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BY COPSEY, FOSTER, RUDGE
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
The Sustainable Darkroom is a residency that forms part of the London Alternative Photography Collective.
BY COPSEY, FOSTER, RUDGE
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
The Sustainable Darkroom is a residency that forms part of the London Alternative Photography Collective.
BY COPSEY, FOSTER, RUDGE
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
The Sustainable Darkroom is a residency that forms part of the London Alternative Photography Collective.
BY COPSEY, FOSTER, RUDGE
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
Phytography is a plant-based photographic process invented by artist Karel Doing. It uses the uses the internal chemistry of plants to create images on photographic emulsion. The process takes place in full daylight and makes use of locally gathered plants and biodegradable chemistry.
Karel Doing coined the term ‘phytogram’ and defined it as – “the act of exposing objects onto photographic paper to create silhouettes, so the phytogram is a step on from this to use the chemicals within plants themselves to create the image.” A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.
Anthotype is a photographic image made using photosensitive pigments in plants (plant dyes), without the need for cameras, lenses, photographic paper, chemicals or other equipment.
Cyantoype was invented by Sir John Herschel in 1841, and produces a continuous tone image of Prussian Blue using a sensitising solution of ferric ammonium citrate and potassium ferricyanide, when exposed to UV light these iron salts are reduced to ferrous and produce a high contrast blue image when oxidised. The work of artist Anna Atkins creating photograms of plants and seaweed is a perfect demonstration of this practice.
During the Sustainable Darkroom artist residency with the London Alternative Photography Collective in 2020, collective Laura Copsey, Jemma Foster and Emily Rudge addressed the toxicity of film photography and experimented with plant-based alternatives and discussed the relevance of collaborative and cross-disciplinary modes of working when thinking about a sustainable and conscious creative practice. We looked at creating phytograms and anthotypes to explore eco-developers and fixatives to“draw with light” made with organic plant-based eco developers, fixatives and natural inks to create bespoke artefact images. Our intention was to showcase alternative photosensitive ingredients – such as rose-hip, sea buckthorn and seaweed - (used to replace traditional processing chemicals), with a particular interest in creating sensory experiences using edible items that also have image making potential. These ingredients are often foraged and seasonal, taking inspiration from the alchemical elements, the tarot and the stars, honouring the magical properties of plants and nature as their guide to navigating an uncertain future.
The residency fell at the start of the pandemic, just as we entered into lockdown, so not only was the residency conducted remotely and individually, our experiments and ingredients were restricted to what we had in the kitchen, or available to forage. If it were not for this, and being pushed to work within certain parameters, perhaps we wouldn’t have had the results that we did. As a trio, we structured the week in accordance with planetary correspondences and elemental relationships.
Monday – Moon - Silver
Tuesday – Mars – Iron
Wednesday – Mercury – Quicksilver, Mercury
Thursday – Jupiter - Tin
Friday – Venus – Copper
Saturday – Saturn - Lead
Sunday – Sun - Gold
Industrial developers use chemical such as metol and hydroquinone (phenols), so we looked to ingredients with high phenol content. Coffee, in combination with vitamin C which provides super additivity (binding well) proved particularly effective. Plant phenols are highest in spring when plants grow at accelerated rate - by soaking plant matter in soda and vitamin C, it enhances the natural phenols making the plant itself a developer, together with sunlight (or artificial light) which adds tone and structure as it filters through the plants. Other chemical compounds released by the plants – such as anthocyanins- produce reds, blues, purples and carotenoids that produce yellows, oranges and reds. When the soaked plants are placed on photographic paper, they leave an imprint, as a silhouette of their natural form. Plants that are sticky(cleavers), highly absorbent (ferns) or with a clearly defined structure (ginko)are ideal for this practice. Alternatively, the plants can be used as a brush to paint with on the photographic paper.
We used Karel’s basic developer recipe and began to experiment with alternative ingredients in the aim of achieving a completely non-toxic solution. Here are our findings of our experiments.
Developer
1 litre water
4 tbs washing soda – replace with vegetable and or kelp ash
2 tbs vitamin C – replace with rose hip, sea buckthorn
Fixer:
Commercial fixer is sodium thiosulfate and ammoniumthiosulfate - chlorine/sulphur which form strong complexes with metal ions, so we tried ionic silver, copper, iodine sprays.
Hydrogen peroxide
Vinegar
Extremely strong salt solution
Seaweed solution
Plants high in phenols
Stop Bath:
Commercial stop bath uses acetic acid.
Distilled White vinegar 400ml and 600ml water
Lemon juice
Experiments:
1. Rose hip and sea buckthorn
2. Coffee
3. Vegetable ash, kelp ash
4. Saline Solution
5. Lacto-fermented wild garlic
6. Fermented seaweed
7. Cloves
8. Star anise
9. Cocoa powder
10. Rosemary, oregano, melissa, sage, mint, thyme, marjoram, tarragon - asteraceae fam celery seed (essences and tea infusions)
11. Elderberry tincture
12. Onion
13. Wax, oil
14. Nettle
Ultimately, we found alternatives to each stage of the process. Our most effective discoveries were a developer of rose hip, sea buck thorn and vegetable ash, and the other was an old jar of lacto-fermented wild garlic which proved to be particularly effective without the need for ash or soda, these were both used in conjunction with a high salt concentration or weak vinegar in spray form as a fixer. With the exception of the anthotypes, the use of photographic paper was required, and this is something that we continue to explore in this ongoing project and collaboration with theSustainable Darkroom collective as we strive to move towards non-toxic artistic methods. You can download our residency journal to view of process and method here.
The Sustainable Darkroom is a residency that forms part of the London Alternative Photography Collective.