Rent 9780766820777 | The Book of Alternative Photographic Processes

Summary Table of Contents Author Biography

---- James brings the art of hand-coated and alternative photography to a new level�The Book of Alternative Photographic Processes will become the new standard text for alternative hand-coated photography. -- quoted from Dick Sullivan, Founder and Co-Owner, Bostick & Sullivan. *** Photographic artists and students will welcome this full-color, comprehensive technical resource that explores every aspect of alternative photography. Written in a highly accessible style, each of the book�s chapters introduces the history of a technique, presents an... MORE

Acknowledgments	p. xii
Introduction	p. xiii
The Pinhole
Overview and Expectations	p. 2
A Little History: Conception and Connections	p. 2
The Conception	p. 2
Connections	p. 6
How a Daguerreotype Is Made	p. 10
A Little Science	p. 13
Pinhole Construction	p. 16
Testing the Camera	... MOREp. 17
Finding the Correct Exposure	p. 18
Making Pictures	p. 19
Pinhole Recommendations	p. 20
The Negative: Traditional and Alternative Options
Overview and Expectations	p. 24
A Little History	p. 24
A Vision from 1760	p. 26
An Appropriate Moment to Explain Things	p. 32
Negative Production Options	p. 34
Commercial Labs	p. 34
The Copy Machine	p. 34
The Desktop Printer and Film Recorders	p. 34
Acrylic Films from Printed Sources	p. 35
Polaroid Type 55 Positive/Negative Film	p. 38
A Quick Nod to Conventional Films	p. 39
More Negative Options: The Cliche-Verre	p. 40
Single Stage Negative-to-Negative Duplicating Films	p. 42
A Few Multistage Duplicating Films	p. 43
Exposure and Development: Average Negative Densities	p. 44
Pyro	p. 45
Dave Soemarko's Lc-1 and Lc-1B Low Contrast Developer Formulas for Lith Film	p. 45
The Digital Options
Overview and Expectations	p. 48
A Little History: The Digesting Duck to the Present	p. 51
My View of the Present State of the Digital Arts	p. 55
A Caveat	p. 57
The Digital Negative: A Layman's Explanation	p. 58
CMYK Separation Negatives: the Bare Essentials	p. 64
CMYK Separations in Photoshop: The Speedy, Non-Fussy Version	p. 66
CMYK Separations in Adobe Photoshop: The Longer Version (Photoshop 5.0 and 5.5)	p. 67
CMYK Negative Separations in Adobe Illustrator	p. 70
Photogenetics: An Imaging Alternative	p. 70
The Plastic Camera
Overview and Expectations	p. 72
A Little History	p. 72
Toy Camera Philosophy	p. 75
The Six Plastic Virtues	p. 76
Plastic Camera Hints and Tips	p. 79
The Salted Paper Process
Overview and Expectations	p. 84
A Little History	p. 84
Chemistry and Formulas	p. 91
Coating Salted Paper	p. 94
Printing Salted Paper	p. 95
Prewash/Salt Wash	p. 96
Toning Formulas for the Salted Paper Process	p. 96
Fixing the Salted Paper Print	p. 99
Final Wash	p. 100
Contrast Control	p. 100
The Cyanotype Process
Overview and Expectations	p. 102
A Little History	p. 102
How Cyanotype Works	p. 107
The Chemistry: Chemicals and Sensitizer Formula	p. 108
The Negative	p. 110
Paper and Fabric Surfaces	p. 110
A Few Words About the Sun	p. 113
Exposing the Cyanotype	p. 114
Development: Water or Acid	p. 115
Washing and Oxidization	p. 115
Clearing Your Highlights	p. 116
Toning the Cyanotype	p. 116
Cyanotype Variations: Fabrics and the New Cyanotype
Overview and Expectations	p. 124
Materials You Will Need	p. 124
Making the Image: Chemistry	p. 128
Coating the Fabric	p. 129
Printing	p. 129
Development	p. 131
Oxidizer: "Intensification"	p. 132
Postprinting Washing Care	p. 133
The New Cyanotype	p. 133
A Little History	p. 133
The Five Shortcomings of the Traditional Cyanotype Process, According to Dr. Ware	p. 134
Chemical Solutions for the First Three Problems	p. 134
The Sensitizer	p. 135
Preparation of Sensitizer	p. 135
Coating Techniques	p. 136
Drying the Coating	p. 136
Negatives	p. 136
Exposure and Development	p. 137
The Kallitypes: Van Dyke, B-V-D, and Kallitype
Overview and Expectations	p. 138
A Little History	p. 140
The Van Dyke Process	p. 142
Van Dyke Sensitizing Chemistry	p. 142
The Paper	p. 143
Sizing	p. 144
The Negative	p. 145
Coating the Paper	p. 146
Exposure	p. 146
Processing the Image	p. 147
Toning the Van Dyke Image	p. 149
The Blue-Van-Dyke (B-V-D) Process	p. 151
The Kallitype Process	p. 154
The Kallitype Sensitizer	p. 154
Coating the Paper	p. 156
Exposing the Print	p. 156
Developing the Print	p. 157
Development Method #1	p. 157
Development Methods #2	p. 158
A Toning Process for Kallitype	p. 159
Controlling Contrast with Potassium Dichromate	p. 160
Fixing the Print	p. 160
Final Wash	p. 161
The Brownprint Process	p. 161
The Brownprint Sensitizer	p. 162
Exposure	p. 163
Development	p. 163
Fixing the Print	p. 163
Final Wash	p. 163
The Platinum/Palladium Process
Overview and Expectations	p. 164
A Little History	p. 164
The Process Explained	p. 168
Supplies and Materials	p. 170
The Negative	p. 172
Papers and Sizing	p. 173
The Chemistry	p. 174
Two Pt/Pd Developer Formulas	p. 175
The Clearing Baths	p. 175
Formula for EDTA Clearing Bath	p. 175
The Sensitizer Formula	p. 176
Preparing the Formula and Coating the Paper	p. 178
Exposure	p. 180
Best Advice	p. 180
Developing the Platinum/Palladium Image	p. 181
Prewashing and Clearing	p. 181
Some Points to Consider: Trouble-shooting	p. 183
Cyanotype, Gum, and Van Dyke with Pt/Pd	p. 185
The Ziatype Process
Overview and Expectations	p. 188
A Little History	p. 188
A Little Chemistry	p. 192
How It Works	p. 193
The Working Process	p. 194
Additional Considerations	p. 198
End Thoughts	p. 199
The Anthotype Process
Overview and Expectations	p. 200
A Little History	p. 200
Anthotype Materials	p. 202
The Working Process	p. 202
Paper: History, Preparation, Shrinking, Sizing, and Hardening
Overview and Expectations	p. 206
A Few Words About Paper and Its History	p. 206
Shrinking	p. 211
Sizing and Hardening	p. 212
Gelatin Sizing and Hardening Processes	p. 212
Gelatin Sizing	p. 212
Materials You Will Need	p. 212
Gelatin Sizing: Step 1	p. 213
Gelatin Hardening: Step 2	p. 213
Formalin Hardening Bath and Process: A Step 2 Option	p. 213
Glyoxal Hardening Bath and Process: A Step 2 Alternative	p. 215
Glyoxal-Gelatin Single-Coating Option	p. 215
Arrowroot Sizing	p. 215
Gesso-Acrylic Medium Sizing	p. 216
Gloss Polyurethane Sizing	p. 217
Gum Arabic-Dichromate Sizing	p. 218
The Gum Bichromate Process
Overview and Expectations	p. 220
A Little History	p. 223
How Gum Bichromate Works	p. 226
A Few Words Before We Begin	p. 226
The Gum Negative	p. 227
Registration	p. 229
The Ammonium/Potassium Dichromate Sensitizer	p. 230
Watercolors	p. 231
Gum Arabic	p. 232
A Traditional Gum Bichromate Sensitizing Formula (Ammonium Dichromate)	p. 232
Another Sensitizer Formula (Potassium Dichromate)	p. 233
An Alternative Sensitizing Formula: "The 5-10-10"	p. 233
Sensitizing the Paper	p. 233
A Few Words Regarding Conventional Gum Wisdom and Staining	p. 234
Coating	p. 235
Exposing the Negative	p. 235
Printing a Single Color Gum with a Single Negative	p. 236
Development: Clearing	p. 237
Other Miscellaneous Trouble-Shooting Notes and Suggestions	p. 238
Dichromate Options: 3-D Gum, Alternative Surfaces for Gum, the Dusting-On Process, the Ferro-Tannic Process, and the Ferro-Gallate Process
Overview and Expectations	p. 244
3-D Gum Bichromate Process	p. 244
How 3-D Works	p. 246
The Negatives	p. 246
The Process	p. 246
Gum Bichromate on Alternative Surfaces	p. 249
The Basic Premise	p. 249
Tooth	p. 249
Coating, Exposure, and Development	p. 250
The Dusting-On Process	p. 251
A Little History	p. 251
Contemporary Dusting-On Process	p. 252
Working on Glass	p. 254
The Traditional Dusting-On Formula	p. 255
Materials Needed for Dusting-On Process	p. 255
The Process for Paper	p. 255
Hot and Humid Image Development	p. 256
Dusting-On Glass: Transfer Option	p. 257
The Ferro-Tannic and Ferro-Gallic Processes	p. 257
A Little History	p. 257
The Chemistry	p. 258
The Albumen Process
Overview and Expectations	p. 260
A Little History	p. 260
How the Albumen Process Works	p. 264
The Traditional Raw Egg Method	p. 265
The Powdered Albumen Method	p. 266
The Instant Gratification Method	p. 266
Coating the Paper with the Albumen Solution	p. 266
Hardening Options If You Double Coat	p. 267
Sensitizing the Paper	p. 268
Exposure: Contrast Control and What to Look For	p. 269
Silver Albumenate and Highlight Yellowing	p. 269
Processing: First Bath	p. 269
Optional Toning	p. 269
Fixing the Toned Print	p. 271
Final Wash	p. 271
POP: Printing-Out Process
Overview and Expectations	p. 272
A Little History	p. 272
POP Overview	p. 274
A Traditional POP Emulsion	p. 275
Formulas and Process for Precoated POP Paper	p. 276
Gold-Thiocyanate Toner	p. 276
Gold-Alkaline Toners (Gray Silver-Sepia to Pink)	p. 277
Sodium Bicarbonate Formula	p. 278
Replenishment for Gold Toners	p. 279
Platinum Toner: Traditional Formula	p. 279
POP Platinum Toner (Neutral Black-Sepia)	p. 279
Gold-Platinum POP Split Toner	p. 280
Gold-Platinum-Selenium POP Split Toner	p. 280
Fixing the POP Print	p. 281
Final Wash	p. 281
Hand-Applied Emulsions: Liquid Emulsions, Photo-Etching, Paint, Photo-resists, Contemporary Tintypes, Wet Collodion, and Ambrotype Processes
Overview and Expectations	p. 282
Liquid Emulsions	p. 284
The Working Process for Hand-Applied Emulsions	p. 286
Emulsions on Glass, Ceramic, and Similar Surfaces	p. 288
Emulsions on Metal	p. 290
Solarplates	p. 293
Photo-Resists	p. 296
Contemporary Tintype Process	p. 300
A Little History	p. 300
The Dry Plate Process	p. 302
Coating	p. 303
Exposure	p. 303
Development	p. 303
The Wet Collodion and Ambrotype Process	p. 304
A Little History	p. 304
The Ambrotype Process	p. 306
Salted Collodion Emulsion	p. 307
Prefix Wash: Developer Removal	p. 309
Fixing the Plate	p. 309
Drying	p. 311
Varnishing	p. 311
Mounting and Presentation of a Wet Collodion Positive	p. 312
The Mordancage Process
Overview and Expectations	p. 314
Redevelopment	p. 317
Depouillment (Gelatin Removal)	p. 317
Oxidation	p. 317
Image Transfer Processes: Color Laser, Lazertran System, Polaroid Transfer and Emulsion Lift Processes, Ink Jet Water Transfer
Overview and Expectations	p. 318
How a Color Laser Copier Works	p. 320
At the Copy Store	p. 321
Materials You Will Need	p. 322
Solvent Transfer Technique	p. 322
The Varneytype Transfer Process	p. 324
Water/Dry Mount Process	p. 324
Transfers to Fabric	p. 324
The Lazertran Transfer Process	p. 325
Lazertran Transfer Papers for Artists	p. 325
Fixing a Lazertran Transfer to Glass, Ceramic, Perspex, and Metal	p. 328
Fixing a Lazertran Transfer to Paper, Wood, Stone, and Plastic with Turpentine	p. 329
Lazertran Silk Transfer	p. 329
Lazertran on Heavy Fabrics	p. 329
Lazertran Etch: Printmaking Press Transfers	p. 330
Polaroid Transfers and Emulsion Lifts	p. 330
What Is Polaroid Film and How Does It Work?	p. 331
Materials Needed for These Processes	p. 332
The Wet Transfer Process	p. 332
The Dry Transfer Process	p. 335
Polaroid Emulsion Lifts	p. 335
The Process	p. 335
Exposing Type 59 4" x 5" Film in an Enlarger	p. 336
Ink-Jet Water Transfer Process	p. 338
Safety Considerations and Data for Chemicals Used in This Book
Excellent Sources for Chemical, MSDS (Material Safety Data Sheet) and Lab Safety	p. 342
A Few Simple Chemistry Definitions	p. 342
Chemistry and Safety	p. 344
Chemical Abstract Service Registry (CAS)	p. 345
Small Volume Conversion Table
Dry measure	p. 356
Liquid measure	p. 356
Temperature	p. 357
Percentages	p. 357
A Simple Ultraviolet Exposure Unit
Materials Needed	p. 358
How to Make It	p. 359
A Working Inventory Check Sheet: For an Alternative Process Curriculum, Workshop, or Studio	p. 360
A Modest List of Resources: Chemicals, Lab Gear, and Kits	p. 366
Lab materials and art supplies	p. 368
Films and Photographic Supplies	p. 369
Negative Scans, Digital Resources, Books, Postcards, and Portfolios	p. 371
Alternative Processes on the Internet	p. 373
An Alternative Process Working Space	p. 375
Selected Bibliography: Contemporary and Traditional Alternative Processes
Contemporary	p. 376
Early and Historical	p. 378
Index	p. 381
Table of Contents provided by Syndetics. All Rights Reserved.

Christopher James is Chair of the Photography Department at The Art Institute of Boston at Lesley University

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