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One of the greatest hazards for the photographer using a home darkroom is the contamination of their living space with potentially hazardous chemicals. If one's living space becomes contaminated long term exposure will take place which poses a signifigant risk. It is not advisable to use your kitchen or your bathroom as a temporary darkroom. Ideally a home darkroom should be established in a room dedicated to that purpose. Good housekeeping and an adequate ventilation system will insure that any potentialy hazardous chemicals do not enter your living area.
Wear gloves whan handling all photographic chemicals. Insure that all equipment and materials are only used in your darkroom, and never used for food preparation. Prepare powder based chemicals in a "glove box" - a box with openings cut in the sides for hands and a window of glass or clear plastic placed in the top. A glove box will prevent the spread and possible contamination of fine powders.
Ultraviolet light is used in almost all alternative photographic processes. Ultraviolet light can cause severe sunburn and eye damage. Do not expose bare skin to utraviolet light for long durations. Never look directly at an ultraviolet light source.
Risks and precautions will be summarized for each process. This information was taken from Overexposure: Health Hazards in Photography, by Susan D. Shaw and Monona Rossol
The Enviro-net MSDS Index provides a form bases searchable database.
The University of Utah MSDS provides a gopher based menu of substances.
Alternative process work can be accomplished without having a proper darkroom, but having one is a great advantage. The materials used in alternative process photography are not nearly as light sensitive as silver-gelatin materials. It is often possible to use a temporarily darkened room with success. Care must still be taken to not inadvertently fog material.
The usual graduated cylinders and processing trays are necessary. It is very useful to have a small balance for weighing out materials. A lot of materials are available in kits, with individual compounds packaged in pre-weighed envelopes, making a balance optional for the beginner.
Most alternative processes are sensitive only to ultraviolet light. Most light sources used in silver-gelatin processes do not emit a significant amount of ultraviolet light and thus are not useful in alternative process work. It is necessary to have a light source that emits significant amounts of ultraviolet light. Common light sources of UV light are full spectrum or plant growth fluorescent lamps, sunlamps, Mercury Vapour lamps. The cheapest most accessible source of UV light is the sun. Using the sun is difficult because the amount of UV light that lands on a particular location is quite variable and unpredictable. This tends to make things even more complicated.
Please see the article Using the Sun as an Ultra-violet Light Source for more information.
A fluorescent printer can be made by creating a bank of small strip lamps to evenly illuminate a particular area. Wiring a bank of fluorescent lamps is quite simple -- most public libraries have books on this. The critical thing is to get an even illumination. It is helpful to have the lamps mounted on a spacer so they point down to the work surface. The print and contact frame can be slipped underneath the printer. This method eliminates a layer of glass, which absorbs UV light, and thus makes exposure times somewhat shorter.
I've use what is known as a self-ballasting mercury vapour lamp. This is a MV lamp that screws into a normal incandescent light fixture. This is very easy to set up though the lamps can be a little expensive costing between $50 - $150. These should only be used for small prints 4x5 or smaller because the intensity of the light decreases from the center. Large prints would be given uneven exposure. A bank of MV lamps could be constructed for making large prints, however a flourescent system would likely be easier.
Most alternative processes use contact printing. Contact printing is when the negative and support are tightly sandwiched together under glass. The negative must be in complete contact with the support in order to get a sharp image. A device for holding the negative and support together during exposure is necessary.
The simplest method is to use a large piece of glass. The weight of the glass holds the negative and support in place. If you are planning on doing Gum bichromate printing with multiple prints some sort of registration apparatus must be used to allow for multiple exposures. Most photography stores carry contact printing frames. Some of the mail-order supply houses that cater to alternative processes carry contact printing frames made especially for alternative process work.
It is necessary to use a relatively large negative in alternative process work, because the work is contact printed. The resulting image is only as big as the negative used to make the print. Ideally original large format negatives are used. Original negatives have the greatest resolution and clarity. Large format negatives are made in large format cameras.
Unfortunately not everyone works with large format cameras so an enlarged copy negative must be made. There are two ways to do this. A direct positive film can be used. The original negative is enlarged onto the direct positive film. The direct positive film is processed resulting in an enlarged negative.
The other method is to make an interpositive. The original negative is enlarged or contact printed to normal film and processed, resulting in a positive. The positive is again enlarged or contact printed to regular film and processed giving a negative. The interpositive method allows for a great deal of control of the contrast and density of the final enlarged negative. This can be quite helpful because different processes often require different qualities of negatives.
The low-tech way to make large format negatives is with a pinhole camera, though the resulting image has low resolution. This would be fine for gum-bichromate prints, but a real waste if used to make platinum prints. Please see The Pinhole Page for more information.
Note : Information on processes was taken from Arnow's Handbook of Alternative Photographic Processes and Crawford's Keepers of the Light
Silver nitrate is moderately corrosive, eye contact can result in blindness.
The cyanotype relies on the reaction of ferric or iron salts to light, where they are reduced to the ferrous state. The ferrous salt reacts with the potassium ferricyanide to from insoluble ferric ferrocyanide, also known as Prussian Blue. Separate solutions of ferric ammonium citrate and potassium ferricyanide are made. Just prior to exposure equal parts of the solutions are combined and the paper is coated. Once dry the paper is exposed to UV light. The image is developed and fixed by rinsing the paper in warm running water for about 10 minutes. The image will gradually darken as the cyanotype completely oxidizes. The print can be oxidized by placing in a solution of 3% hydrogen peroxide. Other colors are possible by toning with a number of solutions.
Please see article Toning Cyanotypes.
SOLARGRAPHICS
P.O. Box 7091P
Berkeley, California 94707
USA
(415) 525-1776
The kallitype is an iron-sensitive process that uses silver to form the image. The kallitype emulsion is a mixture of ferric oxalate and silver nitrate, with the addition of either oxalic acid or potassium oxalate. When exposed to light the ferric oxalate is changed to the ferrous state, which reduces the silver nitrate to the metallic silver. When developed the ferrous oxalate is dissolved and the metallic silver is left forming the image.
The kallitype process is a very unforgiving one, great care must be taken. The resulting prints are quite similar to platinum prints, however kallitype prints are not nearly as permanent as platinum, although substantially cheaper to produce.
More details and suggestions are available in the article Kallitype Notes.
The platinum and palladium print is considered by many to be the finest monochrome printing process. Platinum prints are capable of producing a long rich tonal scale, tremendous depth of shadows and the subtlest highlight details.
The platinum print is another iron sensitive process. Two sensitizing solutions and a platinum solutions are made:
The three solutions are mixed together just prior to coating. Different concentrations of the sensitizing solutions can be used to vary the contrast of the resulting emulsion.
The paper must be coated using a brush with no metallic surfaces (reacts with platinum). After drying the paper is exposed to ultraviolet light. The paper is developed in a solution of potassium oxalate. The image develops instantly so the print must be immersed in the developer instantly. The print is then cleared in three succesive baths of, for instance, hydrochloric acid clearing solution.
When the ferric salts are exposed to light, they reduce to the ferrous state. When the image is developed in pottassium oxalate, the platinum reduces to to the metallic state, where it has been exposed and in contact with the ferrous salts. The image is first formed by the iron and then by the platinum after development. Unexposed platinum and ferric salts are dissolved out. All traces of iron are removed by the clearing bath, leaving an image formed entirely of platinum.
Platinum prints are one of the most permanent printing media. The major disadvantage of platinum printing is the high cost. Palladium reacts almost exactly the same as platinum, and the two printing media are quite similar. Palladium prints are much warmer than platinum. The process details for palladium are almost identical, with a few minor changes. Palladium is substantially cheaper than platinum.
There are a number of reference books on platinum and palladium printing. Please see the Reference section at the end of this FAQ.
In gum bichromate printing the paper is coated with gum arabic which carries a pigment, and is sensitized with a bichromate. On exposure to UV light the bichromate causes the exposed gum arabic to harden and become insoluble in proportion to its exposure. The areas not exposed to light remain soluble.
The print is developed by floating it face down in water. The unexposed portions dissolve taking the pigment along. The insoluble portions remain on the paper. The print can be manipulated while developing, allowing the printer to make many local modifications. Any watercolor pigment can be used allowing the printer to choose the color of print. It is also possible, though very challenging to make full color prints using multiple printing with different colored pigments and color separation negatives.
In order to get a good print it usually necessary to multiple print, that is to coat, expose and develop the same print repeatedly to develop a full tonal scale. This requires some sort of registration technique. See the article Substrate Gum Method for a method of registering Gum Bichromate prints.
Gum bichromate printing can be very demanding because of its flexibility. The final gum bichromate image is usually somewhat soft.
Return to Table of Contents PLEASE SEE Gumoil.
The transfer tissue is the temporary support that holds the gelatin pigment mixture during exposure. After exposure the gelatin and pigment are transferred to the final support. There are no current manufacturers of transfer tissue. The pigment transfer tissue can be made by hand. This makes the carbon process somewhat complicated.
A pigment tissue is made by coating a support with a mixture of gelatin and pigment and other a number of other ingredients. After the pigment tissue has been coated it is sensitized with a dichromate, and left to dry. The pigment tissue is the exposed to UV light. The dichromate causes the gelatin to harden where it is exposed to light.
After exposure the tissue is soaked for a few minutes to allow the excess dichromate to dissolve out and to allow the tissue to flatten. The tissue and final support are placed face to face under water and aligned. The two sheets are then carefully pulled out of the water, placed on a flat sheet (glass) and lightly squeegeed together.
The sheets are then weighed down for about 20 minutes. The two sheets are then placed in water at about 40 degrees C. The soluble gelatin and pigment will begin to ooze out. After another minute, carefully peel the pigment tissue off the final support. At this point there is no visible image on the final support, it consists of a mass of undissolved gelatin and pigment.
The final image is developed by agitating in all directions the final support in water in a number of baths, until the image is fully developed. The image develops by the unhardened unexposed gelatin dissolving in the water. The exposed gelatin is hardened by the dichromate and made insoluable in water. After development is complete the image is immersed in cold water to harden the gelatin. The resulting image is made up of only gelatin and pigment, making the carbon print one the most archival processes.
Please see article on Safe Dichromate Use
The UltraStable process makes use of pre-sensitized pigment sheets. There is no messy and dangerous handling of dichromate and the shelf-life of the materials is about one year at room temperature or longer if refrigeration is used.
This process is relatively new. A computer is used to generate color separation negatives from the original image. The original image is first digitized by using a high resolution scanner. Computer software is used to produce four half-tone separation negatives of the same type used in the printing industry. The closer the dots are printed together the darker the image appears. This is the same technique used to print images in books and newspapers only much more refined. One can get wonderful separations and screened negatives with a high resolution scanner and printer. The process can also be (and is) used with optically produced continuous-tone negatives
The exposure of the pigmented sheets and the development is very similar to carbon. The main difference between the Ultrastable process and the traditional carbon process is that the former uses convenient pre-sensitized pigmented sheets on dimensionally stable polyester sheets so that automatic registration is possible. The main drawback is that screened negatives are required and most people will have to use a service bureau to have them made.
There is more information available on UltraStable in the book: The Permanence and Care of Color Photographs : Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures , by Henry Wilhelm with contributing author, Carol Brower.
Ultrastable materials and information are available from:
UltraStable Color
Systems
500 Seabright Ave. Ste. 201
Santa Cruz
95062 California
USA
Tel 1-408-427-3000
. Fax1-408-426-9900
In carbro printing a pigment tissue similar to that used in Carbon printing is brought in contact with a bromide print. The gelatin in the pigment tissue loses its solubility through the chemical reaction between the sensitizer on the pigment tissue and the silver in the bromide print. The tissue is then transferred to the final support and developed in the same manner as a carbon print.
The advantages of a carbro print is that the pigment tissue is never sensitive to light and a UV light source in not necessary since the bromide print is made using traditional silver-gelatin methods.
Most bromide prints made today are coated with a hard surface to protect the fragile gelatin underneath. It is not possible to use these papers in carbro printing. Common unsupercoated papers currently available are: Kodak Polycontrast Rapid RC matte surface, Luminos RD Matte Bromide, Agfa Portriga Rapid No. 118, SupreBrome Royal Portrait Matte Paper, Ilfobrome Semi-Matte paper.
Bromoil printing begins with a normally developed silver print. A non-hardening developer, such as amidol or Ethol LPD, is preferred for processing. Subsequent bleaching and tanning of the print removes the silver and results in selective hardening of the gelatin. In other words, the non-hardened areas of the print (the highlights) will absorb water and repel ink. The hardened parts of the print (shadows and mid-tones) will accept ink, resulting in a positive image resembling the original print. The advantages of bromoil are that (a) it allows a considerable degree of control over final image quality and (b) it is permanent.
The bleaching/tanning solution is made of distilled water (1000 ml), into which 70 ml of 10% solution copper sulphate, 70 ml of 10% solution potassium bromide, and 30 ml of 1% solution potassium dichromate is added. This solution will bleach out about a dozen 5x7 prints.
The ink used in bromoil printing is similar to lithographic ink. Hard ink is used initially, followed by soft ink, although the former alone will result in a lovely effect resembling etching. Brushes are specially-made of either hog, bear or fitch hair. A source for materials is provided at the end of this article.
The inking process involves first soaking the matrix (what the original print is called after bleaching and tanning) in water to induce the differential swelling of the gelatin. Test strips are used to determine optimal soaking times, starting with five minutes and continuing up to about 20 minutes. The test strips should be completely free of surface water before applying ink. The strip that accepts the ink most easily, with good buildup in the dark areas and clear highlights, will determine the proper soaking time.
The matrix is then soaked for the determined time and the surface water removed (using a damp chamois). The matrix is then placed upon a support and ink is applied. The inking process requires considerable practice to master the technique and involves lightly coating the surface, pushing the ink into the shadows and mid-tones and out of the highlights. The matrix may have to be re-soaked several times during the inking process, especially if resin-coated paper is used. The final print is allowed to dry for several days before matting and framing.
Bromoil supplies and materials can be obtained from David W. Lewis, 457 King St., Box 254, Callender, Ontario, Canada, P0H 1H0.
References:
Copper sulphate??
Ink??
If amidol is used as the developer, then mix the solution outside the darkroom since the powder can become airborne and contaminate paper, resulting in purple stains.
The Polaroid transfer uses Polaroid peel apart color films in an unconventional manner.(See Polaroid Peel Apart Films) The Polaroid pack is peeled apart during processing, the positive image is transferred to an alternative surface. The surface the image is tranfered to imparts a different quality to the image. A receptor sheet is prepared, this will hold the final image. If paper is being used it is thoroughly soaked, other media can be used such as silk and other textiles.
The Polaroid negative is exposed, recording a new image, or by projecting a previously made slide onto the Polaroid. The film is processed in the pack as normal except the film is peeled apart after about 10 seconds. The negative containing all the dyes is then placed on the prepared receiving sheet. The negative is then firmly pressed onto the receptor sheet using a roller or your hands. It is critical to use even pressure. After waiting 90 seconds to two minutes the negative is peeled off the receptor. The dyes have now been transferred to the recieving sheet transferring the image to the receptor sheet. The quality of the transferred imaged depends on the method of transfer and the nature of the receptor sheet. A wide variety of papers and textiles can be used for receptor sheets.
Polaroid makes a variety of peel apart films in different sizes. Transfers will not work with black and white polaroids or with the SX70 style instant polaroids or other "integral" film types
Polaroid has produced a publication on Polaroid Transfer. They can be
reached at
For more information of Polaroid films see Polaroid Film Types, or Welcome to Polaroid
or
Holly F. Dupre's Polaroid Image Transfer Book.
5124 Sunset Blvd. L.A., CA. 90027
213-660-3460 voice
800-292-6137 toll free voice
213-660-4885 fax
800-616-3686 toll free fax
e-mail: foto@freestylesalesco.com
See their alternative process page
To order:
1-800-828-6216 M-F 8am-7pm EST, Sat 10am-4:30pm EST
FAX: 716-442-7318
Cust.Service: 1-800-828-9859
Tech.Assist.: 716-271-8960 M-F 9am-5pm EST
439 Monroe Avenue
PO Box 940
Rochester, NY 14603-0940
Suppliers of a variety of photographic apparatus, conservation supplies, books and a variety of alternative process kits.
P.O. Box 950
Condon
MT 59826
USA
EMAIL: formulary@montana.com
TEL: (406)754-2891
Tollfree (800) 922-5255
FAX: (406)754-2896
Suppliers of a variety of photographic chemicals, apparatus and a variety of alternative process kits.
TEL: (505)474-0890
FAX: (505)474-2857
E-mail: richsul@roadrunner.com
Suppliers of a wide selection of alternative photographic process materials.
#2400
200 Boston Avenue
Medford, MA 02155
USA
TEl: (800)628-9618
Suppliers of precoated palladium/platinum paper, associated chemistry and apparatus.
12 Valentine Place
London
SE1 8QH, UK.
tel 0171 620 0844
fax 0171 620 0129
5 minutes walk from Waterloo station if you happen to be in London UK!
UK supplier of equipment, materials and chemicals for alternative processes, also a wide range of specialist films, paper and chemistry for silverprinting.
4130 First Avenue S.
Seattle, WA 98134-2302
TEL 1-800-426-6740
TEL 206-223-9599
Suppliers of printing papers, brushes, pigments
Resource for many photo and alt-photo related chemicals
albuwrks@bcn.net
PO Box 805
Front Street
Housatonic, MA 01236
Tel. (413) 274-6901
P.O. Box 158
Yonkers, NY 10705
(914) 965-4800
Luminos Art Paper is suitable for many processes such as carbro and bromoil since it is a matte, nonsupercoated paper. It's single weight and about grade 3.
457 King Street
P.O. Box 254
Callander, Ontario
Canada
P0H 1H0
Phone: (705) 752-3029
Paper mnaufactured specifically for the Bromoil Process can be ordered from him. He also has the inks and brushes.
(general purpose photo chemicals)
For pigments.
(They specialize in precious metals - cheapest source of gold chloride and silver nitrate I've ever found)
The Z*ACRYL ETCHING SYSTEM is a line of integrated materials specifically designed for the field of fine art intaglio printmaking
P.O. BOX 17,
FIN-03601 KARKKILA
tel +358-(0)9-2255119
fax +358-(0)9-2259363
Email: istvan@arkistovedos.fi
Arkistovedos Oy is manufacturing LUX ETERNA ALT. PHOTOGRAPHIC KITS, LUX ETERNA TONERS for silver image stabilation and LUX ETERNA ARCHIVAL BOXES
133 Mercer Street
New York, NY 10012
tel: 1-212-431-9358
376 Garcia St
Santa Fe NM 87501
TEL 505-988-5152
A good supplier of photography related books
The ISCA is a nonprofit professional organization founded in 1982 to promote and recognize the use of the copier as a creative tool. Its membership is comprised of printmakers, painters, photographers, graphic designers, book artists and computer artists who use the copier as an instant camera, darkroom, and printing press to create and edition unique works of art.
Luis Nadeau, who is on the alt-photo-process mailing list, has written extensively on alternative processes. For more info on his books or printing/workshop services, you can reach him *directly* at NADEAUL@NBNET.NB.CA (Please no commercial discussions *through* the list)
Books by Luis Nadeau
Encyclopedia of Printing, Photographic and Photomechanical Processes, 2 vols (1989-1990)
History and Practice of Platinum Printing (1984; 1986; 1994)
Geschichte und Praxis des Platindrucks (Stuttgart, 1993)
Gum Dichromate and Other Direct Carbon Processes (1987)
History and Practice of Oil and Bromoil Printing (1985)
Geschichte und Praxis des Ol-und Bromoldruckes (1992)
Modern Carbon Printing (1986)
History and Practice of Carbon Processes (1982)
The Keepers of Light; A history and working guide to early photographic processes, by William Crawford Morgan & Morgan New York , 1979
Handbook of Alternative Photographic Processes, by Jan Arnow, Van Nostrand Reinhold Company, New York, 1982
Nonsilver Printing Processes: Four Selections, ed by Peter C. Brunel 1186-1927 Ayer
Photography: A Handbook of History Materials and Processes, by Charles Swedlund, Coll pubs 1981
Breaking the Rules: A Photo Media Cookbook, Third Edition, Bea
Nettles
Available from: Prairie Book Arts Center, PO Box 725, Urbana, Ill 61801, tel
217 352 6621, fax 217 337 0096 at $12.50 per copy plus $2 shipping
Photographic Possibilities, by Robert Hirsch Focal Pr. 1991
The Focal Encyclopedia of Photography 3rd Ed., ed by Leslie Stroebel and Richard Zakia, Focal Pr. 1993
New Dimensions in Photo Imaging: A Step by Step Manual, by Laura Blacklow, Focal Pr 1989
Overexposure : health hazards in photography, by Susan D. Shaw & Monona Rossol. New York : Allworth Press, 1991.
The permanence and care of color photographs : traditional and digital color prints, color negatives, slides, and motion pictures , by Henry Wilhelm with contributing author, Carol Brower.
Alternative photographic Processes: A Resource Manual for the Artist, Photographer, Craftsperson by Kent E. Wade Dobbs, Ferry New York: Morgan and Morgan, 1978,
A Guide to Early Photographic Processes. London: Victoria and Albert Museum,by Coe, Brian, and Mark Haworth-Booth. 1983. 112 pp., illus. Contains illustrations of the major processes; a commentary on the plates; an identification key; a chart indicating the periods at which the processes flourished; and notes on the care of photographs.
The Handbook of Photographic Terms: An alphabetical arrangement of the Processes, Formulae, Applications, etc., of Photography, for Ready Reference. by Heighway, William London: Piper and Carter, 1880.Compiled to aid research in the scientific aspects of photography,these volumes contain more than 12,000 citations to books, periodical articles, and pamphlets; arranged by subject headings. Included biographies of the most prominent persons in the field.Compiled to aid research in the scientific aspects of photography, these volumes contain more than 12,000 citations to books, periodical articles, and pamphlets; arranged by subject headings. Included biographies of the most prominent persons in the field.
Boni, Albert. Photographic Literature: An International Bibliographic
Guide to General & Specialized Literature on Photographic Processes,
Techniques, Theory, Chemistry, Physics, Apparatus, Materials & Applications, Industry, History, Biography, Aesthetics. New York:
Morgan & Morgan in association with R. R. Bowker, 1962. 333 pp.
_____. Photographic Literature, 1960-1970: An International
Bibliographic Guide to General & Specialized Literature on Photographic
Processes, Techniques, Theory, Chemistry, Physics, Apparatus, Materials
& Applications, Industry, History, Biography, Aesthetics, etc. [1st
supplemental volume]. Hastings-on-Hudson: Morgan & Morgan, [1972].
535 pp.
Making kallitypes: a Definitive Guide, by Dick Stevens. Boston Focal Press, c1993.
The Albumen and Salted Paper Book, by James Reilly, Light Impressions 1980
Carbon and Carbro Tissue: You can Make it!, by Tracy Diers 1986
A Treatise on Photogravure, by Herbert Denison. Lyons 1974.
Photogravure: A process Handbook, by Gary P. Kolb, S.Ill. U. Pr. 1986
Elements of Photogravure: Photo Printing from Copper Plates. 2nd Edition,Bennett, Colin N, Boston: American Photographic Publishing Co.,1927.
Photogravure: A Text Book on the Machine and Hand-Printed Processes. 2nd Edition,Cartwright, H. Mills. Boston: American Photographic Publishing Co.,1939.
A Treatise on Photogravure,Denison, Herbert. London: Ififfe and Sons,1895. reprinted Rochester, N. Y.: Visual Studies Workshop, 1974.
Handbook for Contemporary Photography, 4th edition. Gassan, Arnold. Rochester, New York: Light Impressions, 1977. (ISBN 0-87992-008-4)
Photogravure Handbook. Rothberg, Samuel W. (Sandy). Chicago: Privately published technical manual, 1976.
Elements of Photogravure: Photo Printing from Copper Plates. 2nd Edition. Bennett, Colin N. Boston: American Photographic Publishing Co., 1927.
Photographic Printmaking Techniques. Sacilotto, Deli, New York: Watson-Guptill Publications, 1982. (ISBN 0-8230-4006-2)
Photogravure Blaney, Henry R., Scovills Photographic Series. New York: Scovill,1895.
Photogravure: A Process Handbook Kolb, Gary P., Carbondale and Edwardsville: Southern Illinois University Press, 1986. (ISBN 0-8093-1252-2)
A Manual of Photogravure, de Zoete, Johan. Haarlem, Netherlands, Joh.Ensched en Zonen, 1989 (136 pp.)
Technical Guide for the Gravure Industry. Smeil, Oscar, (ed. Oscar Leiding) Gravure Technical Association Inc., 1975. (L.C.# 55-37376)
Safe Photo Etching for Photographers and Artists, Keith Howard,
Wynee Resources, 1991 ISBN 0-9695577-0-1
Available from Wynne Resources Ltd, 11223-100 Ave, Edmonton, AB. T5K 0JI,
Canada. Cost of single copy is $24.95 + $2.95 post - they take Visa,
Mastercard
Gumoil Photographic Printing by Karl P. Koenig Boston, MA: Focal Press, 1994,
The Hole Thing: A Manual of Pinhole Fotography, by Jim Shull, Morgan 1974
Plain Directions for Obtaining Photographic Pictures by the Calotype and Energiatype, Also upon Albumenized Paper and Glass by Collodion and Albumen Etc., Etc. ,by J.H. Croucher and Gustave Le Gray , 1853, Ayer
The American Carbon Manual, or the Production of Photogrtaphic Prints in Permanent Pigments, by Edward L. Wilson, 1868 Ayer
The Collodion Process and the Ferrotype: Three Acounts, by Robert Sobieszak, 1854-1872 Ayer
The History and Practice of the Art of Photography by Henry H. Snelling. New York: PUBLISHED BY G. P. PUTNAM, 155 Broadway, 1849 (text at Gutenberg) An early work on Daguerreotype.
AMERICAN HAND BOOK OF THE DAGUERREOTYPE BY S. D. HUMPHREY. FIFTH EDITION. NEW YORK: PUBLISHED BY S. D. HUMPHREY 37 LISPENARD STREET, 1858 (text at Gutenberg)
US: Single issue $6.00, plus $2.00 first-class postage
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Overseas single issue $6.00, plus $2.00 printed matter surface
postage, or $4.50 printed matter air postage.
Subscription: Four issues $24.00 postpaid, first-class mail to US,
printed matter mail to Canada and overseas. Add $10.00 for printed
matter airmail to overseas.
Payable in US/$US Bank funds only.
A subscription is four issues which will appear in less than two years, longer than one year Issues will be cumilative, like books of an encyclopedia, identified by Issue Number, rather than date of publication
Published and edited by Judy Seigel
A forum for all things alternative with occasional forays into traditionalism. Submissions of articles and topics are very welcome. Published four times a year. Cost is 10.00 Sterling per annum. We can accept personal cheques in any currency, please E-mail us with country and type of currency and we will quote cost by return. All issues are sent airmail.
The Collodion Journal is available by subscription only. Subscriptions are $25 in the US, ($30 outside the US).
alt-photo-process-request@usask.ca
with the following command
subscribe alt-photo-process-l
in the body of the message
For information on this service and how to use it, send the following request in the body of a mail message to mailserv@sask.usask.ca:
HELP
All requests should be addressed to alt-photo-process-request@usask.ca
The group should be free to talk on any unconventional photographic process or modification to the standard silver gelatin process.
Photographers that embark on alternative processes usually have a "Do It Yourself" attitude. This discussion group caters to that interest.
The owner of this list is myself Gordon Holtslander (holtslander@sask.usask.ca) Return to Table of Contents
RAPP is an informal worldwide database of people working in alternative photographic process. A worldwide database like this will accomplish several import functions. One is that researchers and others seeking someone with skills in various processes can find those people by geographic area. Gallery owners may seek out persons for show, especially if we can get the images loaded in. It will also provide a quick and easy way to let people know what is happening worldwide or in their areas in the realm of alt-photography
All the message sent through the Alt-photo-process mailing list are archived as web pages at The alt-photo-process-l Archive.
There is also a web page "mirror" of the current months postings. Messages are added to this mirror as they sent to the list. You can get the latest messages at the alt-photo-process-l mirror
Keith Howard's Non-Toxic Printmaking Page
Pinhole Visions: Pinhole Photography on the Web
Photoforum
Homepage
The PhotoForum is an educational network and databank established to serve
the photographic and imaging communities in general with a medium for
exchange of ideas and with an accessible databank of files on information
about various subjects.
Please see The PhotoForum Faq with over 250 topics of general and esoteric interest, and PhotoForum Articles containing access directions and content info about an eclectic file of photo related articles.
The Daguerreian Society Archive
Graflex.Org Dedicated to promoting the use and preservation of Graflex Speed Graphics and other classic cameras.
www.alternativephotography.com - featuring work alternative process artists and process information
Focal Press is online. They specialize in photography related books.
Google- Alternative Photography Index
This document was prepared by Gordon J. Holtslander. If you're really
bored see My Home Page
You may email me at:Holtslander@sask.usask.ca