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RE: fading Ware's cyanotypes
Peter's cyanotype sounds very much like the one we made the other year at a workshop held at the Julia Margaret Cameron museum in the Isle of Wight.
Using a large 8ft by 4ft studio background roll we coated it with a 6 inch house painting brush and let one of the girls lie on it ( fully clothed) on the grass in the sun surrounded by her personal possessions. After 15 minutes we took the print in and hosed it down with the shower head in the bathroom. When it was dry we hung it on the staircase of the museum and gave it some silly title such as " Body Presence ".
Whilst on the subject, can I say that the use of peroxide in the final wash of a cyan is a sort of cabaret act I use at workshops. It speeds up the oxidization process but it only works with a fully exposed print. As Judy pointed out, it is not an intensifier.
Finally on the subject of Mike's new cyanotype process, my only reservation is this. Mike,I think, was concerned with making the process easier to work.However, being a traditionalist and hating chemistry I feel that that most of the fun of the old cyanotype is knowing when to stop exposing. When it looks right it is not right, seems to be the rule. But then there ain't no rules anyway!
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It was a photogram rather than a photograph - there would have been
problems making a negative big enough.
One of the most impressive cyanotypes I've seen was done on photographic
background paper, I think after it had got too dirty to use in the studio.
I seem to recall being told the sensitiser was applied from a bucket using
a large household broom.