Alternate Processes in Photography: Technique, History, and Creative Potential

Alternate Process in Photography: Technique, History, and Creative Potential offers a unique, practitioner's perspective on the history and practice of photographic processes. The book emphasizes handmade, largely historical photographic techniques, and provides detailed information for both beginning and advanced photographers.

Table of Contents:
Contents Acknowledgments Introduction Chapter 1 Negatives Digital Negatives Required Materials Darkroom Negatives Required Materials The Importance of Making Good Negatives Historical Introduction Traditional Darkroom Options Digital Negatives Primary Photoshop Tools Contrast Controls: Levels and Curves Image Mode Invert Layer Adjustments Sharpening Image Size Negative Supports Acetate Paper and Vellum Pictorico and Other Inkjet Films Film Making the Negative File Types Wrapping It Up Chapter 2 Paper Historical Introduction Making Paper Paper Terminology Tooth Finish Sizing Acid-Free Deckle Grain Weight Handmade Paper Machine-Made Paper Moldmade Paper Types of Paper Writing Paper Drawing Paper Printmaking Paper Watercolor Paper Other Options Preshrinking Sizing Spray Starch Arrowroot Starch Gesso Gum Arabic Gelatin Other Supports Fabrics Canvas Wood, Glass, Ceramics, and Metal Wrapping It Up Chapter 3 Salted Paper (Calotype) Required Chemicals Optional Chemicals Historical Introduction Chemistry Sensitizer Development Toner Fixer Clearing Making the Print Negatives Paper Coating Exposure Development Toning Fixing Clearing and Washing Troubleshooting Fading Weak Prints Wrapping It Up Chapter 4 Cyanotype Required Chemicals Optional Chemicals Historical Introduction Chemistry Sensitizer Development Clearing Baths Other Chemicals Making the Print The Negative Papers Mixing the Sensitizer Exposure Development Clearing/Finishing Toning Tea and Coffee Borax Dektol/Print Developer Ammonia Sodium Carbonate Tannic Acid Troubleshooting Staining Weak Prints Wrapping It Up Chapter 5 Van Dyke Brown Required Chemicals Optional Chemicals Historical Introduction Chemistry Sensitizer Development Toners Fixing Clearing Agents Contrast Control Making the Print The Negative Papers Coating Exposure Development Toning Fixing Clearing and Washing Troubleshooting Dark Prints Light Prints Streaking Wrapping It Up Chapter 6 Platinum and Palladium Required Chemicals Optional Chemicals Historical Introduction Chemistry Sensitizer Development Ammonium Citrate Developer Potassium Oxalate Developer Cold Bath Developer Clearing Baths Other Chemicals Gold Chloride Na2 Making the Print The Negative Papers Mixing the Sensitizer Further Contrast Control Palladium Combined with Platinum Gold Chloride Exposing the Print Developing the Print Troubleshooting Fogging Solarization/"Bronzing" Wrapping It Up Chapter 7 Variations on Platinum and Palladium Kallitype: Required Chemicals Kallitype: Optional Chemicals Ziatype: Required Chemicals Ziatype: Optional Chemicals Kallitype: Historical Introduction Kallitype: Chemistry Sensitizer Development Toning Clearing Baths Fixer Contrast Control Kallitype: Making the Print The Negative Papers Coating Exposure Development Clearing Baths Toning Fixing Final Wash Kallitype: Troubleshooting Yellow Highlights Streaking Weak or Faded Prints Ziatype: Historical Introduction Ziatype: Chemistry Sensitizer Ammonium Ferric Oxalate Lithium Palladium Chloride Cesium Palladium Chloride Ammonium Dichromate Gold Chloride Sodium Tungstate Tween 20 Clearing Baths Ziatype: Making the Print The Negative Paper Coating Exposure Development/Processing Ziatype: Troubleshooting Weak Prints Inconsistent Results Wrapping It Up Chapter 8 Gum Bichromate Required Chemicals Optional Chemicals Historical Introduction Chemistry Bichromates Gum Arabic Other Colloids Albumen Glue Watercolors Clearing: Sodium/Potassium Metabisulfite Making the Print The Basics: Working in Black and White Negatives Papers Preshrinking More on Sizing Mixing the Sensitizer Coating Exposure Development Registration Clearing Advanced Printing: Full Color Additive versus Subtractive Color Negatives Exposing the Print Troubleshooting Staining Development Sizing Paint Gum Arabic Base Layer Wrapping It Up Chapter 9 Lifts and Transfers Required Materials Historical Introduction Ideas, Methods, and Techniques Tape Lifts Gesso or Gel/Matte Medium Transfers Acrylic Transfers as Transparencies Solvent Transfers Inkjet Transfer Prints Method One Method Two Wrapping It Up Chapter 10 Wet Plate Collodion Required Chemicals Optional Chemicals Historical Introduction Equipment Chemistry Sensitizer Developers Fixer Varnish Making the Photograph Preparing the Plates Glass for Ambrotypes Tin for Tintypes Sensitizing the Plates Exposure Development Fixing the Plates Washing the Plates Drying the Plates Varnishing the Plates Turning the Glass Image Positive Troubleshooting Wrapping It Up Chapter 11 Liquid Emulsions Required Chemicals Optional Chemicals Historical Introduction Plates and Negatives Photographic Papers and Printing Liquid Emulsions Making the Print Chemistry Emulsions Processing Chemisty Preparing a Surface for Coating Metal Glass and Ceramics Wood Coating the Emulsion Exposure and Development Fixing Clearing Washing Toning/Postdevelopment Processing Troubleshooting Image Density Emulsion Lacks Stability Peeling and Cracking Wrapping It Up Chapter 12 Combination Printing Gum Bichromate Platinum/Cyanotype Cyanotype/Van Dyke Brown Mixing with Printmaking and Transfer Techniques Wrapping It Up Appendix: Chemical Safety Bibliography Suggested Websites Glossary Index

About the Author :
Brian Arnold is a visiting research fellow in the Southeast Asia Program at Cornell University. He is a photographer, musician, and writer.

Review :
"Alternate Processes in Photography is exciting and will make an excellent addition to the existing books in the field. As a faculty member who has taught classes in alternative processes in photography for more than thirty years, I welcome a book of this nature."--Laurie Snyder, Maryland Institute College of Art "Where some alternative process books read like an intimidating technical manual and others are not technical enough, Arnold's text is clear, thorough, and to the point. It is worthwhile and written by a person who has actually done the techniques."--Heather Oelklaus, Colorado College