I discovered cyanotypes about 7 years ago when I was missing the experience of darkroom printing. Cyanotype offered the tactile experience of darkroom printing without the need for the darkroom. I found that with a carefully made digital negative and the right toner, I could produce black and white prints from negatives dating back to the early 1970s that were damaged too severely to produce a proper darkroom print.
Recently, I've come to realize that instead of embracing cyanotype for what it is, I've been molding it as a stand-in for something it is not. This project represents my attempt to celebrate capabil-ities that are inherent in the cyanotype process. Seen in room light, each of these images appears as expected -- the whites are white and the greys and blacks are varying shades of prussian blue. In the dark, however, the whites and greys take on varying degrees of yellow-green phosphorescence. This set of images illustrates what we all know -- things look different in the dark.
