Introduce yourself and tell us a bit about your artistic journey and how you became interested in cyanotype printing.
My name is Josh Ball. A native of Ventura, California, a coastal town nestled between Los Angeles and Santa Barbara. Growing up, I've always been drawn to the water and I usually have a camera with me. Years of diving and sailing around the Channel Islands National Park, bodysurfing our local beach breaks, and adventuring in the local backcountry have resulted in quite a collection of photos. It gradually dawned on me that I genuinely enjoy photography and wanted a way to share my stories.
Seeking a more meaningful way to engage with my photography than simply sharing it on social media, I discovered the captivating world of cyanotype printing. Now, I have a vast archive of photographs eager to be reimagined and given new life through this unique art form.
Can you walk us through your typical cyanotype process, from start to finish?
I prefer to mix enough sensitizer for a night or two of work. I apply the sensitizer to the paper methodically, always following the same pattern: left to right, top to bottom, right to left, and finally bottom to top. Then I go hang out with my family and allow the paper to dry for an hour.
Before the paper fully dries, I prepare my trays: one with regular tap water and ½ cup of vinegar and a second with tap water and a splash of hydrogen peroxide. If I'm creating photograms, I gather my chosen objects (often 3D-printed stencils) and begin arranging my scene on the table adjacent to my lightbox. For digital negative prints, I select the desired films from my negatives binder.
I use a 50-watt light in my lightbox, resulting in typical exposure times of 5-8 minutes. Once fully exposed, I transfer the print to the water/vinegar bath and rock the tray for a few minutes. When making multiple prints, I begin the next exposure at this point. After 5-6 minutes, I move the soaking print to the peroxide bath and a final rinse under running water. I do this until the lightbox timer signals the end of the current exposure. I repeat this process until I've completed all my prints.
My cleanup routine involves storing any unused sensitized paper in my lightproof bag and carefully reviewing my completed prints as they air dry (This involves me standing there over analyzing my work for much too long lol). This factory line approach allows me to maintain consistency in my cyanotype printing process.
Which papers did you test that worked best for Cyanotype printing? Can you describe why these papers worked well?
Stonehenge and Coventry Rag emerged as my favorites. These papers proved remarkably resilient during the cyanotype process, and produced some of the deepest blues. Minimal buckling occurred during both sensitizer application and drying, resulting in sharp images with excellent contrast and a wide range of tones.
I also liked Arches Hot Press, a classic and a great paper to work with. Weight of the paper handles the contact printing process well. The paper produces great tones and a dark Dmax.
Legion Bamboo is an all around great paper that handled the brush application of the sensitizer really well. I like the smooth texture of the paper a lot. Masa White This one surprised me as it is a lightweight paper at 77gsm. However, it is very strong, the texture is smooth, and I like the blues it produces.
Incision. This paper produced some of the darkest blues with deep rich tones.
Rising Barrier is an example of paper that didn’t work well because of the minimal sizing in the paper.
Stonehenge was a favorite producing deep blues.
Masa, as a lightweight paper, worked surprisingly well!
Does the paper's texture or surface quality impact your creative choices in any way?
The answer is a resounding yes! Every paper is going to respond differently to the cyanotype process. There are so many factors that come into play. Just to name a few: What type(s) of materials the paper is made from, the thickness/weight of the paper, is sizing used (inside and out) and of course the overall texture of the paper. In the end though, I think beauty is in the eye of the beholder. Artists will find a paper they love and never look back and try other papers they will only use once. My advice is to keep trying new papers and keep experimenting. There are so many papers out there!
Any challenges with some of the testing you came across?
The biggest challenge was to come up with a process to test these papers in a way that would give me reliable, repeatable, comparable results across the board. I decided to track specific parts of the process that every paper would experience. First, I looked at how the paper responds to the brush application of the sensitizer. If and how the paper buckled and warped during the sensitizer application process. An added factor was if the paper “pilled” (small bits of paper that would come off the paper in little balls). Some of the papers with little to no sizing on the surface would pill. This affected the finished look by showing little white spots on the paper where the sensitizer came off and did not turn blue.
Next, I decided that a 15 minute step test would give me a comparable look at each paper's tones of blue, and whiteness of the paper. Although most of the papers reached Dmax in the 6-8 minute range I am glad I took the step tests as far as I did. I found a wide variety of tones and deepest blues throughout the papers. Those few extra minutes over Dmax ensured I did not miss out on any darker tones in the variety of papers.
Lastly I looked at how the papers took the rinsing and drying process. This last step really saturates the paper; the slight bangs on the edge of paper while removing the leftover sensitizer can easily damage some types of paper to the point of causing the paper to separate in the corners. Also handling very saturated papers can cause the paper to rip and tear, ultimately ruining your final product.
Do you have any advice for other artists who are just starting out with cyanotype printing?
The best advice I can give someone just starting out is to simply begin! There are several ways to jump in, catering to different learning styles:
● The Easiest Route: Purchase pre-sensitized paper online. Forage for local plants in your area. Follow the instructions on the paper packaging. This is how I initially started, and it's a low-pressure way to experiment.
● A Bit More Involved: Order a two-part sensitizer kit online. Mix the chemicals according to the instructions. Apply the sensitizer to your chosen paper. Then, proceed with creating your cyanotype images, starting with simple photograms.
● For the Adventurous: Explore the "wet cyanotype" process. This technique offers unique results, but it's generally more challenging for beginners.
Focus on the Basics! I suggest starting with simple botanicals, photograms, or abstract designs. This allows you to understand the core principles of cyanotype printing, such as exposure, washing, and drying, without the added complexity of photographic techniques. By starting with the basics and gradually increasing your complexity, you'll build a solid foundation in cyanotype printing and enjoy the process more.
Lastly, I try very hard to take detailed notes the same night or in the morning on what worked well and what did not. I write notes on the prints themselves, and on the negatives. This is invaluable in helping me remember what I did and has been the best tool in helping me grow in this artform.
Testing our new Artist Panels with Cyanotype!
Where can people find more of your work or learn about your upcoming projects?
@JoshBallArt for all my social media channels and JoshBallArt.com. Cyanotype printing is here to stay but I am always trying out new mediums. Currently I am interested in Van Dyke Browns and darkroom printing my photos in black and white.
