Where Art Meets Chemistry

Anna Atkins - Photographs of British Algae: Cyanotype Impressions (1843)

Anna Atkins, a botanist and photographer from the 19th century. Atkins is best known for publishing what is now known as the first photo book, Photographs of British Algae: Cyanotype Impressions. The book consists of blueprints of dried algae to create a scientific record of British algae. Not only very important for science but very vital in the world of art and photography, influencing the wider population about cyanotypes and how it can be used and the artistic capabilities.

The photo you see on the left is taken from her book, Photographs of British Algae. It’s such a beautiful and scientific representation of the algae serving a great record from what it looked like back then. The algae itself creates lovely detail in the cyanotype and the different depths and shades created.

During Atkins’ life she wasn’t able to pursue science as a career as women were restricted from practising. Fortunately, her dad was a well-respected scientist so she had many opportunities and access to scientific equipment from a young age.

In 1825 she married John Pelly Atkins which lead to a close acquaintance with William Henry Fox Talbot, the inventor of photography. Atkins was given a camera by Talbot in 1841 but unfortunately her work created with the camera has not survived and instead she found working with cyanotypes worked better with what she wanted to capture. (Natural History Museum)

She serves a very strong role in history as one of the first photographers to publish a book completely illustrated with photographs and also giving such an accurate representation of British algae from the 19th century. She also influenced many photographers and artists all over the world making cyanotypes a world wide photographic technique.

I’ve chosen to show you these photographs because of the beautiful textures and tones created by the algae Atkins documented. There’s something really calming about how the shapes appear on the deep blue background. I love how you can almost sense the form of the algae based on the sharpness of the silhouette. The whitest areas are where the algae was pressed closely to the paper, blocking out the sunlight completely. In areas where the algae lifted slightly or had more delicate strands, you get these softer, lighter blues, where some sunlight managed to sneak through. It’s such a clever and natural way of capturing depth and detail.

What I find so fascinating is how a scientific method ends up producing something so visual and beautiful. It’s not just a record of algae, it’s also a kind of quiet artwork that reveals the structure of the plant in such an honest and elegant way.