Book of alternative photographic processes /
by Christopher James.
- xiv, 386 pages : illustrations (some colour) ; 28 cm
Includes bibliographical references (pages 376-379) and index.
Introduction -- The Pinhole: -- Overview & Expectations -- A Little History: Conception & Connections -- The Thumbnail Principle -- A Little Science -- How To Make a Pin Hole Camera & Pinhole Construction -- Testing the Camera -- Finding the Correct Exposure & Making Pictures -- Pinhole Recommendations, Resources, & Related Web Sites -- The Negative: Traditional & Alternative Options -- Overview & Expectations -- A Little History -- Tiphaigne de la Roche's, Giphantie, (1760) -- An Appropriate Time to Explain Things -- What Negative Density Means -- Negative Production Options -- Commercial Labs, Copy Machine, Desk-Top Printers -- Acrylic Negatives from Printed Sources -- Polaroid Type 55 Positive / Negative Film -- Conventional Films -- The Cliche Verre & The Photogram -- Single Stage Negative to Negative Duplicating -- Multi-Stage Duplicating Films -- Exposure & Development Considerations -- Pyro -- Soemarko's LC-1 & LC-1B Low Contrast Lith Formulas -- Digital Options -- Overview & Expectations -- A Little History: The Digesting Duck to the Present -- My View: the Present State of the Digital Arts -- A Digital Caveat -- A Digital Negative: A Layman's Explanation -- Making CMYK Separation Negatives THE PLASTIC CAMERA -- Overview & Expectations -- A Little History -- Toy Camera Philosophy & The Six Plastic Virtues -- Plastic Camera Hints, Tips, & Shutter Modification -- The Salted Paper Process -- Overview & Expectations -- A Little History -- The Camera Lucida -- Chemistry and Formulas -- Gelatin, Sea Salt, & Starch Salting Formulas -- The Silver Nitrate Sensitizing Formula & Application -- Coating &Printing Salted Paper -- Pre Wash & Wash Considerations -- Toning Formulas for the Salted Paper Process -- Gold Borax, Gold-Thiocyanate, Gold-Acetate Toning -- Platinum, Palladium, Gold 231, & Blue-Gray Toning -- Fixing the Salted Paper Print -- Contrast Control & Final Wash THE CYANOTYPE PROCESS -- Overview & Expectations -- A Little History -- How Cyanotype Works -- The Chemistry: Chemicals and Sensitizer Formula -- The Negative -- Paper, Fabric Surfaces & Sensitizing -- The Hake Brush -- A Few Words About the Sun & Exposing the Cyanotype -- Development: Water or Acid Options -- Washing and Instant Gratification Oxidization -- Clearing Highlights -- Trouble-shooting & Formulas for Toning the Cyanotype -- Cyanotype Variations: Fabrics & the New Cyanotype -- Overview & Expectations -- Materials & Preparation of Fabrics -- Making Images: Chemistry & Formula -- Coating, Printing, & Development -- Post Development Options, Toning & Care -- The New Cyanotype -- A Little History -- Five Shortcomings of the Classic Cyanotype Process -- Chemical Solutions for the First 3 Shortcomings -- Chemistry, Preparation, Coating & Drying -- Negatives, Exposure, Processing, & Clearing -- The Kallitypes: Van Dyke, B-V-D, Kallitype, & Brownprint Processes -- Overview & Expectations -- A Little History -- The Van Dyke process -- Van Dyke Chemistry: Sensitizing & Fixing -- Papers, Sizing, & Negatives -- Coating, Exposure, & Processing Steps for the Van Dyke -- Lead Acetate, Gold 231, Selenium, Blue, & Split Toning -- The Blue-Van-Dyke Process (B-V-D) -- The Kallitype Process -- The Sensitizer -- A Little History -- The Process: Chemistry, Formula & Preparation -- Brush & Glass Rod Coating and Preparing a Hake Brush -- Exposing the Print -- Development Option #1: Black, Sepia, Brown, Gray-Blue Tones -- Development Option #2: Ammonium Citrate and Sodium Acetate -- Alternative Toning Options for Kallitype ·Contrast Control, Clearing, Fixing Formulas & Final Wash -- The Brownprint Process -- Overview of Sensitizer: Chemistry & Preparation -- Exposure, Development, Fixing & Washing -- The Platinum / Palladium Process -- Overview & Expectations -- A Little History -- The Process Explained & Supplies and Materials -- The Negative -- Papers & Sizing -- The Chemistry, Sensitizer, & Developers -- Developer Formulas: Ammonium Citrate & Potassium Oxalate -- Clearing Bath Formulas (EDTA) & an Emergency Clearing Bath -- The Sensitizer Formulas: Platinum & Palladium -- Platinum / Palladium Drop Chart -- Coating the Paper & Exposure -- Developing the Platinum / Palladium Image -- Pre-Washing, Clearing, Final Wash & Trouble-shooting -- Gum, Cyanotype, and Van Dyke with Pt / Pd -- The Ziatype Process -- Overview & Expectations -- A Little History -- How it Works & the Process -- Abbreviation Symbols for Ziatype -- Ziatype Drop Count Formulas -- The Process: Mixing, Coating, & Exposure -- POP Observations, Contrast Control, & Process Considerations -- The Anthotype Process -- Overview & Expectations -- A Little History -- Materials: Flowers, Berries & Alcohol -- The Working Process -- Paper: History, Shrinking, Sizing & Hardening -- Overview & Expectations -- A Few Words About the History of Paper -- Shrinking, Sizing, & Hardening -- Formalin & Glyoxal -- Materials You Will Need -- The Sizing Process -- Formalin & Glyoxal Hardening Baths & Processes -- The Gelatin-Glyoxal Single Step Solution -- Arrowroot, Gesso-Acrylic, Polyurethane, & Gum Sizing -- The Gum Bichromate Process -- Overview & Expectations -- A Little History -- Collotype, Calotype, Woodburytype, & The Fish-Glue Process -- How Gum Bichromate Works -- A Few Words Before Beginning -- The Gum Negative & Registration -- Ammonium Dichromate Sensitizer -- Watercolors, Gum Arabic, & Glue -- Traditional Sensitizer Formulas -- Sensitizing the Paper & Staining -- Coating & Exposure -- Printing with a Single Color and One Negative -- Development & Clearing the Print -- Multiple Negative Printing -- Trouble-shooting & Resources -- Dichromate Options: -- Overview & Expectations -- The 3-D Gum Bichromate Process -- How 3-D Works, Negatives, & Process -- Gum Bichromate on Alternative Surfaces -- The Basic Premise -- The Tooth, Coating, Exposure & Processing -- The Dusting-On process -- A Little History -- The Process: Contemporary -- Working on Glass -- Traditional Materials, Chemistry & Formulas -- Hot & Humid Image Development -- The Transfer Option & Herschel's Breath Printing Process -- The Ferro-Tannic / Ferro-Gallic Iron Processes -- A Little History -- Chemistry, Sensitizing, Intensifying, & Toning Processes -- The Albumen Process -- Overview & Expectations -- A Little History -- How the Albumen Process Works -- Method #1: Traditional Raw Egg Method -- Method #2: The Powdered Albumen Method -- Method #3: The Instant Gratification Method -- Coating & Floating the Paper: Glossy or Matte Coating -- Hardening & Sensitizing Paper: Silver to Salt Ratio -- The Effects of Silver Albumenate -- Exposure, Processing, Toning & Fixing the Albumen Print -- A Simple Test for Residual Silver & Washing the Albumen Print -- Pop: the Printing Out Process -- Overview & Expectations -- A Little History -- POP Formulas and Process -- Pre-Coated POP Papers & Process -- Gold-Thiocyanate & Gold-Alkaline Toners -- Replenishment of Gold Toners -- Platinum, Gold-Platinum, Split Toning, & Gold-Borax Toning -- Fixing and Final Wash for -- Pop Hand Applied Emulsions: -- Photo-Etching & Resists, Paint, The Contemporary Tintype, The Wet Collodion & Ambrotype Processes -- Overview & Expectations -- Varieties of Liquid Emulsions and Hardening Liquid Emulsions -- Emulsions on Glass, Ceramics and Metal: Materials & Process -- Solarplates, Photo-Resists, Simple Resists, Formulas & Etching -- Contemporary Tintype Process: -- A Little History -- The Dry Plate Process -- Coating, Exposure, Development, & Trouble-shooting -- Wet Collodion & Ambrotype Process -- A Little History -- The Ambrotype Process -- Salted Collodion Emulsion, Developer, & Fixer -- Mounting, Varnishing, & the Presentation of Ambrotypes -- The Mordancage Process -- Overview & Expectations -- Materials & Process -- Re-development & Depouillment (gelatin removal) -- Oxidation & Final Steps -- Image Transfer Processes: -- Color Lazer, Heat Transfer, Lazertran System, Polaroid Transfers & Emulsion Lifts & Ink Jet Water Transfer -- Overview & Expectations -- How a Color Laser Copier Works -- Copyright and Post-Modernism -- At the Copy Store & Materials -- Color Laser Solvent Transfer, Varneytype, Blender Pens -- Water & Dry Mount Process -- Fabrics, Transfers & Non-Silver -- Lazertran Transfer Systems -- Transfer Processes for Paper, Glass, Metal, Wood, & Plaster -- Lazertran Silk & Fabric Transfer -- Lazertran Etch -- Polaroid Emulsion Transfers & Emulsion Lifts -- What is Polaroid Film & How it Works? -- Materials & Processes for Transfers & Emulsion Lifts -- Exposing Type 59 in an Enlarger -- Ink Jet Water Transfer Process -- Appendices -- Safety Considerations & Data for Chemicals Used in This Book -- MSDS and Lab Safety Web Sites -- Simple Definitions: pH, Acid, Alkali -- Working With Chemicals: Always & Never Rules -- CAS Numbers -- Chemicals and Definitions -- Disclaimer -- Us / Metric Conversion Tables -- Dry and Liquid Measures Conversions (small volume) -- Temperature Conversions -- Percentages: Description & Calculation -- How To Make a Simple Uv Exposure Unit -- Overview, Materials and How to Make One -- A Working Inventory for Planning an Alternative Process Workshop Or Class -- Materials and Set Up for the Working Space -- A Modest List of Resources -- Chemicals, Lab Gear & Kits -- Www.msdssearch.com -- & Art Supplies -- Film & Photographic Supplies -- Scans, Digital Printing, Books, Postcards, Portfolios -- Alternative Processes on the Interment -- An Alternative Process Working Space -- Selected Bibliography: Contemporary & Historical. Appendix A. Appendix B. Appendix C. Appendix D. Appendix E. Lab Materials. Appendix F. Appendix G. Appendix H.