Alternative photography processes can feel dream-like in that you are usually in a dark room watching developing images float to the surface rather than scrolling through a screen and pushing a delete button. I have a saying that film is liquid, while digital is square spots. Cyanotypes feel most liquid to me due to their exposure in sunlight and the deep indigo blue color revealed by developing in water. I use both digital and old school darkroom developing to make my cyanotype images. The photograms begin by drawing with chemistry on paper to let pools and lighter applications occur by chance. Plant material, sea glass and other organic materials laid on top of the drawing create the final image when exposed. I’m never sure what will wash out or show in reverse silhouette when developed, which adds an element of ephemerality; the materials used being transitory objects caught in a moment of time. Digital negatives are used to make cyanotype contact prints of my color photography images “seasonal”. Removing color isolates those images from earthly origins making them seem celestial to me, using a theme of darkness and light floating in a universal space. All of these hand and digital processes combine to yield dream-like images above in the sky as well as below in the deep blue sea.