Preparation
"The cyanotype, or Ferro-Prussiate Process, is often the first process that any of us learn in alternative process photography. This is the process that sinks the 'hook' into us and makes us fall in love with the possibilities of image making." (James, Christopher. The Book of Alternative Photographic Processes. Cengage Learning, 2016 - P.148)
It is "hooks" that I am looking for, not just in the processes though, these also need to be associations or relationships between myself, the research, meaning and understanding, as explained by Ossian Ward in "Ways of Looking"
To make sense of all the ideas flying around in my head from research material, I made some lists and formulated plans. But in order to be able to actually visualize what I need to do, I decided to re-purpose a large 8 ft by 4 ft sheet of plywood; I sanded the board and applied 2 coats of blackboard paint. This now serves as my mind map, as I systematically connect, sort and work through my ideas.
From research into John Heartfield I considered the strengths of combining more than one image.
Although these concepts are fairly basic, both artists combine various phenomena to produce effective images.
Sharpening my skills working through exercises in Chris Forsey's Mixed Media book, I was reminded of the impact of strong compositions.
My interests require elaborate and specialised equipment, some of this is quasi obsolete and therefore both difficult to source and expensive to buy. I have had to find, loan and buy what I needed. This is a list of some things I have had to acquire: cyanotype, film, paper, chemicals, developing tanks, changing bag, film, cameras, trays, safe light, film holders, scanner, hangers, fridge, wood, bench saw, glue. I have used some familiar sources like Ebay and Amazon, but I have also discovered some other useful websites such as; www.lomography.com and www.ilfordphoto.com
It became necessary to convert outbuildings at our home into suitable studio spaces and workshops. It was not long before I realised that I really needed a photographic darkroom if I was to pursue the processes i was drawn to, so electrics and plumbing had to be adapted in our old static caravan and windows blacked out.
Fridge full of chemicals
Darkroom lights off
Darkroom lights on
An atmosphere of studied chaos...
To kick start the project I compiled an initial inspiration board. The material was gleaned from the research literature I assembled as a method of generating some visual language. The propaganda theme was very strong in the material i selected.
From this selection I applied 'Cath's Friday Workshop' to tease out ideas and further develop my visual research. The results of this can be seen on the Reflections page.
Concurrently my first attempts at developing film were disastrous, but by troubleshooting and perseverance I was able to come up with solutions and options. This has continued to be my approach throughout the project, if I cannot find answers to problems from my books, I go online and if that fails I experiment following my own initiative and instincts.
Thank goodness for online forums:
www.photrio.com/forum/home
"No one but a vandal would print a landscape in red, or in cyanotype" (Peter Henry Emerson: Naturalistic Photography for Students of the Art, London: Sampson Low, Marston, Searl and Rivington, 1889) Citation courtesy of Luminous Lint/ Mike Ware, 2020