Recommend a book on Alternative Processes

[Anupam]

Hello,
I am looking to buy a good book on alternative processes as I start to explore these a bit more. In the past I have looked at the following books, especially the Barnier:


John Barnier. Coming into Focus: A Step by Step Guide to Alternative Photographic Printing Processes.
Christopher James. The Book of Alternative Photographic Processes. 2001 ed. I think there is a new edition which covers digital negs.


While I know one book can't be the best at everything, I am looking to get a book which would thoroughly cover the major alt processes at a technical level that would suit me. I am proficient with LF and conventional sensitometry from Ansel Adams etc. I.e. I can develop negs to a particular density and test with my densitometer etc, so I don't really want handholding (which I felt the Barnier book did a bit). But I also don't want to get deep into chemical equations and stuff and the only alt process I have done extensively thus far are cyanotypes. Something on digital negatives etc would be good but not essential if the rest of the material is good. These books look kind of expensive, so I thought I'd ask forum members before deciding on one.

[Richard Wall]

The best place I have found for info on Alt photographic processes is:

http://www.alternativephotography.com/process.html

I have used their Albumen formula and have had good result with it.
There are also several Alt Processes groups around with information online:

http://unblinkingeye.com/AAPG/index.html


Richard

[Anupam]

Thanks, I know those sites. But I wanted something more like a reference to complement those. I find books made of real paper and glue more reassuring :)

[windpointphoto]

Between those two books, 95% of all your questions should be answered. Along with the two sites Richard mentions you'll get all the info there is out there.

[Steven Barall]

How about "The Keepers Of Light" by William Crawford? How does it compare to the other two books mentioned?

[John Kasaian]

Historic Photographic Processes by Faber

[sanking]

How about "The Keepers Of Light" by William Crawford? How does it compare to the other two books mentioned?


The Keepers of Light by William Crawford is a wonderful classic that almost all serious alternative printers I know own. It was published way back in 1979 so much of the end material (references, supplies, etc.) is virtually useless.

KOL is unique in its historical description of the aesthetic implications of alternative printing techniques. There is so much that you can learn from this book about the aesthetics and technique of alternative photography that I don't know where to begin. All I can say is that I consider it in the top five of all books on photography that I own.

One of the remarkable stories is that Crawford went off into career activities totally unrelated to photography, and was for many years not aware of the importance of his work to photography. Several years ago someone *found* him and invited him to an conference on alternative printing in Santa Fe (APIS, sponsored by B&S). He came to the conference two years later, at which time I met and talked to him over lunch.

Crawford was a remarkable researcher and writer who produced the classic work on alternative printmaking. I doubt anyone will ever capture the unique understanding of the synergy between aesthetics and techniques that he captured in KOL.


Sandy King

[sanking]

Historic Photographic Processes by Faber

I like this book also. Nice small manual of the most important historical processes.

But like Barnier's Coming into Focus (published 2000), and Keepers of Light (published 1979) it was published quite a long time ago (1998) so the end material of references, suppliers, etc. is almost useless.

Sandy King

[D. Bryant]

Hello,
I am looking to buy a good book on alternative processes as I start to explore these a bit more. In the past I have looked at the following books, especially the Barnier:


John Barnier. Coming into Focus: A Step by Step Guide to Alternative Photographic Printing Processes.
Christopher James. The Book of Alternative Photographic Processes. 2001 ed. I think there is a new edition which covers digital negs.


While I know one book can't be the best at everything, I am looking to get a book which would thoroughly cover the major alt processes at a technical level that would suit me. I am proficient with LF and conventional sensitometry from Ansel Adams etc. I.e. I can develop negs to a particular density and test with my densitometer etc, so I don't really want handholding (which I felt the Barnier book did a bit). But I also don't want to get deep into chemical equations and stuff and the only alt process I have done extensively thus far are cyanotypes. Something on digital negatives etc would be good but not essential if the rest of the material is good. These books look kind of expensive, so I thought I'd ask forum members before deciding on one.

Pick a process and explore it in depth. With printing processes such as carbon or gum you are likely to need some hand holding so don't knock it.

Before you jump into digital negatives be sure you have a printer that is up to snuff and capapble to produce the needed contrast for the processes you are interested in and that you understand the process you plan to print with.

The new James book is a good general reference though there is an error or two that I've found. His coverage of digital negatives is poor IMO.

I think the best paths to go with digital negs is Mark Nelson's PDN system using the new Curve Calculator II module or using QTR to produce negatives.

In general there are a lot of things to understand and learn when working with alternative processes which may not be intuitive or obvious, so IMO you can never have too many books on Alt. Processes.

Oh yeah, do you have a UV light source besides the sun to print with? Another important consideration especially if you plan on using digital negatives.

And don't forget to plan on purchasing 21 or 31 step tablets (or both).


Don Bryant

[Waldo]

The Keepers of Light by William Crawford is a wonderful classic that almost all serious alternative printers I know own. It was published way back in 1979 so much of the end material (references, supplies, etc.) is virtually useless.

KOL is unique in its historical description of the aesthetic implications of alternative printing techniques. There is so much that you can learn from this book about the aesthetics and technique of alternative photography that I don't know where to begin. All I can say is that I consider it in the top five of all books on photography that I own.

One of the remarkable stories is that Crawford went off into career activities totally unrelated to photography, and was for many years not aware of the importance of his work to photography. Several years ago someone *found* him and invited him to an conference on alternative printing in Santa Fe (APIS, sponsored by B&S). He came to the conference two years later, at which time I met and talked to him over lunch.

Crawford was a remarkable researcher and writer who produced the classic work on alternative printmaking. I doubt anyone will ever capture the unique understanding of the synergy between aesthetics and techniques that he captured in KOL.


Sandy King

Thats a very interesting story. He really did write the book on alternative processes. I have it on my shelf along with Christopher James' book. Both are very good. James seems to put it into more simple terms while Crawford does the straight approach and gives you the facts. I strongly recommend both.

[Roger Hicks]

Spirits of Salts. A superb overview with lots of practical detail too.

Cheers,

Roger

[Anupam]

Thanks for all the insights. Like all things photographic, I can see I am going to end up with more than one - maybe several :) .

-A

[DarkroomDan]

I've got another to recommend:

"Alternative Processes Condensed" subtitled "A Manual of Gum Dichromate and Other Contact Printing processes" by Christina Z. Anderson

This is pretty much "hands on" information. I keep my copy in the darkroom and pull it out when I have questions about a process I haven't done in awhile or when I feel like trying something new.

I also like Judy Seigel's "The World Journal of Post-Factory Photography". I think it is still available from Judy - a Google search may get you more info. If you are interested and unable to find contact information, let me know. I'm sure I can find it. There are nine volumes in the set, if I remember correctly - mine are in my studio and I'm too damned lazy to go look. It originally was a subscription magazine devoted to alt processes with articles by people who were currently working with them. Several members of this forum, including Sandy King, wrote for the Journal. It is a good read.

"Keepers Of The Light" is a must have and, thought I don't have Christopher James' book I have read several complementary reviews of his new edition and am planning on getting it.

If you are not now a member, you might like to join the "alt-photo-process" mail list. This puts you in contact with some of best working practitioners of various processes.

Dan

[Mike Castles]

Thanks for all the insights. Like all things photographic, I can see I am going to end up with more than one - maybe several :) .

-A

Yes, in my case anyhow. Have all of the ones mentioned - depends on what one is doing, each has it's own place, IMO. Current work is with plt/pld and gum-over plt/pld. Good luck and have a lot of fun, haven't found a process I don't consider fun yet.

[Doug Howk]

For the aesthetics of the alt photo process "movement", check out Lyle Rexer's Photography's antiquarian avante-garde the new wave in old processes

[CharlesWest]

(Still getting the hang of this site. Bare/bear with me.)

[CharlesWest]

Oh, it's digital negatives you want?

Try Mark Nelsons ebook, "Precision Digital Negatives."

Master that and you'll be set for life for digital negatives.
Also well done, and decent saleable results can be found using Ron Reeder/Brad Hinkels book, Digital Negatives. Marks system uses color negatives. Ron's/Brad's system uses QuadTone RIP. All require extensive testing, testing, testing to the point of crying on an hourly basis.

After using Dan Burkholder's book for years, I can no longer recommend it. Even though he was the first, a true pioneer, it's outdated, and he's not going to update it because of current better systems.

In any case, you're really need to absolutely master your technique before trying digital negatives. So many agro variables.

[John Jarosz]

For an overview, The Keepers of Light is the hands down winner. Aftyer that, pick a process that you would want top try and get a book dedicated to that process. If you are nuts enough to choose Carbon Printing you will most likely want to go to a workshop to speed things along. Any of the alternative processes can be self taught, but how long it takes is really dependent on you. Have fune, there are a lot of great processes to try.

[D. Bryant]

For an overview, The Keepers of Light is the hands down winner. Aftyer that, pick a process that you would want top try and get a book dedicated to that process. If you are nuts enough to choose Carbon Printing you will most likely want to go to a workshop to speed things along. Any of the alternative processes can be self taught, but how long it takes is really dependent on you. Have fune, there are a lot of great processes to try.

Christopher James' book is probably the best general reference available today. Keepers of the Light is quite dated now.

Carbon Printing can be self taught just as any other alternative process can be, though a workshop with Sandy King will get you started in the right direction.

Don

[JamesFromSydney]

If you want specific information on Pt/Pd, I highly recommend the Arentz book. Some other books covering historical process seem to be incomplete in this area. It's out of print & expensive used, but available as a PDF from the author.

Beyond The Zone System is also likely required reading.

[CharlesWest]

Out of print? Really? His second edition? It is still pretty available. I see it all the time in stores. Maybe get a copy before it gets expensive. If you don't have Dick Arentz pt/pd book, you need to get it. Second edition.

[JamesFromSydney]

Well, it's currently selling for $400 on Amazon.

[D. Bryant]

I see it all the time in stores.

Oh really. What store(s) would that be?

Don Bryant

[Michael S]

Why is digital technology automatically deemed necessary for the enlargement of negatives for alt process printing? You can save yourself a whole lot of time and effort by optically enlarging your negatives in the darkroom. With the use of pyro development, the resulting negatives are exceptionally well suited to platinum/palladium as well as any other alternative U/V photographic process. I refer the reader to Bob Herbst's web site in which he details an elegant optical process to create enlarged negatives for platinum/palladium printing that was published in "View Camera" magazine. Bostick and Sullivan has an article on their web site as well. So do yourself a favor and skip the digital and stick with optical. You'll be glad that you did.

[Michael S]

As for a book recommendation, I suggest "The New Platinum Print" by Richard Sullivan (of Bostick and Sullivan) and Carl Weese. For platinum and palladium printing it is surely one of the best (although it is spiral bound, which I don't care for). It doesn't contain all of the charts and graphs that are in Arentz's book, but I never found them to be of much use. Also "The History and Practice of Platinum Printing" by Luis Nadeau is an invaluable resource for information on platinum and palladium printing.

[D. Bryant]

Why is digital technology automatically deemed necessary for the enlargement of negatives for alt process printing? Bostick and Sullivan has an article on their web site as well. So do yourself a favor and skip the digital and stick with optical. You'll be glad that you did.

I can assure you that if you visit Bostick & Sullivan's carbon works you will will find nary an enlarger. All of their enlarged negatives are done digitally. Optically enlarged negatives are passe and - well a PITA compared to enlarging digitally now. Working in Photoshop provides much more control of image contrast and other adjustments such as spotting, dodging and burning, etc., not to mention creative possibilities.

When is the last time you made color separation negatives in the wet darkroom?

Outputting to a high quality ink jet printer is much quicker than wet processing. And if real film con-tone negatives are important to you, one can always have negatives printed on a Lambda.

Don Bryant

[Michael S]

Don Bryant posted...
"I can assure you that if you visit Bostick & Sullivan's carbon works you will will find nary an enlarger. All of their enlarged negatives are done digitally. Optically enlarged negatives are passe and - well a PITA compared to enlarging digitally now."

Written like a true slacker! I wasn't meaning to gore your sacred digital cow, Don. For anyone who feels that darkroom work is a pain in the ass, fine then by all means do your digital. Personally, I actually ENJOY working in my darkroom, go figure. However, if you had bothered to actually read what it was that I wrote, which was was that if you check Bostick and Sullivan's web site they have a process to create optically enlarged negatives, then maybe we wouldn't have to go through this.

By the way, when was the last time you priced one of those high end printers? Talk about a PAIN, but I suppose that if we all don't conform to and bow down to the digital God, then we will be damned to darkroom Hell forever. Anyway, the thread was book recommendations for alternative processes. Do you have one?

[D. Bryant]

Written like a true slacker!

Now you are really showing your ignorance.



I wasn't meaning to gore your sacred digital cow, Don.

I didn't think you were, I was just pointing out that there is nothing to be gained any longer making enlarged internegs in the darkroom.



For anyone who feels that darkroom work is a pain in the ass, fine then by all means do your digital. Personally, I actually ENJOY working in my darkroom, go figure. However, if you had bothered to actually read what it was that I wrote, which was was that if you check Bostick and Sullivan's web site they have a process to create optically enlarged negatives, then maybe we wouldn't have to go through this.

I read what you wrote and my point is that there are productivity issues to consider, enjoyment doesn't equal productivity. And I have checked the article a long time ago. I'm very familiar with how to make enlarged negatives and used to until the digital technology eliminated the need to work in the darkroom. Now that we can do it digitally there isn't really any reason to make optically enlarged negatives any longer. Like I said when was the last time you made color separation negatives in the darkroom for tri-color gum printing?


By the way, when was the last time you priced one of those high end printers?

Yesterday, BTW. IF you shop around you can get very nice deals on used equipment.


Talk about a PAIN, but I suppose that if we all don't conform to and bow down to the digital God, then we will be damned to darkroom Hell forever.

The issue isn't about conformity, for me it's about quality and productivity.


Anyway, the thread was book recommendations for alternative processes. Do you have one?


If you had read the thread carefully you would have seen that I did that already.

That's my 2 cents worth - time to move along,

Don Bryant

[Michael S]

Way to kill the thread, Don. Two cents? I don't think it's worth even that much. I was merely suggesting that there is an ALTERNATIVE PROCESS (this thread is about information re: alternative processes) to creating enlarged negatives for alternative printing, and I pointed to sources of information for others to proceed in it. You come on as a maelstrom of negativity with your pathetic whine that it's a "pain in the ass", thereby discouraging anyone from even thinking about trying it, and that was wrong of you to do. Apparently some don't think that it is a pain in the ass, myself included. Once all of the kinks are worked out, it's actually quite easy to crank out a few enlarged negs in a darkroom session. Maybe making enlarged negs optically didn't work out for you, and you are more comfortable doing it on the computer. That's fine. I have no problem with that, of course. However you should allow others to see if it might work for them.

As far as productivity is concerned, for me if there is no ENJOYMENT in the darkroom (or any other work space for that matter), there is no production, hence ZERO productivity.

And By The Way, I'll assume that BTW actually means Big Tight Wad, and you've got me pegged right there. I can't stand the idea of plunking down good cash to purchase used computer components which are either obsolete by now, or were somebody else's headache before they were dumped on the used market, to make one last brief stop at my house only to end up residing permanently in the landfill. I don't think so.

[D. Bryant]

Way to kill the thread, Don.

I haven't killed the thread Michael, I was simply reacting to your droll little comment - "So do yourself a favor and skip the digital and stick with optical. You'll be glad that you did."

Like it's really important and vital that you enlarge optically. Why would someone be glad they enlarged the negative optically?

Today I had the pleasure of looking about 2 dozen large (16x20) palladium prints, originally shot on 8x10, made from ink jet negatives. They looked great and I can't see how enlarging them optically would make them any better. Can you explain to me how they would have been better if the negatives had been made optically?


thereby discouraging anyone from even thinking about trying it,

I would discourage anyone from trying if they thought it was going to produce a superior enlarged negative which is what your comment implied.


However you should allow others to see if it might work for them.


Like I'm stopping people from doing something. I'm just pointing out that there is an alternative especially for those without a darkroom that can be used to enlarge negatives or that may have digital files from scanned negatives or digital cameras.



As far as productivity is concerned, for me if there is no ENJOYMENT in the darkroom (or any other work space for that matter), there is no production, hence ZERO productivity.


I have worked in a darkroom for decades and I can honestly say that I never enjoyed the toil and tedium. Enjoyment has nothing to do with productivity.



And By The Way, I'll assume that BTW actually means Big Tight Wad, and you've got me pegged right there. I can't stand the idea of plunking down good cash to purchase used computer components which are either obsolete by now, or were somebody else's headache before they were dumped on the used market, to make one last brief stop at my house only to end up residing permanently in the landfill. I don't think so.

Obviously you don't have enough savvy to work with a digital photography and so your reaction is that digital methods are inferior to traditional methods. You still haven't answered my question about how you would create color separation negatives. I can assure you that you won't snap your fingers and have them pop out of your darkroom.


Don

[matthew klos]

I am a personal student of Christopher James, his book is friendly and very user friendly, he has been researching the topic of alt pro for some time now, and is exceptionally knowledgeable. The book is in its 2nd edition right now, and it is readily available everywhere, and no it is not out of stock. There is a part of the book that deals with Digital Negatives, and it is a good beginning and starting place for digi-negs. I have made many digital negatives, and i have made many alt-pro intended analog negatives. Between the two of you don and Michael. i will say this, if i don't have to sit down in-front of a computer and make digital negatives i wont. Digital negatives can be absolutely beautifully, i have made 20x24 platinum prints with digital negatives, and they looked just as good if i had made it on a piece of ortho film. But with digital negatives comes a cost. 1. the printer if you are doing anything bigger than 11x14 you are going to have to buy a large format printer, and those Epson's are expensive and the ink to fill them is pricy. The upkeep is time consuming, anddddd you can not run any other piece of material through that printer. Pictorico is sensitive and i have had ink heads been ruined when say a paper is run through it instead. you could go somewhere to have it printed, but i don't trust anyone with my negatives or printing my work. Ortho films in the darkroom, i think are faster. But i find it can also be hard if you have never tried it before, there is a learning curve. There is a place for both of them. But the first time you just print of a digital negative, it might not just work, and there you have it a beautiful print. They take work, they need to be tweaked and tried. there is this rumor going through the alt pro community i find, that you can simply go out and take a picture with any camera just make it into a digital negative and there you have it. It's not that simple. There is a place for both of them, but if i had it my way, id stay away from digi negs.

[PViapiano]

Oh really. What store(s) would that be?

Don Bryant

Freestyle usually has a few copies every time I'm in there...

[D. Bryant]

but if i had it my way, id stay away from digi negs.

Why?

Don

[D. Bryant]

Freestyle usually has a few copies every time I'm in there...

That's not a book store Paul and only in Cali.

Don

[Colin Graham]

I am a personal student of Christopher James, his book is friendly and very user friendly, he has been researching the topic of alt pro for some time now, and is exceptionally knowledgeable. The book is in its 2nd edition right now, and it is readily available everywhere, and no it is not out of stock. There is a part of the book that deals with Digital Negatives, and it is a good beginning and starting place for digi-negs.

I'm not sure James's book is the best place to start for digital negatives. His suggestion of making multiple negatives at different densities and then overlaying them to make a single negative to print with, along with the assertion that 'red-yellow' has been known for a long time to block UV for digital negatives (without any mention of printer or inkset) make most of the section on digital negatives seems very dated.

The book addresses a very specific workflow, the overview of the steps of printing a digital negative, but not much on the creation of profiles and adjustment curves. Even the parts addressing separation negatives seem a digest of many individual printers' approaches. He doesn't compare them meaningfully, or explain them so much as just list the steps as bullet points, so it's hard to see the overlap and true differences in the approaches. Even the section on custom profiles begins with this sentence:
"OK...I promised myself I would avoid a digital dialogue that was too technical and compulsive because that just isn't the way I work in alternative processes. Besides, there are plenty of other books that will be delighted to show you all the bells and whistles dwelling in the realm of digital imaging."

Maybe he gives more current and useful info in other parts of the chapter, but his section 'Creating Color Layers on Ink-Jet Contact Negatives' seemed so dated I couldn't read any more in the chapter. No real fault of James though. I'd hate to have to try to keep something that's evolving so quickly up to date in book edition.

[matthew klos]

yuh your not reading the correct edition of the book, that was years ago when the technology was still new. That dosnt work.

[Colin Graham]

I quoted directly from the second edition, it's the only edition I own.

[matthew klos]

Interesting. Well i know now that is now how he teaches it. Nor how i learned. I agree with him on the idea of making different negatives, to test which density will work, not sandwhiching them, but using them for testing what will give you the best result, before you say print it 16x20.

[CharlesWest]

Oh really. What store(s) would that be?

Don Bryant

Borders on Lake in Pasadena. Freestyle in Hollywood had a copy a few months ago. Samy's on Walnut and Fair Oaks. How many copies would you like? I'm sure I can find some. I keep seeing it all over! It's not rare. What's up, people? Do you need some book hook ups?

[CharlesWest]

I love Jame's book, too, for everything alt. But, for digital negatives, it's about the last book I'd reference.

[D. Bryant]

Borders on Lake in Pasadena. Freestyle in Hollywood had a copy a few months ago. Samy's on Walnut and Fair Oaks. How many copies would you like? I'm sure I can find some. I keep seeing it all over! It's not rare. What's up, people? Do you need some book hook ups?

There must be a glut of Arentz's book in California. Here in the east the title can't be found for love not money.

Thanks,

Don

[Don7x17]

Arentz's book is now available on Lulu

http://www.lulu.com/browse/search.php?fListingClass=0&fSearch=arentz

Has anyone ordered it? I presume second edition. (I haven't bothered to download as I have copies by focal press)
Don

[Robert Crigan]

What you need is
'The Keepers of Light' by William Crawford. Subtitled 'A history and working guide to early photographic processes'.
It contains clear instructions for most of the processes you're likely to have heard of.
And then there's 'History & Practice of Platinum Printing' by Luis Nadeau. He's a very accomplished printer but I've yet to put into practice his advice. Platinum is always something I'm going to do.
good luck
Robert

Hello,
I am looking to buy a good book on alternative processes as I start to explore these a bit more. In the past I have looked at the following books, especially the Barnier:


John Barnier. Coming into Focus: A Step by Step Guide to Alternative Photographic Printing Processes.
Christopher James. The Book of Alternative Photographic Processes. 2001 ed. I think there is a new edition which covers digital negs.


While I know one book can't be the best at everything, I am looking to get a book which would thoroughly cover the major alt processes at a technical level that would suit me. I am proficient with LF and conventional sensitometry from Ansel Adams etc. I.e. I can develop negs to a particular density and test with my densitometer etc, so I don't really want handholding (which I felt the Barnier book did a bit). But I also don't want to get deep into chemical equations and stuff and the only alt process I have done extensively thus far are cyanotypes. Something on digital negatives etc would be good but not essential if the rest of the material is good. These books look kind of expensive, so I thought I'd ask forum members before deciding on one.