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 (very light-sensitive)
Marigold petals
Carrot juice
Onion skins
Daffodil petals

Greens

Spinach (chlorophyll)
Grass
Nettle

Preparation Methods

Alcohol Extraction

Crush plant material and cover with isopropyl alcohol or vodka. Let sit for several hours or overnight. Strain through coffee filter or cheesecloth. Alcohol extractions often produce more vibrant initial colours.

Water Extraction

Crush plant material with distilled water. Heat gently (do not boil) to extract pigments. Cool and strain. Water extractions may be less saturated but work well for many materials.

Direct Application

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

Coating

Use smooth, absorbent paper (watercolour paper works well)
Coat evenly with foam brush or by floating paper on emulsion
Dry completely in dark or subdued light
Multiple coats may intensify colour

Exposure

Anthotypes require very long exposures—from several days to several weeks depending on:

Plant species (turmeric is fastest; 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 and are relatively fast.

Turmeric Prints

Among the fastest anthotype materials—can produce images in hours to days rather than weeks.

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	Flammable	Normal precautions

Anthotypes are among the safest photographic processes, using only plant-based materials with no toxic chemicals.

Tips for Success

Start with turmeric — it's fast and predictable, good for learning the process
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.

Anthotypes

Image characteristics

Key chemicals