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| Acknowledgments | |
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| Introduction | |
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| The Pinhole | |
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| Overview and Expectations | |
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| A Little History: Conception and Connections | |
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| The Conception | |
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| Connections | |
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| How a Daguerreotype Is Made | |
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| A Little Science | |
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| Pinhole Construction | |
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| Testing the Camera | |
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| Finding the Correct Exposure | |
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| Making Pictures | |
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| Pinhole Recommendations | |
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| The Negative: Traditional and Alternative Options | |
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| Overview and Expectations | |
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| A Little History | |
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| A Vision from 1760 | |
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| An Appropriate Moment to Explain Things | |
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| Negative Production Options | |
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| Commercial Labs | |
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| The Copy Machine | |
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| The Desktop Printer and Film Recorders | |
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| Acrylic Films from Printed Sources | |
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| Polaroid Type 55 Positive/Negative Film | |
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| A Quick Nod to Conventional Films | |
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| More Negative Options: The Cliche-Verre | |
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| Single Stage Negative-to-Negative Duplicating Films | |
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| A Few Multistage Duplicating Films | |
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| Exposure and Development: Average Negative Densities | |
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| Pyro | |
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| Dave Soemarko's Lc-1 and Lc-1B Low Contrast Developer Formulas for Lith Film | |
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| The Digital Options | |
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| Overview and Expectations | |
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| A Little History: The Digesting Duck to the Present | |
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| My View of the Present State of the Digital Arts | |
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| A Caveat | |
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| The Digital Negative: A Layman's Explanation | |
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| CMYK Separation Negatives: the Bare Essentials | |
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| CMYK Separations in Photoshop: The Speedy, Non-Fussy Version | |
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| CMYK Separations in Adobe Photoshop: The Longer Version (Photoshop 5.0 and 5.5) | |
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| CMYK Negative Separations in Adobe Illustrator | |
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| Photogenetics: An Imaging Alternative | |
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| The Plastic Camera | |
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| Overview and Expectations | |
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| A Little History | |
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| Toy Camera Philosophy | |
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| The Six Plastic Virtues | |
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| Plastic Camera Hints and Tips | |
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| The Salted Paper Process | |
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| Overview and Expectations | |
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| A Little History | |
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| Chemistry and Formulas | |
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| Coating Salted Paper | |
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| Printing Salted Paper | |
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| Prewash/Salt Wash | |
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| Toning Formulas for the Salted Paper Process | |
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| Fixing the Salted Paper Print | |
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| Final Wash | |
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| Contrast Control | |
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| The Cyanotype Process | |
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| Overview and Expectations | |
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| A Little History | |
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| How Cyanotype Works | |
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| The Chemistry: Chemicals and Sensitizer Formula | |
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| The Negative | |
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| Paper and Fabric Surfaces | |
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| A Few Words About the Sun | |
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| Exposing the Cyanotype | |
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| Development: Water or Acid | |
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| Washing and Oxidization | |
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| Clearing Your Highlights | |
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| Toning the Cyanotype | |
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| Cyanotype Variations: Fabrics and the New Cyanotype | |
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| Overview and Expectations | |
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| Materials You Will Need | |
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| Making the Image: Chemistry | |
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| Coating the Fabric | |
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| Printing | |
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| Development | |
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| Oxidizer: "Intensification" | |
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| Postprinting Washing Care | |
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| The New Cyanotype | |
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| A Little History | |
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| The Five Shortcomings of the Traditional Cyanotype Process, According to Dr. Ware | |
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| Chemical Solutions for the First Three Problems | |
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| The Sensitizer | |
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| Preparation of Sensitizer | |
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| Coating Techniques | |
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| Drying the Coating | |
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| Negatives | |
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| Exposure and Development | |
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| The Kallitypes: Van Dyke, B-V-D, and Kallitype | |
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| Overview and Expectations | |
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| A Little History | |
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| The Van Dyke Process | |
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| Van Dyke Sensitizing Chemistry | |
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| The Paper | |
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| Sizing | |
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| The Negative | |
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| Coating the Paper | |
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| Exposure | |
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| Processing the Image | |
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| Toning the Van Dyke Image | |
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| The Blue-Van-Dyke (B-V-D) Process | |
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| The Kallitype Process | |
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| The Kallitype Sensitizer | |
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| Coating the Paper | |
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| Exposing the Print | |
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| Developing the Print | |
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| Development Method #1 | |
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| Development Methods #2 | |
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| A Toning Process for Kallitype | |
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| Controlling Contrast with Potassium Dichromate | |
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| Fixing the Print | |
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| Final Wash | |
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| The Brownprint Process | |
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| The Brownprint Sensitizer | |
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| Exposure | |
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| Development | |
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| Fixing the Print | |
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| Final Wash | |
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| The Platinum/Palladium Process | |
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| Overview and Expectations | |
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| A Little History | |
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| The Process Explained | |
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| Supplies and Materials | |
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| The Negative | |
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| Papers and Sizing | |
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| The Chemistry | |
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| Two Pt/Pd Developer Formulas | |
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| The Clearing Baths | |
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| Formula for EDTA Clearing Bath | |
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| The Sensitizer Formula | |
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| Preparing the Formula and Coating the Paper | |
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| Exposure | |
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| Best Advice | |
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| Developing the Platinum/Palladium Image | |
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| Prewashing and Clearing | |
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| Some Points to Consider: Trouble-shooting | |
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| Cyanotype, Gum, and Van Dyke with Pt/Pd | |
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| The Ziatype Process | |
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| Overview and Expectations | |
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| A Little History | |
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| A Little Chemistry | |
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| How It Works | |
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| The Working Process | |
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| Additional Considerations | |
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| End Thoughts | |
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| The Anthotype Process | |
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| Overview and Expectations | |
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| A Little History | |
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| Anthotype Materials | |
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| The Working Process | |
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| Paper: History, Preparation, Shrinking, Sizing, and Hardening | |
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| Overview and Expectations | |
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| |
| A Few Words About Paper and Its History | |
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| Shrinking | |
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| Sizing and Hardening | |
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| Gelatin Sizing and Hardening Processes | |
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| Gelatin Sizing | |
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| Materials You Will Need | |
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| |
| Gelatin Sizing: Step 1 | |
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| Gelatin Hardening: Step 2 | |
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| Formalin Hardening Bath and Process: A Step 2 Option | |
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| |
| Glyoxal Hardening Bath and Process: A Step 2 Alternative | |
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| |
| Glyoxal-Gelatin Single-Coating Option | |
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| |
| Arrowroot Sizing | |
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| |
| Gesso-Acrylic Medium Sizing | |
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| |
| Gloss Polyurethane Sizing | |
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| |
| Gum Arabic-Dichromate Sizing | |
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| |
| |
| The Gum Bichromate Process | |
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| |
| Overview and Expectations | |
| |
| |
| A Little History | |
| |
| |
| How Gum Bichromate Works | |
| |
| |
| A Few Words Before We Begin | |
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| |
| The Gum Negative | |
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| |
| Registration | |
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| |
| The Ammonium/Potassium Dichromate Sensitizer | |
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| |
| Watercolors | |
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| |
| Gum Arabic | |
| |
| |
| A Traditional Gum Bichromate Sensitizing Formula (Ammonium Dichromate) | |
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| |
| Another Sensitizer Formula (Potassium Dichromate) | |
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| |
| An Alternative Sensitizing Formula: "The 5-10-10" | |
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| |
| Sensitizing the Paper | |
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| |
| A Few Words Regarding Conventional Gum Wisdom and Staining | |
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| |
| Coating | |
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| |
| Exposing the Negative | |
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| |
| Printing a Single Color Gum with a Single Negative | |
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| Development: Clearing | |
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| Other Miscellaneous Trouble-Shooting Notes and Suggestions | |
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| |
| |
| Dichromate Options: 3-D Gum, Alternative Surfaces for Gum, the Dusting-On Process, the Ferro-Tannic Process, and the Ferro-Gallate Process | |
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| |
| Overview and Expectations | |
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| |
| 3-D Gum Bichromate Process | |
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| |
| How 3-D Works | |
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| The Negatives | |
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| |
| The Process | |
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| |
| Gum Bichromate on Alternative Surfaces | |
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| |
| The Basic Premise | |
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| |
| Tooth | |
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| |
| Coating, Exposure, and Development | |
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| |
| The Dusting-On Process | |
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| |
| A Little History | |
| |
| |
| Contemporary Dusting-On Process | |
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| |
| Working on Glass | |
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| |
| The Traditional Dusting-On Formula | |
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| |
| Materials Needed for Dusting-On Process | |
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| |
| The Process for Paper | |
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| |
| Hot and Humid Image Development | |
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| Dusting-On Glass: Transfer Option | |
| |
| |
| The Ferro-Tannic and Ferro-Gallic Processes | |
| |
| |
| A Little History | |
| |
| |
| The Chemistry | |
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| |
| |
| The Albumen Process | |
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| |
| Overview and Expectations | |
| |
| |
| A Little History | |
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| |
| How the Albumen Process Works | |
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| |
| |
| The Traditional Raw Egg Method | |
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| |
| |
| The Powdered Albumen Method | |
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| |
| |
| The Instant Gratification Method | |
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| |
| Coating the Paper with the Albumen Solution | |
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| |
| Hardening Options If You Double Coat | |
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| |
| Sensitizing the Paper | |
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| |
| Exposure: Contrast Control and What to Look For | |
| |
| |
| Silver Albumenate and Highlight Yellowing | |
| |
| |
| Processing: First Bath | |
| |
| |
| Optional Toning | |
| |
| |
| Fixing the Toned Print | |
| |
| |
| Final Wash | |
| |
| |
| |
| POP: Printing-Out Process | |
| |
| |
| Overview and Expectations | |
| |
| |
| A Little History | |
| |
| |
| POP Overview | |
| |
| |
| A Traditional POP Emulsion | |
| |
| |
| Formulas and Process for Precoated POP Paper | |
| |
| |
| Gold-Thiocyanate Toner | |
| |
| |
| Gold-Alkaline Toners (Gray Silver-Sepia to Pink) | |
| |
| |
| Sodium Bicarbonate Formula | |
| |
| |
| Replenishment for Gold Toners | |
| |
| |
| Platinum Toner: Traditional Formula | |
| |
| |
| POP Platinum Toner (Neutral Black-Sepia) | |
| |
| |
| Gold-Platinum POP Split Toner | |
| |
| |
| Gold-Platinum-Selenium POP Split Toner | |
| |
| |
| Fixing the POP Print | |
| |
| |
| Final Wash | |
| |
| |
| |
| Hand-Applied Emulsions: Liquid Emulsions, Photo-Etching, Paint, Photo-resists, Contemporary Tintypes, Wet Collodion, and Ambrotype Processes | |
| |
| |
| Overview and Expectations | |
| |
| |
| Liquid Emulsions | |
| |
| |
| The Working Process for Hand-Applied Emulsions | |
| |
| |
| Emulsions on Glass, Ceramic, and Similar Surfaces | |
| |
| |
| Emulsions on Metal | |
| |
| |
| Solarplates | |
| |
| |
| Photo-Resists | |
| |
| |
| Contemporary Tintype Process | |
| |
| |
| A Little History | |
| |
| |
| The Dry Plate Process | |
| |
| |
| Coating | |
| |
| |
| Exposure | |
| |
| |
| Development | |
| |
| |
| The Wet Collodion and Ambrotype Process | |
| |
| |
| A Little History | |
| |
| |
| The Ambrotype Process | |
| |
| |
| Salted Collodion Emulsion | |
| |
| |
| Prefix Wash: Developer Removal | |
| |
| |
| Fixing the Plate | |
| |
| |
| Drying | |
| |
| |
| Varnishing | |
| |
| |
| Mounting and Presentation of a Wet Collodion Positive | |
| |
| |
| |
| The Mordancage Process | |
| |
| |
| Overview and Expectations | |
| |
| |
| Redevelopment | |
| |
| |
| Depouillment (Gelatin Removal) | |
| |
| |
| Oxidation | |
| |
| |
| |
| Image Transfer Processes: Color Laser, Lazertran System, Polaroid Transfer and Emulsion Lift Processes, Ink Jet Water Transfer | |
| |
| |
| Overview and Expectations | |
| |
| |
| How a Color Laser Copier Works | |
| |
| |
| At the Copy Store | |
| |
| |
| Materials You Will Need | |
| |
| |
| Solvent Transfer Technique | |
| |
| |
| The Varneytype Transfer Process | |
| |
| |
| Water/Dry Mount Process | |
| |
| |
| Transfers to Fabric | |
| |
| |
| The Lazertran Transfer Process | |
| |
| |
| Lazertran Transfer Papers for Artists | |
| |
| |
| Fixing a Lazertran Transfer to Glass, Ceramic, Perspex, and Metal | |
| |
| |
| Fixing a Lazertran Transfer to Paper, Wood, Stone, and Plastic with Turpentine | |
| |
| |
| Lazertran Silk Transfer | |
| |
| |
| Lazertran on Heavy Fabrics | |
| |
| |
| Lazertran Etch: Printmaking Press Transfers | |
| |
| |
| Polaroid Transfers and Emulsion Lifts | |
| |
| |
| What Is Polaroid Film and How Does It Work? | |
| |
| |
| Materials Needed for These Processes | |
| |
| |
| The Wet Transfer Process | |
| |
| |
| The Dry Transfer Process | |
| |
| |
| Polaroid Emulsion Lifts | |
| |
| |
| The Process | |
| |
| |
| Exposing Type 59 4" x 5" Film in an Enlarger | |
| |
| |
| Ink-Jet Water Transfer Process | |
| |
| |
| |
| Safety Considerations and Data for Chemicals Used in This Book | |
| |
| |
| Excellent Sources for Chemical, MSDS (Material Safety Data Sheet) and Lab Safety | |
| |
| |
| A Few Simple Chemistry Definitions | |
| |
| |
| Chemistry and Safety | |
| |
| |
| Chemical Abstract Service Registry (CAS) | |
| |
| |
| |
| Small Volume Conversion Table | |
| |
| |
| Dry measure | |
| |
| |
| Liquid measure | |
| |
| |
| Temperature | |
| |
| |
| Percentages | |
| |
| |
| |
| A Simple Ultraviolet Exposure Unit | |
| |
| |
| Materials Needed | |
| |
| |
| How to Make It | |
| |
| |
| |
| A Working Inventory Check Sheet: For an Alternative Process Curriculum, Workshop, or Studio | |
| |
| |
| |
| A Modest List of Resources: Chemicals, Lab Gear, and Kits | |
| |
| |
| Lab materials and art supplies | |
| |
| |
| Films and Photographic Supplies | |
| |
| |
| Negative Scans, Digital Resources, Books, Postcards, and Portfolios | |
| |
| |
| |
| Alternative Processes on the Internet | |
| |
| |
| |
| An Alternative Process Working Space | |
| |
| |
| |
| Selected Bibliography: Contemporary and Traditional Alternative Processes | |
| |
| |
| Contemporary | |
| |
| |
| Early and Historical | |
| |
| |
| Index | |