Underexposed Cyanotypes

If you’ve been printing cyanotypes, you’ve likely had one of those moments. You begin washing and then watch your print disappear before your eyes. So, what could have happened? In this post, We are going to talk about how underexposed cyanotypes happen and how to fix them.

As you know, cyanotype prints are made by exposing UV sensitive paper to light. After exposure and fixing in water, it turns the paper a beautiful blue. If your cyanotype is underexposed, it means it didn’t get enough light during that process. This results in prints that are lighter, with areas that are barely visible, or washed away completely.

Here are a few reasons why your cyanotype might have ended up underexposed:

If it was cloudy, or if you were working indoors with indirect light. Your cyanotype didn’t get enough UV rays to develop the image properly.

If you didn’t leave the paper out in the sun (or under a UV light) long enough. The chemicals on the paper didn’t react enough to produce the deep Prussian blue.

Here’s the good news: underexposed cyanotypes aren’t the end of the world! In fact, they can look amazing if you embrace the faded, soft blue tones. You can leave it “as is” and turn it into something artistic (unless it’s washed away completely). Sometimes, the faded areas even create interesting abstract shapes or even mysterious “ghost” impressions.

But if you’re looking for a more bold, vibrant cyanotype for future prints, don’t worry – here is a few fixes.

One of the easiest fixes is simply to give your prints more time in the sun. Cyanotypes usually take anywhere from 5 minutes to many hours (depending on the time of year. But if you’re getting underexposure, try adding a little more time – just keep an eye on it so it doesn’t go too far the other way! Try keeping notes for each print you make, so you can keep track of your printing times.

If you’re working on a cloudy day or in low light, the exposure might not be strong enough. If you can, wait for a sunny day. You’ll get better results with the bright UV rays that come with direct sunlight. Or, try exposing the print for longer on a cloudy day to make up for the weaker light. Cyanotypes work all year round, you just need a little more patience in the winter.

Make sure you’re getting as much direct sunlight as possible. If you’re outside, try moving the print into a spot that’s more directly in the sun. If you’re working indoors, consider using a UV light source to simulate sunlight more effectively. Athough I realise this isn’t as magical as printing outdoors. However, using a lamp is a good way to measure your times as the UV output is consistent.

If you are coating the paper yourself then you can dry the underexposed paper and redcoat it to add a second layer. I often layer my cyanotype prints to create different effects so it’s a great way to experiment. You don’t ever need to throw mistakes away, they can usually be repurposed!

Of course, if you’re not trying to “fix” the underexposure but actually enjoy the soft, faded tones, then great! Underexposed cyanotypes can look amazing in their own right, with delicate blues and abstract patterns that can be really artistic. Think of them as a chance to experiment with a different style and mood in your work. You could even paint or print over the top with watercolours or monoprinting.

So, next time your print isn’t as bold as you’d like, remember: it’s not a failure. It’s another opportunity to learn, adapt, and maybe even make something unexpected and beautiful. Happy printing!

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