Historical Context

New Cyanotype was developed by Dr. Mike Ware in 1994 as a modern reformulation of Sir John Herschel's 1842 cyanotype process. While traditional cyanotype remains popular for its simplicity, Ware's version addresses several limitations: faster exposure times, higher maximum density (Dmax), better highlight detail, and more consistent results.

The key innovation is replacing ferric ammonium citrate with ammonium ferric oxalate as the iron sensitiser. This change fundamentally improves the process while maintaining the characteristic Prussian blue colour.

Chemistry

Ware New Cyanotype Sensitiser

Solution A — Iron Sensitiser

Component	Amount
Ammonium ferric oxalate	30 g
Distilled water	100 ml

Solution B — Potassium Ferricyanide

Component	Amount
Potassium ferricyanide	10 g
Distilled water	100 ml

Working Solution

Mix equal parts Solution A and Solution B immediately before use. The combined solution has limited shelf life (use within hours).

Comparison with Traditional Cyanotype

Aspect	New Cyanotype	Traditional Cyanotype
Exposure time	Faster (roughly half)	Slower
Dmax	Higher (deeper blues)	Moderate
Highlight detail	Better	Can block up
Consistency	More predictable	Variable
Sensitiser	Oxalate-based	Citrate-based
Cost	Slightly higher	Lower
Safety	Similar (both low hazard)	Low hazard

Procedure

Paper selection: Watercolour papers work well. Arches Platine, Bergger COT 320, or traditional Rives BFK. Sizing affects results—experiment with different papers.
Coating: Under subdued tungsten light (traditional cyanotype can be coated in dim light, but New Cyanotype is more sensitive), mix equal parts A and B and apply with brush or glass rod.
Drying: Dry in darkness with gentle heat or air circulation. Coated paper is more sensitive than traditional cyanotype.
Exposure: Contact print under UV light. Exposure is typically 50-70% of traditional cyanotype times. The image appears during exposure but will look different (more olive-brown) than the final blue.
Washing: Wash in running water for 10-15 minutes. The image clears to blue during washing.
Oxidation: Allow to oxidise (darken) overnight. The blue deepens over 24 hours.
Optional acidification: A brief dip in dilute acid (1% citric acid) can accelerate oxidation.

Toning Options

Like traditional cyanotype, New Cyanotype can be toned:

Tea/tannin: Warm brown tones
Wine: Purple-brown
Ammonia bleach/redevelop: Black tones
Sodium carbonate/redevelop: Split toning effects

The toning chemistry is identical to traditional cyanotype.

Print Characteristics

Colour: Deep Prussian blue (deeper than traditional)
Tonal range: Excellent, with better highlight separation
Shadow density: Higher Dmax than traditional
Permanence: Excellent (same as traditional cyanotype)

Troubleshooting

Problem	Likely Cause	Solution
Image too light	Underexposure; exhausted sensitiser	Increase exposure; fresh solution
Image too dark	Overexposure	Reduce exposure time
Bronzing in highlights	Paper issue; overexposure	Different paper; reduce exposure
Uneven colour	Uneven coating; uneven washing	Improve technique
Fading	Insufficient oxidation	Allow 24 hours before judging

Safety

Chemical	Hazard	Precautions
Ammonium ferric oxalate	Toxic if ingested	Gloves; no eating/drinking
Potassium ferricyanide	Safe in normal use	Avoid strong acids (releases HCN)

New Cyanotype is slightly more hazardous than traditional cyanotype due to the oxalate, but remains one of the safest alternative processes.

When to Choose New vs Traditional

Choose New Cyanotype when:

Maximum Dmax is important
Printing negatives with subtle highlights
Faster exposures are needed
Consistency is critical

Choose Traditional Cyanotype when:

Teaching beginners (simpler chemistry)
Cost is a factor
Longer exposures suit your workflow
Historical authenticity matters

New Cyanotype

Image characteristics

Key chemicals