We have the pleasure of introducing a talented new artist to Kina, Sophia Jenny. Sophia's intriguing handcrafted cyanotypes are shaped by her background in cinematography and professional photography, where she developed a deep understanding of storytelling, composition and the transformative power of light.
One word that describes your work?
Rather than give you a single word, I'd like to give you a phrase: joie de vivre. A joy of life that I hope is felt in every print.
Your background is in cinematography, working across a range of areas such as film, professional photography and events. How did this inform your practice as an artist?
Training in cinematography taught me how to tell a story within a frame, and how every element within an image carries meaning. It also taught me how light is the most powerful tool you have. Working as a professional photographer extended that, teaching me to read light instinctively and to see the world through a compositional lens. When I discovered cyanotype, all of that came with me. The way I think about framing, atmosphere, and the relationship between light and shadow is deeply informed by those years - I just express it differently now.
Your background is in cinematography, working across a range of areas such as film, professional photography and events. How did this inform your practice as an artist?
Training in cinematography taught me how to tell a story within a frame, and how every element within an image carries meaning. It also taught me how light is the most powerful tool you have. Working as a professional photographer extended that, teaching me to read light instinctively and to see the world through a compositional lens. When I discovered cyanotype, all of that came with me. The way I think about framing, atmosphere, and the relationship between light and shadow is deeply informed by those years - I just express it differently now.
What emotions are you hoping people experience when they encounter your work?
Above all, a sense of calm and contemplation. I want people to stop for a moment when they encounter my work. To slow down, to be present with it, and to find something in it that resonates with them personally. In a world that moves so fast and demands so much of our attention, I hope my work offers a quiet counterpoint.
When did you first discover Cyanotype, and what lead you to practice initially?
I discovered cyanotype completely by accident in 2021. At the time I was working with lino cuts, but when I moved house I no longer had the space to continue. One day cyanotype popped up on my Instagram feed and I was immediately intrigued. I loved the fact that you could make large photographs by hand, from your own negatives, using nothing but sunlight and chemistry. We also happened to be having beautiful weather at the time, which meant I could get outside and practice immediately. Everything aligned, and I fell in love with it very quickly.
When did you first discover Cyanotype, and what lead you to practice initially?
I discovered cyanotype completely by accident in 2021. At the time I was working with lino cuts, but when I moved house I no longer had the space to continue. One day cyanotype popped up on my Instagram feed and I was immediately intrigued. I loved the fact that you could make large photographs by hand, from your own negatives, using nothing but sunlight and chemistry. We also happened to be having beautiful weather at the time, which meant I could get outside and practice immediately. Everything aligned, and I fell in love with it very quickly.
What do you love most about the unpredictability of cyanotype?
I love a challenge. When I begin a new artwork or series I have a clear vision in my head of how I want it to look, and then have to figure out how to bring that visio into existence within the idiosyncrasies and limitations of the process. Sometimes it comes together relatively easily. Sometimes it takes weeks of test prints and adjustments. Either way, when everything finally comes together and I have the image I envisioned in front of me, the feeling of satisfaction is unlike anything else. I think the difficulty is part of what makes it so rewarding.
What do you love most about the unpredictability of cyanotype?
I love a challenge. When I begin a new artwork or series I have a clear vision in my head of how I want it to look, and then have to figure out how to bring that visio into existence within the idiosyncrasies and limitations of the process. Sometimes it comes together relatively easily. Sometimes it takes weeks of test prints and adjustments. Either way, when everything finally comes together and I have the image I envisioned in front of me, the feeling of satisfaction is unlike anything else. I think the difficulty is part of what makes it so rewarding.
Was there a defining moment when you realised you wanted to become a full-time artist?
Before I committed to becoming an artist, I went through a a period of serious illness that meant I no longer had the strength or energy to continue the work I had been doing. During my recovery I found myself searching for what came next - my "new thing." Then one day it became blindingly obvious. I wanted to be an artist. It had been a dream of mine when I was younger, but back then it wasn't considered a "real job" so I had pursued other paths instead. In that moment everything made sense, and I committed. What struck me afterwards was that once I made that decision, my health began to stabilise. I've always felt that meant something.
Cyanotype is a very tactile practice, and requires both technical precision and a willingness to embrace the unexpected. How do you balance those two elements?
When I first started making cyanotypes I was quite the perfectionist. This was actually a good thing in the beginning, as it gave me the drive to get everything just right. But I eventually had to learn to let go of that. There are so many variables involved in the process that trying to control every outcome is a losing battle. Embracing the unexpected is essential. Now, after years of practice, I've found that the gap between technical precision and the unexpected has naturally narrowed. The experience I've built means I can anticipate more, troubleshoot faster, and trust the process more fully. But I still welcome the surprises.
Cyanotype is a very tactile practice, and requires both technical precision and a willingness to embrace the unexpected. How do you balance those two elements?
When I first started making cyanotypes I was quite the perfectionist. This was actually a good thing in the beginning, as it gave me the drive to get everything just right. But I eventually had to learn to let go of that. There are so many variables involved in the process that trying to control every outcome is a losing battle. Embracing the unexpected is essential. Now, after years of practice, I've found that the gap between technical precision and the unexpected has naturally narrowed. The experience I've built means I can anticipate more, troubleshoot faster, and trust the process more fully. But I still welcome the surprises.
What is your favourite place to recharge and why?
The beach in summer, with the sun on my face. It's simple and it's perfect.
What is your favourite place to recharge and why?
The beach in summer, with the sun on my face. It's simple and it's perfect.
What is the aspect about cyanotype that you most enjoy and find satisfaction from?
Without question, making A0 prints. Working at this scale is an entirely different
experience to smaller formats. The paper alone is larger than I am, everything
about the process is amplified. The stakes are higher, which means the concentration required is greater. It also means when a successful print emerges in the wash and the image slowly comes through in that deep blue, the satisfaction is extraordinary. There is nothing like it.
Through cinematography, you honed in on the importance of aspects suchas light, composition and atmosphere. Is play and exploration a big part ofthe process?
Absolutely. With cyanotype, some images and compositions simply work better
than others and the only way to find out is to try. Play and exploration are
important parts of my process. I might have a clear vision going in, but I've learned
to stay open to what the process reveals along the way. Sometimes an unexpected
result leads somewhere far more interesting than what I originally planned. That
spirit of experimentation, of not being afraid to try something and see what
happens, is something cyanotype has deepened in me.
Through cinematography, you honed in on the importance of aspects suchas light, composition and atmosphere. Is play and exploration a big part ofthe process?
Absolutely. With cyanotype, some images and compositions simply work better
than others and the only way to find out is to try. Play and exploration are
important parts of my process. I might have a clear vision going in, but I've learned
to stay open to what the process reveals along the way. Sometimes an unexpected
result leads somewhere far more interesting than what I originally planned. That
spirit of experimentation, of not being afraid to try something and see what
happens, is something cyanotype has deepened in me.
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We have the pleasure of introducing a talented new artist to Kina, Sophia Jenny. Sophia's intriguing handcrafted cyanotypes are shaped by her background in cinematography and professional photography, where she developed a deep understanding of storytelling, composition, and the transformative power of light.
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