Blue Valley 2 (18 x 24 inch original abstract cyanotype on paper)
Unframed.
Though this unique monotype resembles a watercolor painting or an aquatint etching, it is actually a form of photography called a cyanotype, photogram or sun print. What you see is a multiple-exposure lensless photograph. Each is entirely unique. These exact lines, shapes and shades of blue cannot be recreated as the of the exposure of the paper was heavily manipulated by me turning, bending and holding the paper still for precise timed exposures during each printing. A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water.
Unframed.
Though this unique monotype resembles a watercolor painting or an aquatint etching, it is actually a form of photography called a cyanotype, photogram or sun print. What you see is a multiple-exposure lensless photograph. Each is entirely unique. These exact lines, shapes and shades of blue cannot be recreated as the of the exposure of the paper was heavily manipulated by me turning, bending and holding the paper still for precise timed exposures during each printing. A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water.
Unframed.
Though this unique monotype resembles a watercolor painting or an aquatint etching, it is actually a form of photography called a cyanotype, photogram or sun print. What you see is a multiple-exposure lensless photograph. Each is entirely unique. These exact lines, shapes and shades of blue cannot be recreated as the of the exposure of the paper was heavily manipulated by me turning, bending and holding the paper still for precise timed exposures during each printing. A traditional single-exposure cyanotype yields a white silhouette against a dark blue background. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water.
