Kate Young’s Analogue Alchemy: Exploring Nature and Solitude in Cyanotype

In this conversation with Cluster, Canadian photographer Kate Young offers an intimate look at her path from darkroom newcomer to analogue aficionado.

Her work focuses on three distinct processes: silver gelatin, lumen and cyanotype with botanical toning, creating images that feel both ethereal and grounded.

Having recently exhibited a series of silver gelatin prints in Toronto’s CONTACT Photography Festival, Young discusses her evolving techniques, her series Repose, and how these deeply personal methods of creation offer both solace and connection.

Hi Kate! Can you tell us about your journey of what led you to specialise in black-and-white analogue processes?

My journey into black-and-white analogue processes began with my very first steps in photography. In high school, I shot my first roll of black-and-white film and was fortunate to have access to a darkroom, thanks to an art teacher who allowed me to work there during lunch hours. I spent most of those breaks making silver gelatin prints, drawn to the magic and the solace of the process. As a shy kid, the darkroom became a safe and welcoming space, offering a sanctuary that allowed me to focus, create, and explore. I have consistently integrated film into my practice, even as I began shooting with digital cameras. For many years, digital photography took precedence due to its accessibility and affordability. Despite this, I continued to explore film, though I had limited access to a darkroom for printing during that time. In the spring of 2023, I became a member of Gallery 44, an artist-run photography centre in Toronto. With full access to their black and white darkroom facilities, I found the opportunity to reignite my love for silver gelatin printing. Over the past year, printing has become my favourite aspect of photography. While I enjoy shooting, I find a deep connection to myself during the printing process. I love the hands-on approach, the solitude it offers, and the meditative quality it brings.

In your opinion, what does the cyanotype process bring to your work that other methods might not?

As I returned to regular printing, I began exploring alternative processes, with the cyanotype technique becoming the focal point of my practice for much of the past year. While my love for the darkroom remains, I’ve come to appreciate the benefits of printing at home, the affordability of the chemistry and its reduced environmental impact compared to the silver gelatin process. As I delved deeper into my exploration, I discovered that the medium could be pushed further through a toning process. Inspired by the research of Annette Golaz, I began experimenting with teas and other botanical toners to shift the colour of my cyanotypes. I immediately fell in love with this process, and it has since become a significant aspect of my creative output. 

Do you see Repose as a standalone series, or is it part of a larger body of work exploring similar themes?

This series stands on its own yet integrates into a broader exploration of my recent work. I am delving deeper into the toning process of cyanotype, discovering endless possibilities. As the trajectory of my work unfolds, it is the process that will ultimately unify a larger body of work.