Alternate Processes in Photography

Brian Arnold is a visiting research fellow in the Southeast Asia Program at Cornell University. He is a photographer, musician, and writer.

• ContentsAcknowledgmentsIntroductionChapter 1 NegativesDigital NegativesRequired MaterialsDarkroom NegativesRequired MaterialsThe Importance of Making Good NegativesHistorical IntroductionTraditional Darkroom OptionsDigital NegativesPrimary Photoshop ToolsContrast Controls: Levels and Curves Image Mode Invert Layer Adjustments SharpeningImage Size Negative SupportsAcetate Paper and Vellum Pictorico and Other Inkjet Films Film Making the NegativeFile TypesWrapping It Up Chapter 2 PaperHistorical IntroductionMaking PaperPaper TerminologyToothFinishSizingAcid-FreeDeckleGrainWeightHandmade PaperMachine-Made PaperMoldmade PaperTypes of PaperWriting PaperDrawing PaperPrintmaking PaperWatercolor PaperOther OptionsPreshrinkingSizingSpray StarchArrowroot StarchGesso Gum ArabicGelatin Other SupportsFabricsCanvasWood, Glass, Ceramics, and MetalWrapping It UpChapter 3 Salted Paper (Calotype)Required ChemicalsOptional ChemicalsHistorical IntroductionChemistrySensitizerDevelopmentTonerFixerClearingMaking the PrintNegativesPaperCoatingExposureDevelopmentToningFixingClearing and WashingTroubleshootingFadingWeak PrintsWrapping It UpChapter 4 CyanotypeRequired ChemicalsOptional ChemicalsHistorical IntroductionChemistrySensitizerDevelopmentClearing BathsOther ChemicalsMaking the PrintThe NegativePapersMixing the SensitizerExposureDevelopmentClearing/FinishingToning Tea and CoffeeBoraxDektol/Print Developer AmmoniaSodium Carbonate Tannic AcidTroubleshootingStainingWeak PrintsWrapping It UpChapter 5 Van Dyke BrownRequired ChemicalsOptional ChemicalsHistorical IntroductionChemistrySensitizerDevelopmentTonersFixingClearing AgentsContrast Control Making the PrintThe NegativePapersCoatingExposureDevelopmentToningFixingClearing and WashingTroubleshootingDark PrintsLight PrintsStreakingWrapping It UpChapter 6 Platinum and PalladiumRequired ChemicalsOptional ChemicalsHistorical IntroductionChemistrySensitizerDevelopmentAmmonium Citrate DeveloperPotassium Oxalate Developer Cold Bath Developer Clearing BathsOther ChemicalsGold ChlorideNa2 Making the PrintThe NegativePapersMixing the SensitizerFurther Contrast ControlPalladium Combined with Platinum Gold ChlorideExposing the PrintDeveloping the PrintTroubleshootingFoggingSolarization/"Bronzing"Wrapping It UpChapter 7 Variations on Platinum and PalladiumKallitype: Required ChemicalsKallitype: Optional ChemicalsZiatype: Required ChemicalsZiatype: Optional ChemicalsKallitype: Historical IntroductionKallitype: ChemistrySensitizerDevelopmentToningClearing BathsFixerContrast ControlKallitype: Making the PrintThe NegativePapersCoatingExposureDevelopmentClearing Baths ToningFixingFinal WashKallitype: TroubleshootingYellow HighlightsStreakingWeak or Faded PrintsZiatype: Historical IntroductionZiatype: ChemistrySensitizerAmmonium Ferric Oxalate Lithium Palladium ChlorideCesium Palladium ChlorideAmmonium Dichromate Gold Chloride Sodium Tungstate Tween 20 Clearing Baths Ziatype: Making the PrintThe NegativePaperCoatingExposureDevelopment/ProcessingZiatype: TroubleshootingWeak PrintsInconsistent ResultsWrapping It UpChapter 8 Gum BichromateRequired ChemicalsOptional ChemicalsHistorical IntroductionChemistryBichromatesGum ArabicOther Colloids AlbumenGlue WatercolorsClearing: Sodium/Potassium Metabisulfite Making the PrintThe Basics: Working in Black and WhiteNegativesPapersPreshrinkingMore on SizingMixing the SensitizerCoatingExposureDevelopmentRegistrationClearingAdvanced Printing: Full ColorAdditive versus Subtractive ColorNegativesExposing the PrintTroubleshootingStainingDevelopmentSizingPaintGum ArabicBase LayerWrapping It UpChapter 9 Lifts and TransfersRequired MaterialsHistorical IntroductionIdeas, Methods, and Techniques Tape LiftsGesso or Gel/Matte Medium Transfers Acrylic Transfers as TransparenciesSolvent TransfersInkjet Transfer PrintsMethod OneMethod Two Wrapping It UpChapter 10 Wet Plate CollodionRequired ChemicalsOptional ChemicalsHistorical IntroductionEquipment ChemistrySensitizerDevelopersFixerVarnishMaking the PhotographPreparing the PlatesGlass for AmbrotypesTin for TintypesSensitizing the PlatesExposureDevelopmentFixing the PlatesWashing the PlatesDrying the PlatesVarnishing the PlatesTurning the Glass Image Positive TroubleshootingWrapping It UpChapter 11 Liquid EmulsionsRequired ChemicalsOptional ChemicalsHistorical IntroductionPlates and NegativesPhotographic Papers and PrintingLiquid EmulsionsMaking the PrintChemistryEmulsionsProcessing ChemistyPreparing a Surface for CoatingMetalGlass and CeramicsWoodCoating the EmulsionExposure and DevelopmentFixingClearingWashingToning/Postdevelopment ProcessingTroubleshootingImage DensityEmulsion Lacks StabilityPeeling and CrackingWrapping It UpChapter 12 Combination PrintingGum BichromatePlatinum/CyanotypeCyanotype/Van Dyke BrownMixing with Printmaking and Transfer TechniquesWrapping It UpAppendix: Chemical Safety BibliographySuggested WebsitesGlossaryIndex

Where other alternative process books read like an intimidating technical manual and others are not technical enough, Arnold's text is clear, thorough, and to the point. It is worthwhile and written by a person that has actually done the techniques."