1. Photograms
media cyanotypes

2. Created by Sir John Hershel in 1842
Originally, cyanotypes were used in conjunction with
scientific recordings of mathematical tables, a divers
range of plant specimens and architectural plans

3. Anna Atkins British scientist
She brought cyanotypes into the realm of photography
Cyanotype books with ferns and other plane life

4. Contemporary Cyanotype
Using mixed media can be such a beautiful way to remanence.

6. These are photograms too.
However, they are not cyanotypes.
Let’s look at them for their composition. Both images demonstrate strong rhythm and repetition.

7. Can you figure out the themes?

8. What about these themes?
Can you figure out how they were made?

9. Her are interesting examples of combining digital art into this photographic process.

10. Supplies
lace
Scale
plant material
GO BEYOND WHAT IS READYILY AVAILBLE ON HAND YOU ARE REQUIRED TO BRING IN ITEMS TO CREATE YOUR PHOTOGRAMS
Distilled Water
glitter
Light tight glass (non-porous) bottles
snake skin
translucent fabric
Potassium Ferricyanide> 8% of solution part A
nail polish
printed transparencies
Ferric Ammonium Iron Citrate> 20% of solution part B
textured thread
flat or small beads
Hydrogen Peroxide
negatives; including digital
Any surface that is capable of soaking up the iron solution
Negatives
Cotton
Objects of interesting shape and translucence, for example:
Plastic

11. Photogram/Cyanotype Process
Carefully arrange the objects for photograms applying the Rule of Thirds to strengthen your dynamic composition onto the treated paper in the darkened room. Try to create a wide range of values, a focal point and a dominant principle of art when creating your composition.
Create a plan using your sketchbook. 
Set up a workspace for treating the watercolor paper. A dark room lit with a safe light is ideal. In any event, the room should be as dim as possible and away from direct sunlight.
Consider placing the negative and paper in a secure-backed picture frame or a glass easel (contact printer) to hold the photogram objects in place. Once everything is in place, cover with a light-protective cloth and carry outside.
Put on the safety gloves, and proceed with mixing the chemical solutions. A common recipe calls for 25g ferric ammonium citrate and 100ml water in one bottle, 10g potassium ferricyanide and 100ml of water in the other bottle. Mix until the chemicals are fully dissolved. Important note: the 2 chemical solutions need to remain separate until the paper is to be treated.
If you are using transparencies, negatives or digital negatives, be sure that the printed side is the side touching the coated paper and remember to print font backwards.
Carefully sandwich the easel closed and clip the sides to make a strong contact. Place the frame under UV light (sunlight) or direct sunlight for about 10 to 15 minutes (denser negatives might take longer). 
Place equal amounts of the 2 chemical solutions into the mixing cup. Cyanotype chemicals are short-lived once mixed together, so mix only what you think you will need for your project. You can always mix a little more, but unused cyanotype mixture must be discarded. Solution works best if it sits over night.
When the solution looks dark grey, it is ready to be developed.
Once the paper has been exposed, bring inside and place it into the first plastic tray. To develop the paper, carefully remove it from the frame and wash the print in three wash baths of fresh cool water. Allow it to in the first bath under running water for about 5 minutes. Agitate the print in the second bath for five minutes. In the third bath, pour two small drops amount of hydrogen peroxide on top the print. The Prussian blue created by the cyanotype solution will appear even stronger from the addition of the peroxide.
Coat solution on paper or fabric. Decide if you want to mask the coating or paint it.
Dry with a hair dryer, place by a fan or lay flat to dry. 
Allow the treated paper to dry thoroughly in a dark area. It is important to keep the treated paper out of light until it is time for printing. Using a light tight bag is ideal for storage of coated paper.
Hang print on clothesline or dry flat on screens

12. Finishing
Resources:
When print is dry it may be the finished product or you can draw, paint, collage on the print, etc
Freestyle photo.biz  
Use UV protectant glass when framing the work and avoid pacing work near direct sunligh
Lab Chemicals & Reagents Acids, Bases, Solvents, Stains. Since Ships Same Day!
Complete Self Reflection and reference the Visual Arts Rubric (Self-Assessment)
Slides Converted to Disc Keep them, Protect Them, Share Them Larsen Digital - Since
Tips & Warnings
filmoutput High Quality Positive-Negatives No Rush Charges
It can be tricky getting the chemicals mixed just right. Some formulary sites actually offer bottles of pre-mixed cyanotype chemicals, which removes the guesswork and leaves more time for the fun stuff.
HABS HAER HALS Historic Documentation Professional Photographer
Cyanotypes can also be printed on other fibrous surfaces such as cloth.

13. Evaluation Dynamic Composition Voice Value/Tonal Range Craftsmanship
Things to consider… Have you created a dynamic composition? Did you consider your borders when coating your paper with solution? What is the theme of your work? Does your photogram evoke a specific mood or feeling? Did you explore a variety of objects to create a unique photogram? Did you properly expose your photogram? Does it show a wide tonal range including white and deep rich prussian blue? Has your photogram been properly developed? Be sure there are no stains on your work.
Evaluation
Dynamic Composition
Voice
Value/Tonal Range
Craftsmanship
Planning/Reflection
Timing