Treat the uploaded photograph as a negative laid on paper coated with iron salts and left in the sun, then rinsed. The finished sheet is a cyanotype and only a cyanotype: deep Prussian blue in the shadows, paper-white where the light was strongest, no other hues, no split-toning, no modern colour grade that merely leans blue.
The person remains that person — same age, hair, clothes, and stance. Facial features survive as a chemical stain, a little softer than the source, the way a sun print always loses a touch of sharpness. Architecture, foliage, and sky collapse into silhouettes and mid-blue washes. Water, if it is in the source, reads as paler blue where it caught more light.
The paper itself is part of the picture. Deckle the edges. Let the sheet cockle slightly from washing. Leave a rust-brown bloom of unreduced iron in one corner, not as damage to the face, as workshop accident on the margin.
This is a nineteenth-century workshop print of that exact photograph, not a blueprint of a building and not a digital invert.
