Articles, instructions and technical descriptions on how to carry out work in alternative photographic processes and non-silver techniques. The instructions are provided by photographers, teachers and instructors actively working in the process. They are written with a practical approach, so you can enjoy learning a new process. Have fun!
Albumen prints
Replacing the salt print process by the 1840’s, albumen prints combine beaten egg whites with salt and potassium iodide for a higher definition photograph.
Instructions
Books
Anthotypes
A fun and easy way to make images using the juice from fruits, plants, flowers, and vegetables as both sensitizer and pigment! Practiced by Sir William Herschel beginning in the 1840’s, this method is very suited to photograms. Although anthotype prints are novel and unique, permanence of the image depends upon your choice of organic extract.
Instructions
Anthotypes – step by step instructions to making a print using plants
Anthotypes: How different paper effects the emulsion color
Books
Bromoils & oil
Bromoils, oilprints, resinotypes and oleobroms: Early twentieth century processes which begins with a silver bromide print and ends with an oily or inked print of alluring elegance.
Instructions
Bromoil and oil pigment printing
Papers for the bromoil process
The oilprint process (Schildt)
Books
Calotypes
Patented in 1841 by William Henry Fox Talbot, the calotype (Talbotype) became the basis for all subsequent negative/positive processes. Thanks to the research of Sir John Herschel, the calotype was the first process to utilize sodium thiosulfate as a permanent fixer for the image. Silver nitrate, potassium iodide, and gallic acid are among additional ingredients you will need. Strictly speaking, calotypes refer to the negatives the process yields. However, the name is sometimes attributed to the positive print made from the negative, historically the salted-paper print.
Instructions
Carbon and carbro
Patented in 1846 by Joseph Swan, carbon prints typically utilize a pigmented tissue, potassium dichromate , and gelatin to create images of amazing beauty and longevity. Carbro printing follows much of the same procedure as carbon printing while utilizing a bromide paper.
Instructions
Books
Chrysotypes
Based upon Sir John Herschel’s gold printing process, Dr. Mike Ware will carefully guide you through a process of making prints which display hues from delicate reds and pinks to blues and blacks.
Instructions
Books
Alternative Photography Processes
Cyanotypes
The cyanotype, also known as a blueprint, is considered among the easiest of all the historical methods. Dating from 1842, this classic Prussian blue process is a great place for both beginners and accomplished artists alike to explore. Cyanotypes are economical, permanent, have few pitfalls, and are versatile in that a variety of toning effects are possible.
Instructions
Beat the blues: Making cyanotypes
C Y A N O T Y P E D A Y – make sure you take part! 2 October 2011
Combining gelatin silver and cyanotype
Cyanotype – the classic process
Cyanotype chemicals in a rusty old jar
Cyanotype history – John Herschel’s invention
Cyanotype workshop compendium – free of course
Cyanotypes painted with acrylics
How to produce low-contrast cyanotype prints
In-camera cyanotype negative prints
Making a cyanotype pinhole in-camera?
Making a cyanotype quilt – from the garden
Preparations for iron-based printing
Tests in blue – papers for cyanotypes
The Big Cyanotype Exposure Survey – Results
The Big Cyanotype Exposure Survey – take part
The digital camera, the cyanotype and grain
The New Cyanotype – Cyanotype II process
Vandyke over cyanotype: a combination process with special effects
Vinegar-developed cyanotypes: non-toxic midtone contrast control
Washing cyanotypes on fabrics or cloth
Books
A Non-Silver Manual: Cyanotype
Alternative Photography Processes
Alternative Photography: Art and Artists, Edition I
Daguerrotypes
Considered among the original of alternative processes, daguerreotypes possess a look, feel, and beauty unlike any other historical method. Not for the faint of heart or the ill-equipped, those desiring to explore the rewards of this endeavor must exercise a high level of responsibility and caution.
Instructions
A Brief Guide to Becquerel Daguerreotype
Books
Forgotten processes
Processes we can't find any instructions for or anyone practicing, but please prove us wrong!
Instructions
Books
Fuji lifts and transfers
Fuji image lifts and transfers uses similar techniques to Polaroid lifts and transfers, but with Fuji film instead of Polaroid.
Instructions
Books
Gelatin silver prints
Gelatin silver prints, or gelatin dry-plate, appeared on the scene in the 1880’s, replacing the wet-plate process and revolutionizing the photographic industry. It has remained the standard for silver halide photography. Here we explore hand coated paper and look for ways to incorporate other alternative process with silver gelatin printing.
Instructions
Combining gelatin silver and cyanotype
Silvergum – gum over silver gelatin
Solarization and layered negatives
The silver gelatin dry plate process
Toning black & white photographs with organic materials
Books
Gum bichromates
Gum bichromate and casein pigment printing utilizing water-based colors are but two among several forms of dichromate techniques resulting in expressive monochrome and full-color imagery.
Instructions
An introduction to the gum bichromate process
An update on the Ferric gum process
CMYK Colour Separation using the Gimp
Ferric gum process – a radically different variation on gum
Gum and negatives with a twist of Français
Gum bichromate working methods
Gum printing basics – how to make a gum print (Troutner)
Silvergum – gum over silver gelatin
The 19th century gum bichromate process in 21st century concept and techniques
The extraordinary mechanism underlying the ferric gum process
Books
A Non-Silver Manual: Casein printing
A Non-Silver Manual: Gum bichromate
A Non-Silver Manual: Gum printing on alternative surfaces
A Non-Silver Manual: One interpretation of gum printing
Alternative Photography Processes
Alternative Photography: Art and Artists, Edition I
Alternative Processes Condensed
Gumoils
As the name implies, gumoils transforms a gum print into an oil-based image through labor intensive rubbing, wiping, and etching. In most cases, a positive matrix takes the place of the usual negative employed by other processes.
Books
Infrareds
Working with reflected light in the long, infrared wave range can produce images of unexpected results with surreal visual effects. Infrared photographs have a spectacular glow and luminance, where highlights are usually diffused and contrast can be pronounced.
Instructions
Books
Kallitypes & vandykes
Although both silver and iron are required for Kallitypes and Van Dykes, the former is a bit more expensive and labor intensive of the two siblings. Depending on paper and toning, images can run the range of black, sepia, and beautiful rich browns. Extra care must be taken to ensure permanence of the print.
Instructions
Beyond the blues: Vandyke brown printing
Formula overview for Vandyke, Kallitype and Argyrotype
Instruction sheet for the Kallitype printing kit
The Kallitype Printing Kit – A great start
Vandyke over cyanotype: a combination process with special effects
Books
A Non-Silver Manual: Vandyke brown
Alternative Photography Processes
Liquid emulsion
With a liquid silver emulsion applications can be made to a variety of surfaces such as tile, glass, pottery, wood, canvas, stainless steel and coated metals. Brushing, dipping, and spraying are among the techniques employed for applying the emulsion to three-dimensional surfaces.
Instructions
Books
Lith prints
Using a lith developer, this delightful technique generally overexposes a silver print which is then developed in the diluted developer. Lith photographs display a wonderful luminance. Success with lith printing can depend upon your choice of paper, the handling of the negative, and several other key factors.
Instructions
Lith printing in the digital age
Books
Lumen prints
Using a UV source, such as the sun, make delicate contact photographs and photograms using old or fogged silver gelatin paper. No development required! Just fix, tone, and enjoy!
Instructions
Chemilumens – combining chemigrams and lumen prints
How to make a starry lumen print – a step-by-step process with printing tips
Books
Miscellaneous processes
This section is reserved for brand new processes, undocumented practices, unique techniques, and other creative alternative approaches not addressed elsewhere.
Instructions
Books
Mordancage process
Also known as etch-bleach process, this rare and slightly esoteric process physically manipulates the silver gelatin print through acid bleaching, rubbing, and lifts. Images appear dreamlike, far removed from reality.
Instructions
The Mordançage background and process
Books
Photogravure
Copper photogravures, solarplates, photo intagio, polymer gravures and heliogravures are all printmaking techniques, where a photograph is set in a plate, the plate inked and the image transferred to a paper.
Instructions
Intaglio photogravure printmaking
Photo polymer gravure – the why’s
Photopolymer printing on a budget
Photopolymers – a brief description
Books
Photolithography
A technique developed in the mid 19th century, by which images are photographically transferred to a matrix (either an aluminum plate or, less frequently, a stone), and printed by hand. A classic combination of photography and printmaking employing a variety of skills.
Instructions
Photosynthesis
No photo paper? No worries. Just go and find some leaves! Learn how to contact print onto flat plant or vegetable matter using a positive intermediate. Let your creativity soar!
Instructions
Photosynthesis: A world where you can grow your own photographic supplies
Books
Pinholes
The expressive world of lens-less photography allows for dreamy and magical photographs. A camera, usually handmade out of a box or can, allows light to pass through a small aperture onto photo paper or film. Images created with a pinhole camera can also be incorporated into other alternative processes.
Instructions
Adventures with multi-pinhole cameras
Celebrate pinhole photography!
How to make a paper negative from a photograph
Making a cyanotype pinhole in-camera?
Pinhole photography – making a camera
Pinhole to print – the qualities of a pinhole camera
Shooting a pinhole ”movie” with a matchbox camera
Solargraphy – The art of catching the sun’s path through a pinhole camera
The Pinhole Camera: 35 mm Matchbox
Wet Contact Printing for Paper Negatives
Books
A Non-Silver Manual: Pinhole photography
Alternative Photography Processes
Alternative Photography: Art and Artists, Edition I
Camera Obscura: Modern Primitivism
Camera Obscura: Pinhole Photographs
Diffusion magazine – unconventional photography, volume I, 2009
Platinum and palladiums
Becoming a practical printing method by 1873, platinum, and the less expensive palladium process has a rich heritage of which marvelous works abound from scores of well known artists. Although sensitive to paper choices, platinum/palladium images are highly stable, producing exquisite warm tones.
Instructions
Carrier Clear Coating For Printing Platinum/Paladium/Gold And Pigment On Glass
Platinum and palladium developers and solutions
Platinum Palladium Printing – Roots that bare many Branches?
Platinum printmaking made simple
Preparations for iron-based printing
The longevity of platinum and palladium prints, a synopsis
The platino-palladiotype process
The platinum print: a catalyst for discussion
Books
A Non-Silver Manual: Palladium
Polaroid lifts and transfers
Utilizing Polaroid peel-apart films, an artist can lift or separate a developed print and join the image to another surface, such as paper. In a transfer, the artist takes the negative portion while still in development and, using a brayer, presses the image onto a desired surface.
Instructions
Polaroid 669 transfer process: A hybrid process
Polaroid Emulsion Lifts equipment – how Ivy Bigbee works
Polaroid Image Transfer equipment – how Gary Auerbach works
Polaroid instant peel-apart manipulation
Polaroid SX-70 / Time Zero Equipment – how Renata Ratajczyk works
Polaroid SX-70, or time zero process
Polaroid Transfer equipment – how Wendy Cook works
Books
Polaroid SX-70 manipulations
Referring to either or both the Polaroid SX-70 camera manufactured throughout the 1970's and the celebrated SX-70 Integral films, beautiful image manipulations can be achieved through the use of this engaging camera/film technology.
Instructions
Saltprints
Salt printing, originally developed by Fox Talbot and typically practiced until the 1850’s, combines salt, silver nitrate, and a UV light source to produce delightful reddish brown images.
Instructions
How to make salt prints – the video
Salt printing: Exposing the print
Using paper negatives to make salt prints
Books
Alternative Photography Processes
Temperaprints
Eggs, ammonium bichromate, and a variety of pigments including acrylics come together for an exercise of multiple printing under a UV light. Created by the late Peter Frederick, this process is suitable for printing on synthetic materials such as Yupo.
Instructions
Transfers and lifts
Instructions
Acrylic gel lift & transfer: Acrylic side up version – an alternative to an alternative process
Wetplate collodions
Wetplate, or wet collodion process dates from 1851 through the work of Frederick Archer. A glass plate is coated with cellulose nitrate, an iodide, and silver nitrate. The plate is then exposed and processed while still wet. The tintype is a version of wetplate which utilizes a sheet of black painted metal.
Instructions
Against all good advice: how to build a large format camera for wet collodion work at home
Ambrotypes – a beginner’s view
History of the colloidon process
The wetplate collodion process
Wet plate collodion with a Polaroid camera
Wet-Plate Collodion Process – Ambrotypes
Books
Alternative Photography: Art and Artists, Edition I
Diffusion magazine – unconventional photography, volume I, 2009
Woodburytypes
For more than half a century, Woodburytypes were a standard in high quality photographic reproduction. Related to the intaglio printing process, Woodburytypes employ materials such as gelatin and pigment, and historically required the use of a hand press.
