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| 005 | 20221101191129.0 | ||
| 008 | 010323s2002 nyua b 001 0 eng d | ||
| 010 | _a 2001028615 | ||
| 011 | _aBIB MATCHES WORLDCAT | ||
| 020 |
_a0766820777 _qalk. paper |
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_a9780766820777 _qalk. paper |
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| 035 | _a(ATU)b10237902 | ||
| 035 | _a(DLC) 2001028615 | ||
| 035 | _a(OCoLC)46640906 | ||
| 040 |
_aDLC _beng _erda _dATU |
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| 042 | _apcc | ||
| 050 | 0 | 0 |
_aTR350. _bJ35 2002 |
| 082 | 0 | _a771 | |
| 100 | 1 |
_aJames, Christopher, _eauthor. _91021422 |
|
| 245 | 1 | 0 |
_aBook of alternative photographic processes / _cby Christopher James. |
| 264 | 1 |
_aAlbany, N.Y. : _bDelmar Thomson Learning, _c[2002] |
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| 264 | 4 | _c©2002 | |
| 300 |
_axiv, 386 pages : _billustrations (some colour) ; _c28 cm |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_aunmediated _bn _2rdamedia |
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| 338 |
_avolume _bnc _2rdacarrier |
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| 504 | _aIncludes bibliographical references (pages 376-379) and index. | ||
| 505 | 0 | 0 |
_tIntroduction -- _tThe Pinhole: -- _tOverview & Expectations -- _tA Little History: Conception & Connections -- _tThe Thumbnail Principle -- _tA Little Science -- _tHow To Make a Pin Hole Camera & Pinhole Construction -- _tTesting the Camera -- _tFinding the Correct Exposure & Making Pictures -- _tPinhole Recommendations, Resources, & Related Web Sites -- _tThe Negative: Traditional & Alternative Options -- _tOverview & Expectations -- _tA Little History -- _tTiphaigne de la Roche's, Giphantie, (1760) -- _tAn Appropriate Time to Explain Things -- _tWhat Negative Density Means -- _tNegative Production Options -- _tCommercial Labs, Copy Machine, Desk-Top Printers -- _tAcrylic Negatives from Printed Sources -- _tPolaroid Type 55 Positive / Negative Film -- _tConventional Films -- _tThe Cliche Verre & The Photogram -- _tSingle Stage Negative to Negative Duplicating -- _tMulti-Stage Duplicating Films -- _tExposure & Development Considerations -- _tPyro -- _tSoemarko's LC-1 & LC-1B Low Contrast Lith Formulas -- _tDigital Options -- _tOverview & Expectations -- _tA Little History: The Digesting Duck to the Present -- _tMy View: the Present State of the Digital Arts -- _tA Digital Caveat -- _tA Digital Negative: A Layman's Explanation -- _tMaking CMYK Separation Negatives THE PLASTIC CAMERA -- _tOverview & Expectations -- _tA Little History -- _tToy Camera Philosophy & The Six Plastic Virtues -- _tPlastic Camera Hints, Tips, & Shutter Modification -- _tThe Salted Paper Process -- _tOverview & Expectations -- _tA Little History -- _tThe Camera Lucida -- _tChemistry and Formulas -- _tGelatin, Sea Salt, & Starch Salting Formulas -- _tThe Silver Nitrate Sensitizing Formula & Application -- _tCoating &Printing Salted Paper -- _tPre Wash & Wash Considerations -- _tToning Formulas for the Salted Paper Process -- _tGold Borax, Gold-Thiocyanate, Gold-Acetate Toning -- _tPlatinum, Palladium, Gold 231, & Blue-Gray Toning -- _tFixing the Salted Paper Print -- _tContrast Control & Final Wash THE CYANOTYPE PROCESS -- _tOverview & Expectations -- _tA Little History -- _tHow Cyanotype Works -- _tThe Chemistry: Chemicals and Sensitizer Formula -- _tThe Negative -- _tPaper, Fabric Surfaces & Sensitizing -- _tThe Hake Brush -- _tA Few Words About the Sun & Exposing the Cyanotype -- _tDevelopment: Water or Acid Options -- _tWashing and Instant Gratification Oxidization -- _tClearing Highlights -- _tTrouble-shooting & Formulas for Toning the Cyanotype -- _tCyanotype Variations: Fabrics & the New Cyanotype -- _tOverview & Expectations -- _tMaterials & Preparation of Fabrics -- _tMaking Images: Chemistry & Formula -- _tCoating, Printing, & Development -- _tPost Development Options, Toning & Care -- _tThe New Cyanotype -- _tA Little History -- _tFive Shortcomings of the Classic Cyanotype Process -- _tChemical Solutions for the First 3 Shortcomings -- _tChemistry, Preparation, Coating & Drying -- _tNegatives, Exposure, Processing, & Clearing -- _tThe Kallitypes: Van Dyke, B-V-D, Kallitype, & Brownprint Processes -- _tOverview & Expectations -- _tA Little History -- _tThe Van Dyke process -- _tVan Dyke Chemistry: Sensitizing & Fixing -- _tPapers, Sizing, & Negatives -- _tCoating, Exposure, & Processing Steps for the Van Dyke -- _tLead Acetate, Gold 231, Selenium, Blue, & Split Toning -- _tThe Blue-Van-Dyke Process (B-V-D) -- _tThe Kallitype Process -- _tThe Sensitizer -- _tA Little History -- _tThe Process: Chemistry, Formula & Preparation -- _tBrush & Glass Rod Coating and Preparing a Hake Brush -- _tExposing the Print -- _tDevelopment Option #1: Black, Sepia, Brown, Gray-Blue Tones -- _tDevelopment Option #2: Ammonium Citrate and Sodium Acetate -- _tAlternative Toning Options for Kallitype ·Contrast Control, Clearing, Fixing Formulas & Final Wash -- _tThe Brownprint Process -- _tOverview of Sensitizer: Chemistry & Preparation -- _tExposure, Development, Fixing & Washing -- _tThe Platinum / Palladium Process -- _tOverview & Expectations -- _tA Little History -- _tThe Process Explained & Supplies and Materials -- _tThe Negative -- _tPapers & Sizing -- _tThe Chemistry, Sensitizer, & Developers -- _tDeveloper Formulas: Ammonium Citrate & Potassium Oxalate -- _tClearing Bath Formulas (EDTA) & an Emergency Clearing Bath -- _tThe Sensitizer Formulas: Platinum & Palladium -- _tPlatinum / Palladium Drop Chart -- _tCoating the Paper & Exposure -- _tDeveloping the Platinum / Palladium Image -- _tPre-Washing, Clearing, Final Wash & Trouble-shooting -- _tGum, Cyanotype, and Van Dyke with Pt / Pd -- _tThe Ziatype Process -- _tOverview & Expectations -- _tA Little History -- _tHow it Works & the Process -- _tAbbreviation Symbols for Ziatype -- _tZiatype Drop Count Formulas -- _tThe Process: Mixing, Coating, & Exposure -- _tPOP Observations, Contrast Control, & Process Considerations -- _tThe Anthotype Process -- _tOverview & Expectations -- _tA Little History -- _tMaterials: Flowers, Berries & Alcohol -- _tThe Working Process -- _tPaper: History, Shrinking, Sizing & Hardening -- _tOverview & Expectations -- _tA Few Words About the History of Paper -- _tShrinking, Sizing, & Hardening -- _tFormalin & Glyoxal -- _tMaterials You Will Need -- _tThe Sizing Process -- _tFormalin & Glyoxal Hardening Baths & Processes -- _tThe Gelatin-Glyoxal Single Step Solution -- _tArrowroot, Gesso-Acrylic, Polyurethane, & Gum Sizing -- _tThe Gum Bichromate Process -- _tOverview & Expectations -- _tA Little History -- _tCollotype, Calotype, Woodburytype, & The Fish-Glue Process -- _tHow Gum Bichromate Works -- _tA Few Words Before Beginning -- _tThe Gum Negative & Registration -- _tAmmonium Dichromate Sensitizer -- _tWatercolors, Gum Arabic, & Glue -- _tTraditional Sensitizer Formulas -- _tSensitizing the Paper & Staining -- _tCoating & Exposure -- _tPrinting with a Single Color and One Negative -- _tDevelopment & Clearing the Print -- _tMultiple Negative Printing -- _tTrouble-shooting & Resources -- _tDichromate Options: -- _tOverview & Expectations -- |
| 505 | 0 | 0 |
_tThe 3-D Gum Bichromate Process -- _tHow 3-D Works, Negatives, & Process -- _tGum Bichromate on Alternative Surfaces -- _tThe Basic Premise -- _tThe Tooth, Coating, Exposure & Processing -- _tThe Dusting-On process -- _tA Little History -- _tThe Process: Contemporary -- _tWorking on Glass -- _tTraditional Materials, Chemistry & Formulas -- _tHot & Humid Image Development -- _tThe Transfer Option & Herschel's Breath Printing Process -- _tThe Ferro-Tannic / Ferro-Gallic Iron Processes -- _tA Little History -- _tChemistry, Sensitizing, Intensifying, & Toning Processes -- _tThe Albumen Process -- _tOverview & Expectations -- _tA Little History -- _tHow the Albumen Process Works -- _tMethod #1: Traditional Raw Egg Method -- _tMethod #2: The Powdered Albumen Method -- _tMethod #3: The Instant Gratification Method -- _tCoating & Floating the Paper: Glossy or Matte Coating -- _tHardening & Sensitizing Paper: Silver to Salt Ratio -- _tThe Effects of Silver Albumenate -- _tExposure, Processing, Toning & Fixing the Albumen Print -- _tA Simple Test for Residual Silver & Washing the Albumen Print -- _tPop: the Printing Out Process -- _tOverview & Expectations -- _tA Little History -- _tPOP Formulas and Process -- _tPre-Coated POP Papers & Process -- _tGold-Thiocyanate & Gold-Alkaline Toners -- _tReplenishment of Gold Toners -- _tPlatinum, Gold-Platinum, Split Toning, & Gold-Borax Toning -- _tFixing and Final Wash for -- _tPop Hand Applied Emulsions: -- _tPhoto-Etching & Resists, Paint, The Contemporary Tintype, The Wet Collodion & Ambrotype Processes -- _tOverview & Expectations -- _tVarieties of Liquid Emulsions and Hardening Liquid Emulsions -- _tEmulsions on Glass, Ceramics and Metal: Materials & Process -- _tSolarplates, Photo-Resists, Simple Resists, Formulas & Etching -- _tContemporary Tintype Process: -- _tA Little History -- _tThe Dry Plate Process -- _tCoating, Exposure, Development, & Trouble-shooting -- _tWet Collodion & Ambrotype Process -- _tA Little History -- _tThe Ambrotype Process -- _tSalted Collodion Emulsion, Developer, & Fixer -- _tMounting, Varnishing, & the Presentation of Ambrotypes -- _tThe Mordancage Process -- _tOverview & Expectations -- _tMaterials & Process -- _tRe-development & Depouillment (gelatin removal) -- _tOxidation & Final Steps -- _tImage Transfer Processes: -- _tColor Lazer, Heat Transfer, Lazertran System, Polaroid Transfers & Emulsion Lifts & Ink Jet Water Transfer -- _tOverview & Expectations -- _tHow a Color Laser Copier Works -- _tCopyright and Post-Modernism -- _tAt the Copy Store & Materials -- _tColor Laser Solvent Transfer, Varneytype, Blender Pens -- _tWater & Dry Mount Process -- _tFabrics, Transfers & Non-Silver -- _tLazertran Transfer Systems -- _tTransfer Processes for Paper, Glass, Metal, Wood, & Plaster -- _tLazertran Silk & Fabric Transfer -- _tLazertran Etch -- _tPolaroid Emulsion Transfers & Emulsion Lifts -- _tWhat is Polaroid Film & How it Works? -- _tMaterials & Processes for Transfers & Emulsion Lifts -- _tExposing Type 59 in an Enlarger -- _tInk Jet Water Transfer Process -- _tAppendices -- _gAppendix A. _tSafety Considerations & Data for Chemicals Used in This Book -- _tMSDS and Lab Safety Web Sites -- _tSimple Definitions: pH, Acid, Alkali -- _tWorking With Chemicals: Always & Never Rules -- _tCAS Numbers -- _tChemicals and Definitions -- _tDisclaimer -- _gAppendix B. _tUs / Metric Conversion Tables -- _tDry and Liquid Measures Conversions (small volume) -- _tTemperature Conversions -- _tPercentages: Description & Calculation -- _gAppendix C. _tHow To Make a Simple Uv Exposure Unit -- _tOverview, Materials and How to Make One -- _gAppendix D. _tA Working Inventory for Planning an Alternative Process Workshop Or Class -- _tMaterials and Set Up for the Working Space -- _gAppendix E. _tA Modest List of Resources -- _tChemicals, Lab Gear & Kits -- _tWww.msdssearch.com -- _gLab Materials. _t& Art Supplies -- _tFilm & Photographic Supplies -- _tScans, Digital Printing, Books, Postcards, Portfolios -- _gAppendix F. _tAlternative Processes on the Interment -- _gAppendix G. _tAn Alternative Process Working Space -- _gAppendix H. _tSelected Bibliography: Contemporary & Historical. |
| 588 | _aMachine converted from AACR2 source record. | ||
| 650 | 0 |
_aPhotography _xProcessing _9322246 |
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| 650 | 0 |
_aPhotography _xPrinting processes _9322245 |
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| 650 | 0 |
_aPhotography, Handworked _9322261 |
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