
Your own image in Prussian blue
Cyanotype
Turn your own photograph into a unique contact print in deep shades of Prussian blue.
Programme and dates ↗Courses in classic photography and historical photographic processes in Prague 14, led by a practising artist. In a small group, you will follow the complete journey from your own idea and work with film, a negative or an object to a finished black-and-white enlargement or contact print.
Light · chemistry · paper · timeNot a quick demonstration. Real practice.
Groups are limited to four people, so everyone has time for questions, repetition, personal guidance and working at their own pace.
Four paths back to photography

Your own image in Prussian blue
Turn your own photograph into a unique contact print in deep shades of Prussian blue.
Programme and dates ↗
Photography in silver and warm brown tones
Turn your photograph into a handmade contact print with delicate detail and characteristic warm brown tones.
Programme and dates ↗
From exposed film to a finished negative
Shoot and hand-develop a black-and-white film, from loading the camera and developing tank to washing and drying the negatives.
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From negative to your own photographic print
Make your own black-and-white photograph from a developed negative on traditional photographic paper.
Programme and dates ↗Upcoming courses
Test version: the dates are provisional and the form does not submit data yet. Each course will remain limited to four places.

Tutor and practising artist
I do not teach historical photographic processes as a fashionable retro attraction.I use them in my own work, and what fascinates me is the way they bring together image-making, craft, chemistry and a little unpredictability.
My practice spans cyanotype, Van Dyke Brown, traditional black-and-white photography and large-format processes. I see each of these techniques not only as a craft, but also as a distinct mode of visual expression.
My background in film theory has given me a slight professional bias: knowing how an image is technically made is not enough for me. I also want to understand why it works the way it does.
That is why, alongside chemistry, exposure and paper, my courses also address composition, visual decisions, and why one photograph works on paper while another does not.
Everyone works at their own pace and carries out each stage themselves. The aim is for you to leave not only with a finished photograph, but above all with a process you can return to independently.