I have been reading the following: Towards a philosophy of photography: Flusser
' To summarize: The act of photography is like going on a hunt in which photographer and camera merge into one indivisible function. This is a hunt for new states of things, situations never seen before, for the improbable, for information. The structure of the act of photography is a quantum one: a doubt made up of points of hesitation and points of decision-making. We are dealing here with a typically post-industrial act: It is post-ideological and programmed, an act for which reality is information, not the significance of this information. And the same is true not only of the photographer but of all functionaries, from a bank cashier to the American President. The act of photography results in photographs such as we nowadays are being flooded with on all sides. Hence a consideration of this act can serve as an introduction to these surfaces whose presence is ubiquitous.'
How does this relate to production of cyanotypes? As they so not make use of an apparatus - e.g. the camera. THis depends on how the image is created as any image (photographic, drawn, photcopied or an object) can be copied onto an acetate sheet. The nature of the cyanotype has changed completely from when it was first produced (used to take impressions of real objects), with the advent of more sophisticated machines. What objets could be used now that were not available up to the last 40 years? e.g. plastics.
Roland Barthes Camera Lucida: https://monoskop.org/images/c/c5/Barthes_Roland_Camera_Lucida_Reflections_on_Photography.pdf