Rachel Louise Brown

OBL Microteaching Account

Cyanotypes

20 Minute Session Plan

• 6 minutes – lecture slides explaining (in brief) the history and process of cyanotypes, an introduction to Anna Atkins and showing a QR code that allows colleagues to look through the publication ‘British Algae’ via the British Society scanned book collection.
• 2 minutes – hand out cyanotype paper and pressed botanicals, while the students process the inspiration of Anna Atkin’s book.
• 3 minutes – students to design their cyanotypes by placing pressed botanicals on cyanotype paper and adding to the glass frame, for developing on the window ledge
• 7 minutes – cyanotypes to develop while I share the final lecture slides, which include student research into the history of Anna Atkins followed by a discussion about her links to colonisation, and finally share a link to the performative project by Tom Pope and Matthew Bennington which explores this in greater detail.
• 2 minutes – student’s to wash their creations under running water and place on the print dryer

Summary of the Session

Inspired by my first assigned reading in Workshop 1 on object-based learning (Willcocks and Mahon, 2023), which explored the dissemination of botanical illustrations through online OBL, I was struck by the ‘light bulb learning technique’ that the session sparked in students, surrounding the often-hidden agendas behind historical work. I decided to draw on this idea for my own microteaching session, using physical cyanotypes to create a similar kind of revelation.

Alternative photographic processes are an important part of my artistic practice and expertise, though I had never taught cyanotypes before. I usually work with salt prints and photogravure and enjoy passing this knowledge and early understanding of the craft on to my students. Cyanotypes have long been on my list to explore further, and the timing felt right. A recent exhibition by Tom Pope and Matthew Bennington, Almost Nothing but Blue Ground at Forma, reignited my interest, especially in the work of cyanotype pioneer Anna Atkins. Her book Photographs of British Algae: Cyanotype Impressions (Atkins, 1843), widely regarded as the first ever photobook, has been on my mind, particularly in light of its colonial links.

I felt this would be a rich and relevant topic for my microteaching session and one I hope to develop into a longer workshop on my course, embedding UAL’s framework for Climate, Social and Racial Justice more deeply into our pedagogy. My main concern was the challenge of fitting too much into a 20-minute session, but I began designing a structure that could serve as a springboard for a longer format with my MA Commercial Photography cohort.

I gave a brief overview of the cyanotype process and Anna Atkins’ role in its development. While I wasn’t able to get hold of a physical copy of her first book (which would have added a valuable object-based layer to the learning), I was pleased to discover that the Royal Society has digitised and archived the book, making it freely accessible online. This linked nicely back to the Willcocks and Mahon reading. I created a QR code so students could access the book via their laptops and browse it for inspiration.

If I were to run this session with my students, I’d follow the reading with a short foraging trip around the local area, encouraging them to gather natural materials to use in their cyanotypes. I’d also guide them through creating their own light-sensitive paper in the darkroom, giving them a better understanding of the chemistry, its organic make-up, and the role of light sensitivity. This would enhance the magic of early photographic discovery. For the purposes of the microteach, I used pre-sensitised (and dried) paper, along with pressed and dried leaves and flowers, to stay within the 20-minute time frame.

After looking through Atkins’ work online, students quickly composed their cyanotypes. I assumed the high UV levels in the tower block would help speed things up, but this part of the session felt rushed and not entirely successful. Feedback confirmed this. They wished they’d had more time to explore the book, reflect, and create. I completely agreed. If run over a three-hour morning or even a full day, each part of the process could be given the time it needs.

I also realised that the windows in the tower block must have a protective UV coating, as the light wasn’t strong enough to develop the prints within the session. I had to stay calm and adjust, allowing the cyanotypes to develop during my colleagues’ sessions instead.

Thankfully, there was still time within the 20 minutes to look into Anna Atkins’ background. While the cyanotypes developed slowly in the window frame, I asked students to research her history and come back with one or two surprising discoveries about her life and the context behind her two cyanotype books, one of which is considered the first ever photography book. They shared their findings and, to my relief, my intention came through clearly. Several students quickly found that Atkins’ husband had ties to the West Indian slave trade, and that some of the botanical samples used in her second book were taken from Jamaica. If we’d had more time, this could have opened up a much deeper group discussion.

At the end of the session, I washed and dried everyone’s cyanotypes so they could take them home. Each student left with a tactile, beautiful object, new to them but embedded with meaning from the session. Something to keep, but also something that asked them to reflect on the context and implications of early photographic work.

Feedback from Tim (Tutor)

Rachel began the day with a 360 ‘immersive’ experience; through all the ‘sensory modalities’ – and teaching methods that integrate learning across senses, thereby stimulating both ‘memorability’ and ‘active learning’! If you want to read up on theories of doing, ‘sensori-motor’ activity, please be my guest. A number of you lit the fuse of ‘active learning’, but let’s start with this ref. here (Advance HE, n.d.) more later…She uses the ‘lecture’, and a type of ‘demonstration’ that was close to ‘discovery learning’ perhaps, where ‘experimenting’ is guaranteed to bring results…if only the sun would shine…?! But it worked! Beautifully allowing the satisfaction of seeing the results of learning in those cyanotypes. The ‘participative’ element allowed us to reference the ‘colonial’ backstory of this form too. Multiple methods can lead to very different experiences and learning within a group, so many paths to follow…Great for ‘synthesis’ and ‘complexity’ in teaching. Wonderful for ‘lateral thinking’ and making connections. Thanks so much for going first and waking up all our brain cells! At once. This was a deeply educational walk in a rich and diverse forest, full of sights, sounds and fascinating interest with a fantastic guide.

Reflections on Feedback

Thank you for your thoughtful and encouraging feedback. I’m really pleased that the immersive, sensory-led approach resonated and stimulated active learning. The balance between lecture, demonstration, and discovery learning was something I aimed to cultivate, so it’s great to hear that this was effective – despite the unpredictability of the sun.

I also appreciate your point about multiple methods leading to different learning experiences. The challenge of timing (and sunshine!) is something I have reflected on, and a longer session would allow deeper engagement with both the practical cyanotype process and to delve into the historical context of Anna Atkins’ work. In a full-length workshop, I’d incorporate more time for discussion, exploration, and experimentation, especially around the colonial implications of early botanical photography and some of the minerals used in early processses.

Your mention of ‘sensorimotor’ activity and its role in learning is intriguing and thank you for the Advance HE reference (Advance HE, n.d). The ideas of ‘lateral thinking’ and ‘synthesis’ align with my goal of making connections across historical and artistic contexts.

Moving forwards, I’d refine the session by:

• Expanding the pre-experiment phase to give students more time to engage with Atkins’ work before creating their cyanotypes.
• Work in the darkroom, so the students can prepare their own paper and while the paper dries…
• Send the students out to forage for their own botanicals.
• Adjust the exposure process to account for light conditions, perhaps incorporating an artificial UV light as a backup.
• Build in more structured discussion around the colonial backstory and its contemporary relevance, linking to the use of salt, silver and gold in other alternative photographic processes.

This session has been a fantastic learning experience for me, and I appreciate your insights on the effectiveness of the teaching strategies used. Thank you for your feedback and for setting such a supportive environment for our microteaching session.