Cyanotype & Alternative Process Photography Guide — Hand-Coated Prints & Beyond

Alternative photographic processes predate digital photography by over a century — they produce handmade, one-of-a-kind prints with textures, tones, and characteristics that no inkjet printer or screen display can replicate. Cyanotype, the most accessible of these processes, creates striking Prussian-blue prints using only two chemicals and sunlight. This guide covers cyanotype, along with other alternative processes — platinum/palladium, gum bichromate, wet plate collodion, and anthotype — their history, techniques, and applications for modern photographers and wedding artists.

Cyanotype — The Blueprint Process

History

Invented in 1842 by Sir John Herschel, cyanotype was originally used for reproducing architectural drawings — hence "blueprints." Anna Atkins used it to create the first book illustrated with photographic images (botanical specimens pressed directly onto coated paper). The process is simple, non-toxic in its final form, and produces unmistakable Prussian-blue prints.

How It Works

Two chemicals — ferric ammonium citrate and potassium ferricyanide — are mixed in equal parts and coated onto paper (or fabric, or wood) in dim light. Once dry, a negative or object is placed on the coated surface and exposed to ultraviolet light (sunlight works perfectly). Where UV light hits the coating, the chemicals react and form the blue pigment (Prussian blue). Where the negative blocks light, the coating remains unreacted. After exposure, the print is washed in water — unreacted chemicals wash away, leaving the blue image on white paper.

Making a Cyanotype Print

1. Prepare the chemicals: mix Solution A (ferric ammonium citrate, 25g in 100ml water) and Solution B (potassium ferricyanide, 10g in 100ml water). Combine equal parts of A and B.
2. Coat the paper: in dim room light, brush the mixed solution evenly onto watercolour paper (300gsm or heavier for durability). Use a foam brush or hake brush for even coverage.
3. Dry in darkness: let the coated paper dry completely in a dark room or drawer.
4. Prepare a negative: print a digital negative (a positive image inverted to negative) onto transparency film using an inkjet printer. The denser the black areas of the negative, the whiter they'll appear in the final print.
5. Contact print: place the negative in firm contact with the coated paper (a glass-topped contact printing frame works best). Expose to direct sunlight for 5-20 minutes (varies by UV intensity and desired tone).
6. Wash: rinse the print in running water for 5-10 minutes. The image darkens as it oxidises. A brief dip in diluted hydrogen peroxide accelerates the darkening.
7. Dry flat: let the print air-dry on a flat surface.

Toning and Variations

The blue can be altered with toning baths: tea or coffee for warm brown tones, tannic acid for purple-brown, and wine for shifted blues. Bleaching with washing soda partially removes the blue, allowing re-toning for split-tone effects.

Platinum and Palladium Printing

The pinnacle of alternative process printing. Platinum/palladium prints are prized for their extraordinary tonal range — from the deepest blacks to the most delicate highlights — a range that exceeds silver gelatin and far exceeds inkjet. The metallic platinum/palladium is embedded in the paper fibres (not sitting on top like inkjet ink), producing prints with a physical depth and permanence (estimated 1000+ year lifespan) unmatched by any other process. The process requires more expensive chemicals and precise technique but produces prints of breathtaking quality.

Gum Bichromate

A watercolour pigment is mixed with gum arabic and a light-sensitive dichromate salt, coated onto paper, and exposed through a negative. The exposed areas harden; unexposed gum washes away, leaving the pigmented image. Multiple layers in different colours can be registered to create full-colour prints. The result is painterly and textured — each print is truly unique. The process is unpredictable and labour-intensive, which is part of its charm.

Wet Plate Collodion

Invented in 1851, wet plate collodion involves coating a glass or metal plate with collodion (a syrupy solution of gun cotton in ether), sensitising it in silver nitrate, exposing it in a large-format camera while still wet, and developing it immediately — all within about 15 minutes. The result is either an ambrotype (glass positive) or tintype (metal positive). The tonal quality, shallow depth of field from large-format optics, and visible imperfections (drips, dust, uneven coating) create images with a visceral, historical quality. Wet plate portrait sessions are increasingly popular as an alternative wedding or engagement experience.

Anthotype

The gentlest alternative process — images made from plant pigments. Flower petals, leaves, or berries are crushed and the juice is coated onto paper. Exposure to sunlight fades the pigment where light hits; objects placed on the surface block light, preserving the colour beneath. Exposures take days to weeks. The resulting prints are delicate, ephemeral, and entirely botanical. Perfect for a photographer-artist exploring the boundary between photography and nature.

Alternative Processes for Wedding Photography

Offering cyanotype or wet plate prints as a premium add-on elevates the client experience. Handmade prints from wedding portraits — a cyanotype of the couple's first dance, a platinum print of the bride's portrait, a tintype of the family group — become heirloom objects with physical presence and emotional weight that digital files lack.

Wet plate collodion portrait sessions at weddings or engagement events offer a unique experience — the couple watches the plate being prepared, exposed, and developed before their eyes. The resulting tintype is a physical object they hold in their hands, minutes after it was created.