My Story

Ruth began her working life in the RAF as a photographic interpreter, using a stereoscope to turns 2-D images into 3-D and an eye for detail were the tools of the trade. She retrained as a science teacher and taught Biology and Chemistry for 30 years. Over the past 4 years I have built my love of cyanotype into a small business. I teach others the process from my home studio and make artworks, lampshades and handbound notebooks.

The cyanotype process is a direct collaboration with the environment. It turns sunlight, water and organic compounds into the striking Prussian blue silhouettes that define cyanotypes.

I collect plant specimens from my walks around Nassington which I then carefully press and catalogue. Some of my specimens are several years old and therefore I am not constantly taking from nature.

I then lay these pressed plants directly onto sensitised paper and fabric. The environment now directly participates in the process; sunlight causes a chemical reaction on the paper, water then fixes it. Even the oxygen in the air plays it part in developing the deep Prussian blue colour.

The details that emerge are incredible, details that you might miss when looking at a plant in the garden or field. The beauty and variety continue to inspire daily.

Because the cyanotype process relies on natural UV light and low-impact chemicals it means my art is as sustainable and environmentally friendly as possible. It offers a slow, meditative way to document the passing of the seasons. As each cyanotype picture is unique and the process is fickle, it offers a real antidote to a world of uniformity, instant gratification and mass production.

Cyanotypes in science

Anna Atkins, the botanist and early photographer used cyanotypes to illustrate her botanical studies. She published 3 volumes of her book  ‘Photographs of British Algae: Cyanotype Impressions’ (1843–53). These books represent the earliest examples of books illustrated with photogenically produced images and not hand-drawn illustrations.