This week I (Ian Phillips‑McLaren) taught a Cyanotype Printing Masterclass in London at The School of Art, Architecture & Design, part of London Metropolitan University.

Cyanotype is the most popular of the alternative photographic processes, often thought of as easy and affordable. Historically, it was associated with amateur photography, but in the 1800s, even serious photographers used cyanotype chemistry to proof their negatives before making silver prints — Edward S. Curtis created some striking cyanotype portraits.

It’s easy to make a simple cyanotype, but creating a beautiful print with a long tonal range — one that can stand alongside a silver or platinum print — is far more complex.

Today, digital technology has expanded what’s possible. Using Photoshop, I created digital negatives printed on OHP transparency film, which allowed us to make large contact prints without needing bulky large‑format cameras. In the workshop, we explored traditional Prussian‑blue prints alongside bleached and toned versions, using tea, coffee, wine tannin, and botanicals for rich, subtle tones.

The first set of images below was shot on a Rolleiflex f2.8 with Kodak Tri‑X 120 film; the negatives were scanned, enlarged, and printed onto transparency film for contact printing. The second set was shot on an iPhone — proving you don’t need expensive gear to make beautiful cyanotypes. The last two images, including the pear and foggy landscape, were taken on a Canon 5D digital camera.

It was a joy to see the students experimenting with this versatile process, blending historic techniques with modern tools.