This series of cyanotypes momentarily suspend the ever-changing and abstract reflections that play on the surface of the water in the Boston Harbor. Negatives are made from the original digital files and contact-printed using the cyanotype process, which involves painting a light-sensitive, two-part chemistry onto any absorbent surface. The print is exposed in the sun and requires only water to develop. The subject matter and the methodology of the work are intertwined, light and water being both the content of the work and the ingredients required to process the prints. The rich blue hues enhance the transformation of water into formal patterns of light, shadow, and tonality. The resulting images are not reflections of reality but rather reflections of the infinite configurations that fleetingly play on the surface of the harbor.