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In regards to


I use a century-old process of monochrome alternative photography, almost unchanged since its development by Sir John Herschel, in 1842, pioneer of photography, chemist and astronomer.

It is a subtle mixture of iron oxides, water, darkness, sun, and patience.



In the dark, the paper is soaked in a liquid solution containing two iron oxides and then dried. Then comes the time to select the specimens that will be used from the herbarium.

I also sometimes use photo negatives from my collection to create compositions.

Then, the sun enters the track, it is thanks to its UV rays that the chemical reaction between the iron oxides will occur. In winter, when he's too shy, I use my insolator instead, designed to replicate the sun's rays in my workshop.

The parts not exposed to UV are eliminated during rinsing with water which corresponds to the stage of development.

A long drying finally allows the cyanotypes to reveal all the depth of their Prussian blue, so characteristic of cyanotypes.


I discovered cyanotype in 2016, while taking courses in printing techniques in London. It immediately fascinated me! I tried many artistic techniques, from painting, to photography, ceramics and blown glass. The cyanotype however had something captivating and it has since become my favorite means of artistic expression, a world between photography, chemistry, botany, and painting.


The name Blue Solstice refers to these two special days of the year, when the apparent position of the sun seen from the earth reaches its southern or northern extreme, marking the beginning of summer and winter. The traditional cyanotype process that I use is very closely linked to the phases of the sun and the intensity of its UV rays. The cyanotypes made around the date of the summer solstice have a particularly intense blue and a very sharp rendering, while those made in winter, when the sun is low, produce shadows and blurred effects that I find very poetic.


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