Alternative photographic processes - such as soil chromatography, cyanotype and anthotype - serve as receptors for reconnecting with the landscape of the Anthropocene, both above and below the surface. Encounters with materials and entanglements within my immediate surroundings are transformed into traces, or traces of voids.

Meniscus (pond series) 2023

6 lumen prints made from being exposed on the surface of a pond.

Soil Blooms (2023)

13 soil chromatograms, magnets.

These chromatograms are pictographs of the soil around where I live, like photographic portraits of the health of the land. At their centre are the heavy metals, reverberating out through capillary action into organic and bacterial matter. The frilly edges where the silvernitrate solution stops the soil from moving any further, a physical boundary that helps frame the information.

Long Blue Mine (2023)

cyanotype on folded cotton rag


Thirty Days at Home (Denby Dale, Jan-Feb) 2023

cyanotypes of a prism exposed every day for 30 consecutive days, on recycled paper.

Cyanotype toned with wine and coffee

Cyanotype on cotton rag, 2023

Cyanotype toned with oak cap ink, 2023


Anthotype (turmeric) of dandelion leaves on paper, 2023

Cyanotype toned with coffee, 2023


Cyanotype on recycled paper, 2023


Anthotype (turmeric) on cotton rag, 2023

Lumen print, detail


Lumen print (dandelion and horsetail) 2023

Anthotype (turmeric) washed with soda on cotton rag, 2023

Cyanotype on hosho, 2023

Digital photograph, 2023

'Lady Grey (viaduct series)', 2023

cyanotypes on cotton rag, toned with tea

© Clare Carter
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