Jill Enfield’s Guide to Photographic Alternative Processes, 2nd edition, is packed with stunning imagery, how-to recipes, techniques and historical information for emulating the ethereal, dream-like feel of alternative processing.
This fully updated edition covers alternative processing from its historical roots through to digital manipulation and contemporary techniques and how to combine them. It features several new techniques alongside new approaches to older techniques, including hand painting on silver gelatin prints, ceramics and photography, cyanotypes, wet plate collodion, digital prints and many more. Enfield showcases the different styles and methods of contemporary artists together with suggestions for vegan and vegetarian friendly alternative processing, transforming 2D images to 3D installations, and how to apply darkroom techniques to digital captures.
Professionals, students and hobbyists will discover how to bring new life and imagination to their imagery. Whether in a darkroom using traditional chemicals, at the kitchen sink with pantry staples, or in front of the computer re-creating techniques digitally, you will learn how to add a richness and depth to your photography like never before.
Author(s): Jill Enfield
Series: Alternative Process Photography
Edition: 2
Publisher: Routledge
Year: 2020
Language: English
Pages: 354
Cover
Half Title
Title Page
Copyright Page
Dedication
Contents
Acknowledgments
Introduction: History of Photography – A brief timeline
Chapter 1 Safety with Chemicals
Taking Basic Precautions
Suggestions on Buying, Mixing, and Storing Chemicals
Chemicals from Grocery Stores and Other Suppliers
Ventilating Your Workspace
Disposing of Materials
Chapter 2 A Guide to Materials and Techniques
Stock Up Your Darkroom
Light Sources
Paper
Learning the Basic Techniques
Preparing and Cleaning Glass and Other Supports
Acidifying Papers
Sizing Formulas
Sizing Techniques
Sensitizing Techniques
Basic Steps For Applying Sensitizer With a Brush
Drying Techniques
Protecting Finished Images
Chapter 3 The Digital Negative Process: and Other Approaches to Making and Printing Negatives
The Process
Reasons For Doing Different Types of Negatives
Getting Started
Instructions
Curves
Making Separation Negatives For Gum Printing
Other Approaches to Making and Printing Negatives
Troubleshooting
Chapter 4 Fugitive(Impermanent) and Not-So-Fugitive Printing: Anthotypes, Photosynthesis, and Lumen Prints
Some History
Anthotypes
Photosynthesis
Lumen Prints
Cool and Different
Chemical Experiments
Chapter 5 Cyanotypes: Old and New Approaches, Plus the Cuprotype(Copper) Process
The Process
Mixing the Chemicals For Stock Solutions
Traditonal Cyanotype
Chemistry Mix For Printing On Glass
Mike Ware’s “New Cyanotype"
Prepare the Support For Sensitizing With Emulsion
Mixing the Stock Solutions to Make the Sensitizer For Traditional Cyanotype
Coating Paper
Checking the Exposure
Determining the Proper Exposure
Washing the Print
Drying the Print
Changing the Color From Blue to …
To Produce Different Colors
Tips
Troubleshooting
The Cuprotype Process
Getting Ready to Print
Mixing the Stock Solutions
Directions
Toning Options For Other Colors
Other Toning
Chapter 6 Salted and Albumen Prints
Photographic Printing Before 1850
Differences in Dilutions
Organic Sizing
Watercolor Paper Choices
Plain Salted Paper
Sizing Papers
Sizing With Starch
Glossy Albumen
Matte Albumen
Making the Silver Solution
Sensitizing Your Support
Negatives Needed
Exposing Your Print
Toning
Borax Gold Toning
Platinum Toning
Troubleshooting
What to Do With Those Left Over Egg Yolks
Chapter 7 Van Dyke Brown, Kallitype, and Argyrotype Prints
Creating Van Dyke Brown Prints
Creating Kallitypes
Argyrotype Process
Troubleshooting
Chapter 8 Traditional Platinum and Palladium Prints, the Malde - Ware Technique and the Ziatype
Creating Platinum and Palladium Prints – the Developing Out Way
Troubleshooting
Malde–Ware Technique
The Ziatype
Chapter 9 Wet Plate Collodion
One Process, Many Outcomes
The Process
Equipment
Mixing Chemistry
Steps to Prepare Your Plates
Set Up Your Darkroom
Pouring Collodion
Sensitizing the Plate
Exposing the Plate
Developing the Plate
Fix
Washing
Drying the Plate
Varnishing the Plate
Helpful Notes and Troubleshooting
A Few Other Thoughts in No Particular Category
Exposing a Positive Image With An Enlarger
Negatives vs. Positives
Fun Things To Do
Chapter 10 Liquid Emulsion Prints and Dry Plate Tintypes
Preparing Your Base Support
Coating Your Base Support
Drying Your Base Support
Exposing Your Base Support
Increasing the Contrast of Your Image
Developing Your Print
Finishing Your Surface
Troubleshooting
Gelatin Dry Plate: Glass and Tintypes
Troubleshooting
Chapter 11 Gum Printing
The Process
Things to Think About Before You Start
The Negatives
Paper
Sizing
Brushes
Pigments
The Solutions
Directions
Multiple Printing
Clearing
Contrast Control
Tips and Troubleshooting
Chapter 12 Transfers and Decals
Wax Paper or Plastic Sheet Transfers
Process
Solvent Transfers
Transferiez – Inkaid Transfer Medium
Other Ideas For Printing
Chapter 13 Hand Painting Photographs: Silver Prints, Non-Silver and Inkjet Prints
Creating Hand Painted Photographs
Getting Started
Painting Mediums
Papers
Painting on Non-Silver Prints
Painting on Inkjet Prints
Evaluating Your Print
Preparing Your Print
Mixing Colors
Using Water-Based Colors
Using Oil-Based Colors
Using Other Mediums
Finishing Your Surface
Chapter 14 Multiple Printing and Other Techniques
Inkjet With Processes on Top and Another Really Cool Way to Layer Images
Inkjet Prints on Watercolor Paper With Any Alternative Processes on Top
Multiple Printing
Other Techniques – Back to the Future
Chapter 15 Ceramics and Photography
Pyrofoto
Laser Transfer Decals
Gum Bichromate Printing
Dichromate Egg Mixture, As Per Kit Anderson
Cyanotype
Silkscreen
Photo Transfer
Sources, Websites and Podcasts
Bibliography
Conversion Tables
List of Artists
Index
