Cyanotype finding steady revival in Bengaluru

Cyanotype printing, an early photographic process, is gradually finding its place within today’s fast-paced digital culture. Known for its deep
Prussian blue tones, this 19th-century technique is being revisited by artists in Bengaluru as a more tactile and reflective way of making images.

For many practitioners, returning to cyanotype also means returning to analogue roots. Photographer Jude Gabriel, who began working with the medium in 2024, describes it as a move toward something more personal. “I needed to go back to my roots… working with an analogue medium where the process is more hands-on,” he says.

Unlike digital workflows, cyanotype printing depends on sunlight, manual preparation, and a degree of unpredictability, ensuring that no two prints are identical.

The process itself is relatively straightforward. A mixture of light-sensitive chemicals is applied to surfaces such as paper, fabric, or wood. Objects or photographic negatives are then placed on the coated surface and exposed to sunlight. Once washed, the exposed areas develop into shades of blue, producing images that range from delicate botanical impressions to layered compositions.

Artists are drawn to cyanotype for varied reasons. For Indu Antony, the medium is closely tied to memory and space. Her project, ‘Archive of Memories’, uses cyanotype as a metaphorical “blueprint” to document lived spaces and personal histories. Similarly, Sonia Jose explores the body and its relationship to space, creating life-sized works that map presence and perception.

Despite its accessibility, the practice comes with challenges. Weather plays a crucial role, as sunlight directly influences the outcome. “If you are relying entirely on the sun, it becomes difficult during rainy days,” says Indu. Others point to the need for technical familiarity, especially when working with negatives and chemical processes.

The city has seen a steady rise in interest in alternative photography practices. Studios such as Pagal Canvas, Kanike Studio, and Praxis Techne regularly host workshops, making the medium accessible to beginners and hobbyists. Public programmes at spaces like the Bangalore International Centre and Venkatappa Art Gallery have further expanded their visibility. An upcoming show at Karnataka Chitrakala Parishath, titled ‘Confluence 2026’, will showcase cyanotypes alongside other alternative printmaking processes. Informal artist groups also gather at Cubbon Park to experiment collectively.

Artists note that this revival reflects a broader desire to slow down. Cyanotype demands patience, attention, and direct engagement with materials. In contrast to the speed and volume of digital photography, it offers a process grounded in time and touch.