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see blueprintblueprint,
white-on-blue photographic print, commonly of a working drawing used during building or manufacturing. The plan is first drawn to scale on a special paper or tracing cloth through which light can penetrate.
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There is then something of the early underwater photograph about these cyanotypes, whose washing-to-blue plunges the image into the intense depths of colour.
A few years later, Kasten began making black-and-white photograms from fiberglass mesh and light refracted through glass blocks, marking diagrammatic lines with grease pencil onto the photographs' surfaces--a move she saw as a shift away from the more overtly "feminine" versions of her fiber sculptures and cyanotypes.
For example, a cyanotype made by botanist Anna Atkins while she was studying flora in Ceylon in 1850 was exhibited next to a salt print of the Arch of Titus made the same year by Giacomo Caneva, while an encased daguerreotype portrait of three men from 1850 by an unknown artist stood near a large-format photogravure of Alfred Stieglitz's The Steerage, taken in 1907 but printed in 1912, and a light drawing made by Barbara Morgan in 1940 hung next to a brightly-colored abstract dye-transfer drawing made by Clarence John Laughlin in 1944.
They questioned where they were taken from and what they meant to them while trying to relate them to the cyanotypes that they experimented with and a more contemporary way of working.
99) tells how to analyze and recreate compositions, color palettes of famous artists, and even how to produce Daguerrotypes, cyanotypes, Polaroid transfers and more.
Pieces of cloth cover the rare, blue cyanotypes used by England's Anna Atkins in the 1840s to create photograms of algae.
The prints are in a variety of sizes, mostly eight by ten and five by seven, and processes--albumen, silver gelatin, and even a few cyanotypes.
For cyanotypes, paper is coated with an iron salts solution (rather than silver compounds) to produce a light-sensitive substrate.
John Dugdale's blue cyanotypes and allegorically posed models seem but a short step from the pre-Raphaelite painter, Julia Margaret Cameron.
Anna Atkins' cyanotypes get a chapter of their own in Carol Armstrong's recent study, as do Lewis Carroll's photographs of small girls in Carol Mavor's memorable book (neither is mentioned here, but both shed their own distinctive light on these and other photographs treated by Smith).
Printed as blue cyanotypes and cropped into smaller sections in order to allow the viewer to see each part of the image in greater detail, they suggest yet another mass media source for the modelling of aggressive modes of behaviour.
Dark blue impressions known as blueprints or cyanotypes, normally associated with architectural design, is one of the most permanent photographic processes known.