Alternative processes for beginners

[Curtis Nelson]

I've got a bug to try something different, and have been admiring some of the work in the Alt Processes thread. My question is, for someone already familiar with LF, what would be a good starting alt. process to learn? Is it possible to rank the different processes in terms of difficulty?

Thanks,

Curtis

[Erik Larsen]

Cyanotype is very simple and can use lower contrast negatives you might already have. Platinum/palladium is simple but you have to tailor your negatives for the process and it is more expensive to learn with. Salt, van dyke and kallitype are simple but require more processing steps than the cyano or pt/pd. Gum prints are pretty simple as well. I would pick a process that you like the look of and just go for it. The best way to learn is jump in and just do it or save yourself some rookie mistakes and take a workshop. You're gonna waste a lot of paper and Chems at first but it'll get easy as you progress. It's a lot of fun!

[bob carnie]

I would say Gum Prints are cool as you can do both colour and BW.

[Wayne]

Solarization, photograms, anthotypes, lumen prints, paper negatives or creative combinations of the preceding are the easiest. I've used lumen prints as paper negatives and solarized the resulting print (or not), for example.

[koraks]

As mentioned, cyanotype is a good place to start. Van Dyke brown is only slightly more difficult and not very costly either. Kallitype is pretty similar to Van Dyke Brown, but a bit more challenging in terms of chemistry and due to the use of ferric oxalate more expensive than VDB.

With Pt/Pd I have no experience, but the processing is comparable in terms of the mechanics to Kallitypes (part of the chemistry is the same as well). I've always found it cost prohibitive though, so I would definitely recommend starting out with one of the cheaper processes to get the basics down.

Gum I have tried but never had much luck with it. It has great potential, but the lack of success in hundreds of test prints from both digital and silver negatives made me give up on it. It's also in a different league than the iron-based processes and Pt/Pd in terms of processing methods.

Carbon transfer is absolutely gorgeous and shares some if its mechanics and chemistry with gum bichromate, but I found it more rewarding. It's also very, very challenging though, so not a very good starting point if you ask me.

There's a couple more processes that could be nice to look into, but I'd suggest starting with one or two of the easier processes. Don't confuse 'easier' with 'less beautiful' though. Both cyanotypes and Van Dyke's (as they come or toned) can be gorgeous.

[karl french]

It's pretty hard to beat Platinum/Palladium for simplicity. There is just not that much too it, in terms of the basic process. No need to worry about fixing, or toning. It's especially suited to those of us who don't have darkrooms.

1. Mix solutions
2. Coat paper
3. Let paper dry
4. Expose paper
5. Develop print
6. Clear print.
7. Wash print.
8. Dry print.

[jp]

Classic cyanotype. inexpensive chemicals. Coat/Dry/expose and rinse in water. If you don't want to buy fancy unbuffered art paper, there are cheap drawing papers and such that work well.

[Curtis Nelson]

Thanks everyone for your great answers. I think I'm leaning toward cyanotype or maybe Van Dyke brown.

[Willie]

Bostick & Sullivan has Ziatype Pt/pd kits that are easy to work with. It is a printing out process so you can use a printing frame that is hinged on the back and open during the exposure to check your exposure.

Easy to do and the images can go from a plum purple to red/brown. A lot of variation makes for enjoyable experimenting.

[Ted R]

At the risk of pointing out the obvious, many if not all these processes employ contact printing from a negative, the size of the print is the size of the negative.

[Curtis Nelson]

At the risk of pointing out the obvious, many if not all these processes employ contact printing from a negative, the size of the print is the size of the negative.

Since I don't really have a way to make 8x10 negs from my 4x5 negs, I was considering using a waxed or oiled paper negative. Has anyone tried that? Would the contrast be too low to make Van Dyke brown work?

[bob carnie]

Ted - good point

I would like to add that with today's service bureaus we have numerous options for sourcing enlarged negatives.

What I have found is you can make it extremely complicated (for some of us) by plotting adjustment curves VIA QTR or other means of adjusting digital negatives.
OR you can simply send a variety of contrast curves to an image and then gang them up on a single sheet. Then on the process of your choice make a print and see which curve most
resembles your vision.

A good negative whether analoque or digital makes a good print... If it looks like a duck, walks like a duck and quacks like a duck it probably is a duck..

With most alt process there is wiggle room at the coating and exposure stage, and some like Christina Anderson will use a brush to control contrast and look of a print.
So my 2cents is start really simple with the negative stage and look at the results.

We use QTR here for repeatable results but for some of the work we do we just play with the negatives.



At the risk of pointing out the obvious, many if not all these processes employ contact printing from a negative, the size of the print is the size of the negative.

[Jim Noel]

Since I don't really have a way to make 8x10 negs from my 4x5 negs, I was considering using a waxed or oiled paper negative. Has anyone tried that? Would the contrast be too low to make Van Dyke brown work?

4x5 is plenty large for alternative printing. Some of the ones I like best are of this size, or smaller although I have made many in 7x17.. Begin with the negatives you have and make some VDB's. Once you have the process down experiment with large negatives. These can be made on the computer, or as you indicated with paper negatives. If done correctly, a paper negative works well, whether oiled or not. If you have the capability of making an enlarged paper negative, you can also make an enlarged film negative on ortho/litho film.
The main point here is to get started. VDB is not very expensive, and 4x5 prints can be beautiful. Bigger is not always better, and is frequently worse.

[Andrew O'Neill]

Cyanotype and Vandykes.

[koraks]

VDB is not very expensive, and 4x5 prints can be beautiful. Bigger is not always better, and is frequently worse.
Wholeheartedly agree. Of the contact prints I make, I think I like the 4x5's best. 5x7 is in my eyes the ideal contact printing format; sadly I don't have a 5x7 back and bellows for my Sinar.

[Curtis Nelson]

The main point here is to get started. VDB is not very expensive, and 4x5 prints can be beautiful. Bigger is not always better, and is frequently worse.

This sounds like great advice. I think I'll head down this path a little and see where I end up :)

[tgtaylor]

I'm a little late here but since you haven't settled on a particular process that I highly recommend https://www.amazon.com/Book-Alternative-Photographic-Processes/dp/1285089316/ref=sr_1_1?s=books&ie=UTF8&qid=1468431882&sr=1-1&keywords=the+book+of+alternative+photographic+processes+christopher+james. This book is an excellent introduction to numerous alternative processes and gives an historical background and step-by-step practical working instructions for each process. This is the book (2d Edition) I got when I started and began with the Cyanotype and is a great library resource on the alternative processes. The instructions are clear and you can read through the various processes to see which one is most appealing to you to start with. What is "easy" for one may not be for another.

Thomas

[Randy]

The simplicity and low cost of the classic cyanotype is why I started with it about a year ago. I am very pleased with my results - just won 2nd place in our local art exhibit with a print from a 4X5 neg - $200 smackers :)