Historical Context

Anthotypes were first described by Sir John Herschel in 1842, the same year he introduced the cyanotype. The process uses light-sensitive pigments extracted from plants—flowers, berries, leaves, and other botanical materials—to create images through photodegradation.

Process Overview

Unlike most photographic processes which darken with exposure, anthotypes work through fading—the plant pigments bleach where light strikes, leaving the shadowed areas (under the negative) coloured.

Basic Steps

Emulsion preparation: Plant material crushed and strained to extract pigment; mixed with alcohol or water to create coating solution.
Coating: Paper or fabric coated with emulsion and dried in subdued light.
Exposure: Contact printed under strong UV light (sunlight) for extended periods—typically days to weeks.
No fixing: The image is not fixed. It will continue to fade if exposed to light.

Plant Sources

Different plants yield different colours and varying degrees of light sensitivity:

Reds/Pinks

Rose petals
Red cabbage (pH-dependent)
Beetroot
Poppy petals
Hibiscus

Purples/Blues

Blueberries
Elderberries
Blackberries
Violets
Red cabbage (alkaline)

Yellows/Oranges

Turmeric
Marigold petals
Carrot juice
Onion skins
Daffodil petals

Greens

Spinach (chlorophyll)
Grass
Nettle

Preparation Methods

Alcohol Extraction

Crush petals or other plant material with a mortar and pestle (one or two flowers can be enough for a print) and add a few drops of alcohol (denatured alcohol or vodka). Strain through a coffee filter, cotton or cheesecloth, squeezing out the liquid. Fabbri's preferred diluent is a few drops of alcohol.

Water Extraction

Crush the plant material with tap or distilled water instead of alcohol, then strain as above. Oils can also be used as a diluent.

Direct Application

Some practitioners crush berries or petals directly onto the paper surface, creating more textured, painterly effects.

Coating

Use smooth, absorbent paper (Fabbri suggests a medium or heavy weight watercolour paper)
Coat evenly with a foam brush (brush strokes will show) or by dipping or floating the paper, which gives a more even coat and a stronger print
Dry completely in dark or subdued light
Multiple coats may intensify colour

Exposure

Anthotypes require very long exposures: Fabbri says "a few hours or a few weeks", usually days or weeks rather than minutes, depending on:

Plant species (each emulsion needs its own exposure time; corn poppy is described as one of the most sensitive, and Herschel found marigold and corchorus juice changed in as little as ten minutes in clear sunshine, while some greens are extremely slow)
UV intensity (summer sun vs. winter)
Latitude
Desired contrast

Exposure Tips

Use strong UV source (direct sunlight, UV lamps)
Secure negative firmly to prevent shifting
Protect edges from light to preserve maximum density
Check progress periodically by lifting corner of negative

Image Permanence

Anthotypes are not permanent. The unfaded areas will continue to bleach with any light exposure. This is fundamental to the process—there is no fixer.

Preservation Options

Store in complete darkness
Display only briefly and rotate with archival copies
Photograph or scan immediately after exposure
Accept impermanence as part of the aesthetic

Some practitioners embrace the ephemeral nature, creating works intended to fade over time as part of their meaning.

Characteristics

Soft, delicate tonal range
Colour determined by plant source
Inherently impermanent
No chemicals required
Meditative, slow process
Each plant produces unique results

Variations

Chlorophyll Prints

Using grass or leaf extracts. Generally very slow but produce subtle green images.

Berry Prints

Blueberry, elderberry, and blackberry produce rich purple-blue tones.

Turmeric Prints

A common starting plant. One reader reported a 4-day exposure under a UV lamp; times vary widely, so test.

Layered Anthotypes

Multiple plant extracts applied in layers for colour effects.

Safety

Material	Hazard	Precautions
Plant extracts	Generally minimal	Some plants may cause skin irritation; wash hands
Alcohol (isopropyl or ethanol)	Highly flammable; vapour irritates the eyes	Keep away from flames and heat; ventilate; avoid eye contact

Anthotypes are among the safest photographic processes, as no processing chemicals are needed. Some plants are toxic or irritant, though, daffodils among them, so wear gloves and keep extracts and utensils away from food.

Tips for Success

Start with a well-tested plant — corn poppy petals, which Fabbri calls one of the most sensitive, are a good first choice
Keep a plant journal — record which plants work best in your region
Use high-contrast negatives — the tonal range is limited
Prepare fresh emulsions — plant extracts degrade over time
Experiment widely — every plant behaves differently

Philosophical Note

Anthotypes connect photography to older traditions of plant-based dyes and natural pigments. The slow exposure times encourage patience and contemplation. The impermanence challenges our assumptions about what photographs should be—permanent records versus fleeting impressions.

Many contemporary practitioners are drawn to anthotypes precisely because they fade, creating work that exists fully only in the moment of completion.

Sources

Anthotypes, AlternativePhotography.com (Malin Fabbri)
3 books on anthotypes, AlternativePhotography.com
Potentially harmful garden plants, Royal Horticultural Society

This guide combines established practice with community experience. Always follow safety precautions and cross-reference with primary sources before mixing chemicals.

Anthotypes

At a glance

Image characteristics

Key chemicals