-are-among-the-earliest-photographic-printing-processes-distinguished-by-their-striking-cyan-blue-hue-produced-through-exposure-to-ultraviolet-light-delhi_art_centre.jpg\" "\\"Cyanotypes")
<\/div>\n<\/div>\n<\/div>\nThe distinctive white-on-Prussian blue images, created using a simple mix of chemicals and UV light, are drawing analogue photography enthusiasts and art lovers. Part of the appeal lies in how they look like artworks but are, in fact, prints.Across Delhi, cyanotype workshops are inviting participants to slow down and explore this early photographic process, creating their own striking blueprints using a thoughtful mix of found objects.<\/p>\n Across Delhi, cyanotype workshops are inviting participants to slow down and explore this early photographic process<\/p>\n<\/div>\n<\/div>\n What is cyanotype?<\/span>Cyanotypes are among the earliest photographic printing processes, distinguished by their striking cyan-blue hue produced through exposure to ultraviolet light.Aditya Arya, curator-director of Museo Camera in Gurgaon, says, \u201cPhotographic printmaking is not the end of a process; it is the process. Cyanotype is the most accessible entry point into alternative process photography. Developed in 1842 by Sir John Herschel and famously applied by botanist Anna Atkins to produce the world\u2019s first photographically illustrated book, the technique requires only two iron salts \u2014 ferric ammonium citrate and potassium ferricyanide \u2014 coated onto paper and exposed to ultraviolet light. The result is an image of deep Prussian blue, its whites the bare paper beneath. This technique found practical use in the form of blueprints, widely employed by architects and engineers to duplicate technical drawings in the 19th century.<\/p>\n The technique requires only two iron salts \u2014 ferric ammonium citrate and potassium ferricyanide \u2014 coated onto paper and exposed to ultraviolet light (@museo_camera)<\/p>\n<\/div>\n<\/div>\n An experience in <\/span>alternative photography<\/span>Aruna Anand, founder of NIV Art Centre, which regularly hosts these workshops, explains the printing process. She breaks down the process<\/p>\n Five minutes of exposure to sun is also enough for cyanotype printing (@praxistechne)<\/p>\n<\/div>\n<\/div>\n After exposure, the objects are removed, and the print is rinsed under running water. Water locks the impression from developing further (@delhi_art_centre)<\/p>\n<\/div>\n<\/div>\n Try different exposure times, look for interesting things to print in nature and around you, try different papers, fabrics, because you can\u2019t really go wrong with this technique<\/p>\n Pratyush Thaker, who creates cyanotype art and hosts workshops \u2018Cyanotype gives a lot of room for experimentation\u2019<\/span>Workshop hosts are taking cyanotypes beyond photograms. They\u2019re experimenting across formats, by printing on tote bags, sticker sheets, postcards and stamps. Pratyush Thaker, a graphic designer and founder of Show Me The Blue, who experiments with cyanotype on different media, including Bombay Local tickets, used tea bags and leaves, says, \u201cIn cyanotype, there\u2019s a lot of room for experimentation, not just with the image one wants but also the surface. I love how the surface becomes such a major part of the final image. I have been experimenting with cyanotype animations, burnt prints, and printing on tickets.\u201d <\/p>\n Every cyanotype is a direct record of the light that fell on it: a contact print, a photogram, a sun print. At the museum, it is the process through which most visitors first encounter the physical reality of photography<\/p>\n Aditya Arya, director-curator of Museo Camera On the growing interest, he shares, \u201cAttendees are fascinated by the process. They\u2019re coming across videos of the cyanotype process on social media and want to learn more about it and try it out themselves. People are drawn to how you can create prints using anything\u2014from botanicals to everyday objects and photos\u2014using just sunlight. I also feel people want to try more analogue techniques and they want to move away from their screens, even if it\u2019s for a few hours.\u201d Divya Ashta, who recently attended a workshop with her friend, says, \u201cIt was a therapeutic experience for me. Discovering and learning an alternative form of photography was a therapeutic experience. It was fun to observe each step unfolding beautifully, commencing with transparency and transitioning through various colours into a magnificent Prussian blue. I worked with leaves and flowers that I foraged during my morning walks at Siddharth Enclave. Now, the botanical impressions are framed and hung in a cosy corner at home.\u201d Another attendee, Sakshi D, says, \u201cCyanotype helps you understand texture, light, the delicacy of patterns, and, most importantly, patience.\u201d<\/div>\n![\"Across](\"https:\/\/static.toiimg.com\/photo\/msid-130351136\/across-delhi-cyanotype-workshops-are-inviting-participants-to-slow-down-and-explore-this-early-photographic-process.jpg\" "\\"Across")
<\/p>\n![\"The](\"https:\/\/static.toiimg.com\/photo\/msid-130351083\/the-technique-requires-only-two-iron-salts-ferric-ammonium-citrate-and-potassium-ferricyanide-coated-onto-paper-and-exposed-to-ultraviolet-light.jpg\" "\\"The")
<\/p>\n\n
![\"Five](\"https:\/\/static.toiimg.com\/photo\/msid-130351215\/five-minutes-of-exposure-to-sun-is-also-enough-for-cyanotype-printing-praxistechne.jpg\" "\\"Five")
<\/p>\n\n
![\"After](\"https:\/\/static.toiimg.com\/photo\/msid-130351167\/after-exposure-the-objects-are-removed-and-the-print-is-rinsed-under-running-water-water-locks-the-impression-from-developing-further.jpg\" "\\"After")
<\/p>\n