[Alt-photo] the alt family tree

bobkiss caribsurf.com bobkiss at caribsurf.com
Fri Aug 4 18:53:20 UTC 2017


     When I am in Paris I call myself, "Robert Basier" and in Tuscany I am "Roberto Baccio"!  But in English speaking countries I am plain old Bob Kiss!  LOL!!!

----- Original Message -----
From: "alt-photo-process-list at lists.altphotolist.org" <alt-photo-process-list at lists.altphotolist.org>
To: "Christina Anderson" <christinazanderson at gmail.com>, "alt-photo-process-list at lists.altphotolist.org" <alt-photo-process-list at lists.altphotolist.org>
Sent: Friday, August 4, 2017 2:04:49 PM
Subject: Re: [Alt-photo] the alt family tree

Looks great Chris! One thing, you've sent me over to mainland Europe with
the name Johan. It should be John ;)

On 4 August 2017 at 18:05, Christina Z. Anderson via Alt-photo-process-list
<alt-photo-process-list at lists.altphotolist.org> wrote:

> OK, so far I have this ROUGH, alphabetical UNEDITED compilation of key
> texts and then a starting list of alt practitioners. And I truly mean
> unedited. For anyone who is interested…I’ve placed all stories to date in
> the list (I hope I didn’t miss any).
> So although I am not sure where to go with this, at least it’s in a tidy
> list.I do think that some sort of mapping software is the ultimate way to
> go like SPE must have done.
> I have a list of 600 names from the alt list that I’ve tracked over the
> years; I bet there are lots more not on there.
> With 22,000 people on alternative photography.com’s FB page suffice it to
> say alt is burgeoning and it would be hard to track it in present day, but
> the foundation had to have been small.
> Now off to enjoy the sun.
> Chris
> 1.              Airey, Theresa. Creative Photo Printmaking. New York:
> Amphoto Books, 1997.
> 2.              Anchell, Steve. The Darkroom Cookbook, 3rd ed. Burlington
> Massachusetts: Focal Press, 2008; 4th ed. New York City: Routledge, 2016.
> 3.              Anderson, Christina Z: saw my first alt prints in 1995 at
> Montana State University; decided to major in photography after seeing
> them. 1998 first alt class taught by Rudi Dietrich at Montana State
> University (gum, salt, pt/pd, vdb, cyanotype). 1999 APIS, 1999 alt list.
> Taught bw experimental alt 2001-3, 2003-5 grad school under Sam Wang where
> I met Sandy King and Mark Nelson. 2005 on taught alt and experimental at
> MSU.
> 4.              Anderson, Paul L. The technique of pictorial photography -
> Paul L. Anderson - 1939
> Arentz, Dick. Platinum & Palladium Printing, 2nd ed. Boston: Focal Press,
> 2005.
> 5.              Arnow, Jan. Handbook of Alternative Photographic
> Processes. New York: Van Nostrand Reinhold Co., 1982.
> 6.              Baird, Darryl: I think my first influence was
> gelatin-silver multi-printing in a darkroom. A professor (Don Pasquella) at
> SMU's broadcast-film school taught photo courses and showed us a print he
> did combining images from different negatives that impressed me greatly.
> Next came the discovery of Jerry Uelsmann's work from volunteering at a
> gallery in Dallas, and later Todd Walker's gum prints at the same gallery,
> which also ran workshops with exhibiting artists (Texas Center for
> Photographic Studies). I was really hooked by then, but knew that I had a
> lot to learn. Somehow during this time (1970s) I saw Bea nettles work. I
> ordered a Kwik-Print kit, a Chuck Swedlund book on making negatives from
> Light Impressions, and taught myself the process. I attended a Friends of
> Photography workshop (1976) in Tucson where I met and learned from Ellen
> Land-Weber who was making color prints from a copy machine that she managed
> to register in the machine for multiple printing layers on art paper...
> beautiful work, and again I was in love with a new process/idea. I made a
> copier-collage book that week... bookmaking was an area I would revive
> years later when I went back to grad school in the 1990s. I showed
> Kwik-Prints once at a Allen Street (local photo gallery) with a
> photographer friend, Chip Pankey, who did platinum prints. I learned about
> Bostick and Sullivan from him. Then Pagemaker came out and promised
> (advertised) the capability of making four-color separations on a computer.
> I began to scan elements to make negatives for Kwik-Print. Life intervened
> and I dropped off the planet for about a decade. ;) I started grad school
> in 1994 in an aesthetics studies program, but left two years later to get
> my MFA at UNT (North Texas). The program allowed doing work at one of the 3
> universities in north TX, which included Texas Womens University where I
> learned most of the other processes -- cyanotype, van-dyke, gum, and book
> making from Susan k Grant. That was the icing on the cake for me and I've
> modeled my alt-process teaching after hers. Those were really great days,
> and were followed by getting to start the program at the University of
> Michigan-Flint campus, which had (and still has) a required alt class. All
> in all though, I think my single, most formative learning has come from
> this list. Ever encounter at the Alt-process list in the 1990s was like
> dropping into a library and getting the low-down on the "good" books,
> techniques, and (most importantly) problem-solving. It's a long list of
> names, but the community gave freely, and often forcefully, of their
> experience and successes.
> 7.              Barnes, Martin.            Shadow-Catchers: Camera-less
> Photography. New York: Merrell Publishers, 2010.
> 8.              Barnier, John. Coming Into Focus, a Step by Step Guide to
> Alternative Photographic Printing Processes. San Francisco: Chronicle
> Books, 2000.
> 9.              Bauer, Jorj: The Internet is definitely a big part of my
> alt photo lineage. I'd done some sun prints and basic cyanotype work as a
> kid in the 80s. All stuff from Edmund Scientific, I'd bet. My grandfather -
> a physiologist doing research for the Navy - was always getting me great
> stuff from them. Around 2004, I decided I wanted to get deeper in to
> photography; the journey led me back to film around 2006, at which point I
> was reading a lot about various developer formulae on the 'net. Along the
> way I read about homemade emulsions, which let me to alt printing. I
> experimented heavily with kallitypes, cyanotypes, gum, and casein. (Which
> makes me think I've been doing it for about a decade now? Sheesh, seems
> like yesterday.) Salt, platinum/palladium, Chibatype, and probably others
> along the way. Somewhere in there I decided I wanted to print on glass and
> spent most of a year working out how to make that happen the way I wanted.A
> lot of the core information came from random web pages; the James Book of
> Alt Processes; Dick Stevens' Making Kallitypes; APUG; this list; youtube
> videos. I'm a learn-by-doing kinda guy so all of those were details that
> lead me back to my lab to figure out how they all work together. I don't
> learn well in class settings unless I'm already knee deep in the topic.
> After "figuring out" glass casein prints - probably 5 or 6 years in to my
> alt-photo experimentation - I decided to attend a seminar on gum prints to
> see if any of it translated back to glass. Scott McMahon, at Basho in
> Philly. (Scott studied under Sarah Van Keuren at University of the Arts in
> Philly, if I recall correctly.)
> Scott's a fine guy and I picked his brain for a couple days. He fixed up
> my paper sizing technique while I compared all of his "about this much goop
> with that much glop" ratios to the weights and volumes from my own notes.
> Ultimately I took away from this that you can do just about anything with
> gum and it will work, for some definition of "work"...
> 10.           Blacklow, Laura. New Dimensions in Photo Processes, a Step
> by Step Manual for Alternative Techniques, 4th ed. Massachusetts: Focal
> Press, 2007.
> 11.           Bloemhof, Rowan (internet, Sandy King and Phil Schwartz,
> Katharine Thayer) As a relatively young 'member' of the alt process
> community I thought it might be interesting to share my perspective. About
> 4 years ago when I was 21 I started taking up analog photography, and
> really enjoying the whole physical approach to photography that it offered.
> On this I was mostly instructed by my father whose dark room equipment I
> 'inherited', at some point he mentioned this obscure printing process
> called gum bichromates, showing me a little instructional flyer he once
> received at a conference some 30 years earlier. I was instantly fascinated
> and decided to give it a try, i obtained all the materials and started to
> experiment with laser printed negatives. Much to my dismay I found it much
> more complicated and hard than I imagined. So I started to do more research
> online and stumbled across the writings of the late Katherine Thayer. It
> were her instructions that helped me get the results I needed to push on.
> Sadly I couldn't find any local teachers or people offering workshops on
> any alternative process. And financially it would have been impossible for
> me to visit the states to participate in workshops. So I had to make due
> with whatever I could find on the internet. So in essence it were the
> articles written by people like you, Katherine Thayer and Mike Ware that
> allowed me to learn a range of processes. Also the help I received from
> Philip Schwartz and Sandy King on the carbon printing forum was phenomenal.
> Anyway although I cannot offer any names you might otherwise miss in your
> family tree, I did want to take this opportunity to express my gratitude
> for the warm and welcoming way in which everyone here invites newcomers
> like me to learn the ropes. And hopefully one day pass on that knowledge to
> a next generation. I have participated in many internet communities over
> the years, but none as cordial as that of the alt photo community.
> 12.           Bloomfield, Diana
> 13.           Brandenburg, Kees: My start with alt printing, more specific
> gum, was around 1988/89 after finding the two Darkroom books by Lustrum
> Press (with alt examples) and of course (!) Crawford's “The Keepers of
> Light”. That start year was a relevant one 1989 - 150 years after 1839,
> Daguerre and Talbot. A lot of photo magazines wrote about those early years
> and in the slip stream there was a reviving focus on techniques from the
> past. At that time I was teaching photography at CREA, creative workshop
> division of the Amsterdam University. The courses I gave were not alt, but
> we did a lot of darkroom then with shooting, processing and printing B&W.
> When I organized my first experimental Gum workshop it was an immediate
> success. At the exhibition three gum prints were stolen! In 1994 my wife
> (textile designer) our son (two and a half then) and I moved from Amsterdam
> to Middelburg, capital of the province of Zeeland where we looked for more
> space to live and work and found a big studio. I also started to
> concentrate on photoconservation and wrote a preliminary photo conservation
> report for the Provincial Archive of Zeeland. I started at the same time
> with alt. workshops, as an independent artist and teacher, and I never
> stopped ;). Around 1995/96 I found ‘the list' and got me a simple second
> hand mac. My first computer! Connected the little machine immediately with
> the internet (33.6k dial-up!) to get in touch with ‘the rest of the world’!
> Wow, what a revelation finding all that available knowledge and people… In
> 1997 I visited APIS in Bath, organized by Terry King at the Royal
> Photographic Society and met many, many list members in real life! There’s
> a large tradition (in the Netherlands) that started at the end of the 19th
> century and also in the 20's and 30’s both amateur and professional. The
> archives of the Leiden university have a large study collection with alt
> prints from those years and after. The collection can be viewed at the
> reading room and curator Maartje van de Heuvel regularly organizes
> exhibitions. Artists like Harm Botman, Helena van der Kraan and many others
> worked with gum, cyano and other techniques.. Among the more contemporary
> artists I should also mention Witho Worms who is an excellent carbon
> printer. And since a few years we have had an enormous outbreak of wet
> collodion! There is a revival going on among art school students, and
> workshops. i have been in contact with and advising many throughout the
> years. For me personally several occasions in the past were important:
> Being able to have my first personal show in 1987 (BW baryta) in France at
> the Rencontres Photographique in Lorient, Bretagne, followed by another
> show in 1989 in Arles at the off-festival scene organized by a group of
> former students from the Arles Photo School. It was in Lorient where I met
> several pro printers who worked for well knowns photographers. It was an
> eye opener: talking with people who only concentrate on high quality hand
> printing! There i also saw platinum, gum and Fresson prints, and met the
> people behind them, and I saw absolutely stunning B&W baryta prints! In
> Arles I met many photographers, it was simply great to be there and be part
> of it…In 1995 and 1997 the Naarden Photofestival in the Netherlands
> organized demonstrations of alt. printing. i was asked in both occasions to
> show my way of gum printing. Other people showing there were: Richard
> Farber, who lived in the Hague at that time, showing carbon and carbro,
> Roger Kockaerts, platinum, Mieke Bijleveld, heliogravure, Jan van Leeuwen
> cyanotype and kallitype, Michiel Kort, photorestauration and salt, Peter
> Bersch, daguerreotype. With a selection of these people and some others we
> continued to have regular alt. meetings on various locations in the
> Netherlands.  With Richard Farber I had long phone calls while he worked on
> his book mostly about bromoil. In 1995 I also met a group of alt. printers
> at an exhibition in Dordrecht. Among them was Theo de Rijke who worked at
> the royal academy of art in the Hague where he introduced these techniques
> to students. He also organized a show in the academy where i participated
> with gum prints. With the same group we where at a show in Genk Belgium in
> 1997 organized by Eddy Willems. There I also met Jean Jansiss and talked
> with him about his way of printing ‘gum' with Terre de Cassel and PVA glue.
> I should not forget to mention my first little mac! It was followed by
> several newer and faster machines and i discovered the world of digital
> imaging, high quality (B&W) printing and at a very early stage I started
> with digital negatives. As I love tinkering with photographic processes i
> enjoyed the technical side of digital world and computers. It was fantastic
> to print B&W with the first Piezography BW plugin, very quickly followed by
> QTR which was still a very crude command line tool in those early days. In
> more recent times i concentrated on carbon printing and on techniques that
> avoid dichromates. I call them Zerochrome techniques. For now they consist
> of : casein, carbon, oil printing. It all started with the Chiba Print
> thesis by Halvor Björngård and regular contact with Halvor. Chiba printing
> is done with ferric salts. Later I concentrated on working with
> diazidostilbene (DAS). I am very grateful for the help I got from Charles
> Berger who revealed a lot of secrets about printing with DAS and
> ultrastable. I also have an ongoing and very pleasant e-mail contact with
> Stig Gustafsson from Finland who was very generous in helping me with all
> kinds of knowledge and materials. He has even sent me some original
> ultrastable tissue…to reverse engineer (sorry Charles) In carbon i try to
> further elaborate the technique, i started with dichromates followed by
> DAS. I have also worked, since 2011, with dutch photographer Erwin Olaf who
> spent many weeks here in the studio while we worked on his series Berlin,
> Joods and some self portraits in carbon who were on show in New York,
> London, Paris and Amsterdam.  I consider myself as a pigment/colloid
> printer in the first place. I started with gum and bromoil, discoverd
> cyano, kalli- and slt/albumen, and now mainly work with carbon. i recently
> discovered polymergravure. Even bought a beautiful press for it…Remarkable
> thing to notice after all those workshop years: alt. workshops keep
> attracting people from all over the Netherlands and abroad, Belgium,
> Germany, UK. And it’s still great fun and an honour to have them here. –k
> PS  I should not forget it’s still a pleasure to be your host, maintaining
> this list since 2009 together with Gord. How old fashioned can a mailing
> list be these days, but what an excellent signal to noise ratio we have...
> 14.           Brewer , Johan. 1998 The Keepers of Light like many of you;
> first attempt gum from a 5x4 film negative that was under-exposed by 1/2
> stop but the print was fantastic, I still have it. For the next six months
> could I make another one? No! Then slowly gum started to work. I think this
> was partly due to keeping detailed notes and printing in a more holistic
> way. From there I tried several other processes in Crawford but it was
> always gum that I liked the best. I then found Skopick 2nd ed and fine
> tuned my gum practice. During the early 2000's I was a fairly active member
> on APUG as was involved in several print exchanges and wanted to try
> platinum/palladium printing. On APUG was another person in the UK, Carl
> Radford who was also interested in Pt/Pd. Carl organised a workshop around
> 2008 I think with Kerik who flew over to the UK with his family. All of us
> on the workshop stayed at Carl's house in Glasgow. The evening before the
> workshop Kerik displayed some of his stunning Pt/Pd prints from both film
> and digital negatives. In amongst the prints Kerik was showing was a
> tintype. None of us on the workshop had ever seen anything like this so
> Kerik returned the following year to teach wetplate....I joined the list
> around 1999 and The European Traveling Portfolio early 2000's.
> 15.           Buffaloe, Ed
> 16.           Bunnell, Peter, editor. Nonsilver Printing Processes. NY:
> Arno Press, 1973.
> 17.           Burkholder, Dan
> 18.           Busselle, Julien
> 19.           Choulle, Simone (daguerreotype)
> 20.           Clerc, L. P. La Technique Photographique – 1947
> 21.           Cordier, Pierre.            Le chimigramme/The chemigram.
> Bruxelles: Edition Racine, 2007.
> 22.           Crawford, William. Keepers of Light. New York: Morgan and
> Morgan, 1979.
> 23.           Du Boise, Kim: I wish that I had continued these and gone in
> a different direction when I was introduced to them in the 1980s and worked
> on learning & trying to perfect them for me and some students that I worked
> with in AL in 1994-95 when I was working on the “third degree”…<grin>  I
> think my life would be more calm and I would have much more on my walls! I
> went the silver route and taught at the university & college levels for
> about a decade, then life changes & loyalty to my alma mater had me leave
> and move into my own studio full time.  But since it was not enough to live
> on,  we sold some supplies and did some conservation & rescue work.  Life
> changed again with the storm of the century, Katrina, and here were are
> today…in a large (48’x64’) lab that could accommodate lots of workshops as
> we have two wet labs that are at least 20’ long, and an alt process dim
> room the same size.  There is also a digital lab that has an Epson 4800 Pro
> to make large negs!  But, we are so busy trying to make ends meet that we
> don’t have much time to do any of our own work.  I keep saying “one day”
> and hope it will happen. As far as your family tree, there was a woman
> artist who my mentor invited to the university where I was getting my
> masters of art ed. who did cyanotypes on cloth and made clothes from them.
> As someone who was interested in printmaking with a press, I was so excited
> to see this process lecture and work.  So, I will take a moment sometime
> after teaching the current online class & the work we have in lab to look
> up some of my notes from 30+ years ago.  (BTW, when I was in class in AL,
> my teacher there had been at UNM in Albuquerque with Holly Roberts.  She
> also encouraged my experimentation to the point of nicknames - Process
> Princess & Chemical Queen.)
> 24.           Duvivier, Charles. Le procédé à l'huile en photographie
> 1931
> 25.           Enfield, Jill. Photo-Imaging. NY: Watson-Guptill, 2002; Jill
> Enfield’s Guide to Photographic Alternative Processes, Popular Historical
> and Contemporary Techniques. Burlington, Massachusetts: Focal Press, 2014.
> 26.           Eshbaugh, Mark L. Alternative Photography Processes: A
> Worker’s Guide. Massachusetts: RMR Press, 2006.
> 27.           Fabbri, Malin
> 28.           Farber, Richard. Historic Photographic Processes; a Guide to
> Creating Handmade Photographic Images. NY: Allworth Press, 1998.
> 29.           Frederick, Peter. Creative Sunprinting. Early Photographic
> Printing Processes Rediscovered. London: Focal Press, 1980.
> 30.           Gabriel, Leonard G. Bromoil and transfer – 1930
> 31.           Galindo, Julio (Mexico City)
> 32.           Gioffre, Jennifer  (Cornell): Gioffre, Jennifer: My
> introduction to alt processes was during my undergrad at Tyler School of
> Art in Philadelphia where I worked closely with Martha Madigan. At that
> time I became very interested in digital negatives and ziatype and I was
> forever hooked. Shortly after leaving undergrad I started working at
> Cornell University where I have been for the past 9 years and have helped
> to develop their work with digital/alt process courses working in
> Cyanotype, Van Dyke and Gum. Being in upstate NY I have been quite isolated
> and without a mentor in alt process. For the most part I have been
> self-taught and found resources in Keepers of the Light, Christopher James,
> and then when I got into Gum more recently the two texts that you have put
> out. THANK YOU! Then I found this list which has been a wonderful resource!
> Thank you to everyone who has asked and answered questions! It’s great to
> hear about things that I would not have stumbled upon myself and to have a
> resource for when things go wrong.Jennifer Gioffre Cornell Ithaca, NY 14853
> 33.           Glafkides, Pierre. Chimie et Physique Photographiques-1976
> 34.           Greene, Alan. Primitive Photography, A Guide to Making
> Cameras, Lenses, and Calotypes. Boston: Focal Press, 2002.
> 35.           Hafey, John c 1979
> 36.           Hahn, Betty
> 37.           Harmon, Clay
> 38.           Hawkins, G. L. Pigment Printing - The bromoil process from
> the negative to the transfer - 1933
> 39.           Heidtmann, Frank. "Kunstphotographische Edeldruckverfahren
> Heute" (Chia shared this)
> 40.           Hirsch, Robert. Photographic Possibilities, 2nd Ed. Boston:
> Focal Press, 2001 and 3rd Ed. 2009; Transformational Imagemaking, Handmade
> Photography Since 1960. Massachusetts: Focal Press, 2014.
> 41.           House, Suda. Artistic Photographic Processes. NY: Amphoto,
> 1981.
> 42.           Howell-Koehler, Nancy. Photo Art Processes. Worcester, Mass:
> Davis Publishing Inc., 1980.
> 43.           Jäämaa, Ilmari. Young Experimenters and Inventors (Finland)
> 44.           James, Christopher. The Book of Alternative Photographic
> Processes, 3rd Ed. Massachusetts: Delmar Cengage, 2016.
> 45.           Kevers, Jacques: From 1985 till 1988, I followed photography
> courses at the  "Ecole de photographie de la Ville de Bruxelles" which
> became in the meantime the "Ecole de photo Agnès Varda". It was not until
> 1988 that I heard about alt. processes in this school, when a guest
> photographer named Angelo Camilli, born in Frosinone (Italy) around 1937
> and established in Belgium, did a presentation about bromoil, explaining
> how he succeeded in replacing the long gone non-supercoated papers by
> Agfa's Brovira. Camilli also founded the "Associazione Pittorialisti
> Europei", an international non-profit organisation promoting pictorialism
> and its processes. I attended that same year a bromoil workshop he
> organized, and still have his 7-pages bromoil manual. After graduation,
> developments in my professional career didn't allow me to spend much time
> in lengthy photo processes, and I forgot about bromoil for about 10 years.
> In the late nineties, work becoming less hectic, I got more time for
> photography. While looking for a printing frame, I met René Smets who was
> (and still is) making some beautiful ones. René is a self-taught expert in
> bromoil, and practicing nearly every early photographic process existing.
> He got me hooked again, and told me about the Yahoo group "The
> InterNETional Society of Bromoilists" founded by the late Gene Laughter (he
> passed away last February). I also met around that time Roger Kockaerts,
> who was organizing alt-proc exhibitions in his Brussels-based "atelier pH7"
> facilities. In addition to online discussions, Gene organised physical
> meetings  called "Hopperfests". I attended one in 2002  in New Orleans,
> where I met Maija Mc Dougall,  chair of the UK Bromoil Circle. We deplored
> the low overseas attendance and decided - with Gene's blessing - to
> organize a similar event in Europe. I assisted Dennis Atherton from the UK
> Bromoil Circle in the organization of a first meeting in Amsterdam (The
> Netherlands) in 2004, and organized on my own the following ones in
> Leverkusen (Germany - 2006), Brussels (Belgium - 2008) and Paris (France
> -2010). In conjunction with the Brussels event, I organized an alt-proc.
> exhibition, with about 30 participants from a dozen countries. René Smets
> was one of the regular participants in these meetings. We ended up creating
> a national group meeting several times per year instead of having
> international events every two years. Picto Benelux started its activities
> in August 2010. We have now about 50 members, meeting 5-6 times per year,
> and dealing with all historical processes. Picto Benelux is present on the
> web (http://www.picto.info <http://www.picto.info/>) and on Facebook (
> https://www.facebook.com/PictoBenelux/) <https://www.facebook.com/
> PictoBenelux/)>.
> 46.           King, Sandy
> 47.           King, Terry
> 48.           Kiss, Bob: My "lineage" is much less impressive than most of
> the others who have posted.  I remember being very excited while at RIT
> reading a master's thesis on platinum printing by another student.  At that
> time I was double majoring in Photo Science and Photo Illustration (a. k.
> a. the creative side).  Then I assisted in NYC and opened my studio in
> 1974.  While in NYC my former professor of History and Aesthetics of
> Photography, Alan Klotz, visited my studio and told me he had obtained
> funding to open a gallery dedicated to fine art photography named
> PhotoCollect.  I saw many examples of alt prints at his gallery/sprawling
> apartment.  I also met someone named Lenny (can't remember his last name),
> I am guessing around 1980, who was experimenting with using graphic arts
> direct positive film to make enlarged negatives for pt/pd printing.      I
> was always fascinated with alt but the pressures of being an advertising
> and fashion photographer in NYC with regular trips to Paris, Munich, Milan,
> and London to shoot kept me from doing much more than meeting deadlines.
> In 1989 I had a near fatal horse riding accident while in Brazil shooting
> fashion.  Seven surgeries and three years of physiotherapy gave me pause to
> rethink my life and I left fashion, NYC, and photography and moved to
> Barbados.  Soon after arriving I cleaned and printed a collection of
> negatives made from 1933 to 1970 and fell back in love with photography.
> Soon thereafter I bought some paper and chems from Palladio and began
> making pt/pd prints.  I bought Nadeau's book, then Keepers of the Light and
> Arentz and read them cover to cover.  Having a background in Photo Science
> made it easy to understand the technology, chemistry, and procedures.
> Then, suddenly, I discovered "The List" and had at my fingertips the
> knowledge of all you amazing practitioners.  So many people helped me with
> so many questions and I must especially thank chemist and alt printer, Eric
> Neilsen, who I met in Dallas and who, to this day, answers my questions
> from New England. And, of course, I bought every edition of Christopher
> James' book. And who does not owe an enormous debt to Judy Seigel's WJPFP
> with articles and how-tos on just about every process under the sun...as it
> were. Over the last few years I was honored to receive guidance from the
> late Bob Schramm on uranotype and, as some know, did a video presentation
> for APIS a few years ago.  So my "family tree" includes great books and
> great people who were, and continue to be, willing to share their hard
> earned knowledge on this list.
> 49.           Kockaerts, Roger - Procédés nobles en photographie:
> platine-palladium & cyanotype. Editions ph7, Bruxelles, 1993; technologie,
> Identificatie en c/r technieken van historische procedés. Deel 1:
> lichtgevoeligheid van zilverzouten. Editie pH7, Brussel, 1994; technologie,
> Identificatie en c/r technieken van historische procedés. Deel 2 :
> lichtgevoeligheid van ijzerzouten. Editie pH7, Brussel, 1994; technologie,
> Identificatie en c/r technieken van historische procedés Deel 3 :
> lichtgevoeligheid van chromaatzouten. Editie pH7, 1996; Roger Kockaerts  &
> Johan Swinnen - De kunst van het fotoarchief. University Press Antwerp.
> 2009. ISBN: 9789054875406; Since the 1980's I have been involved in alt
> processes and since the beginning of the 1990's I regularly published (in
> French and in Flemish) on these techniques. From 1992 to 2008 I was
> professor of conservation/restoration of photographic emulsiosns at the
> Antwerp University. From the 1990's to today I manage "atelier pH7"  in
> Brussels where I practice photographic conservation/restoration and , on a
> regular base expose international artists practicing alt techniques.
> 50.           Kouklis, Kerik
> 51.           Laughter, Gene. Bromoil 101, 6th Edition. Virginia:
> Self-published, 1999.
> 52.           Lewis, David. The Art of Bromoil and Transfer. Ontario:
> David Lewis, 1994?
> 53.           Loftquist, Hans and Chia: I bought it in Hamburg in 1987 and
> I remember I was eager to try the "Sandgummidruck". I found very fine sand
> - in a zoo shop - meant for bird cages. I mixed it with my gum solution and
> I also tried to spread over my fresh coated gum print. The result was not
> so much to talk about, but I had fun. 1st ed 1978, 2nd ed 1979 and the 3rd
> ed (which I have) 1982. It won a Kodak photo book prize 1978 as "bestes
> Fotolehrbuch ausgezeichnet". ISBN 3-87061-183-9; Berlin Verlag. Very vague
> recipes, though. He writes: you can add sand to the gelatin wet sized
> paper… which you have to give one more layer of gelatin - or use a press,
> or when the gum emulsion is still wet you can use a sieve to spread the
> sand… He says that the sand stays mostly in the shadows and the deep middle
> tones after exposure. I don't remember. I think I will try it again some
> day. Just for the fun of it. I still have some of that fine bird sand…
> 54.           Lourenco, paula. The main master that I've had (and I think
> he is the main promoter and teacher of alternative photography in Portugal
> for the last 20 years) was Luis Pavão. I've learned with him albumen,
> salted paper, gum, cyanotype, carbon, platinum, emulsions (pop and dop)..
> With Osterman I've learned wet plate,  and with Simone Choulle daguerreotype
> 55.           Luna, Nitza (key figure in alt, Puerto Rico)
> 56.           Madigan, Martha (Tyler School of the Arts)
> 57.           Mayer, Dr. Emil. Bromoil printing & bromoil transfer – 1923
> 58.           McDonald, John and Melba Smith Cole. How to Make Old-Time
> Photos. Blue Ridge Summit: Tab books, 1981.
> 59.           Mebes, Dr. A. Der Bromöldruck – 1914
> 60.           Mortensen, William. Print Finishing en – 1938
> 61.           Moyer, Robin. The founder of Elegant Images, Alan Goodman,
> was a DuPont Chemist and studied with me at a school I had set up at Glen
> Echo Park in Maryland, called PhotoWorks. I occasionally taught some alt
> processes there, but having only had one class in photography in the
> physics department of the University of North Carolina in 1969 (Taught by
> Dr. Ross Scroggs), I mostly had to study hard and fast to keep ahead of my
> exceptionally bright students. Steve Szabo was a friend and Washington Post
> photojournalist. We both began printing in platinum (no palladium
> available) about the same time and passed on what we learned from ancient
> texts to our students. So Steve and I taught each other, often
> simultaneously discovering stuff. Steve cheated a bit by hanging out with
> George Tice, but generously shared. And in 1974 we both had our work
> purchased by the Library of Congress. Alas, Asia called (again) and I left
> Photoworks in the competent hands of Rhoda Baer and Tico Herrera to jump
> start my career in photojournalism, leaving Alt Photo behind. I note with
> great pleasure that PhotoWorks is still thriving with over 20 lecturers and
> loads of alt-photo. Fast forward to Hong Kong 2010: After reviewing boxes
> of 8x10 negs circa 1970s, I caught the Platinum bug again and was talked
> into building a 34 print portfolio of platinum prints (platinum had only
> once before been exhibited in Hong Kong (Coco Chanel by Douglas Kirkland)
> An old colleague (mentor) from Time Pix, Bill Pierce, introduced me to
> master PT/PD printer Carl Weese and Carl graciously answered my relentless
> stupid questions about things long ago forgotten. I managed to make some
> passable prints, and we sold half the exhibit over two years, and just
> recently sold the remaining prints and had to order more chems from B&S to
> print the missing pix. I don't know what it is like in the world of Alt
> Photo Process academia, but the world of photojournalism that has been my
> life for the past 47 years has been one of generous friends, colleagues,
> and competitors happy to pass on what they know about photography, share
> their contacts, cameras, lenses, film (or now cards), cars and hotel
> rooms/tents, even in the midst breaking stories and deadlines. All mentors.
> All good. Well, mostly good.
> 62.           Mrhar, Peter. Salt Print, with Descriptions of Orotone,
> Opalotype, Varnishes. ?: Peter Mrhar, 2014.
> 63.           Nadeau, Luis. Gum Dichromate and other Direct Carbon
> Processes. 1987.
> 64.           Nadeau, Luis. History and Practice of oil and bromoil
> printing – 1985 <>
> 65.           Nelson, Mark. Precision Digital Negatives for Silver and
> Other Alternative Processes. Elgin: Little Joe Press, 2004.
> 66.           Nettles, Bea. Breaking the Rules, A Photo Media Cookbook.
> Inky Press Productions, 3rd Ed, 1992.
> 67.           Newman, Thelma R. Innovative Printmaking, The Making of Two–
> and Three-Dimensional Prints and Multiples. New York: Crown Publishers,
> 1977.
> 68.           Novo, Alberto: Alberto: my very first contact with alt-print
> were two issues of "Progresso Fotografico" November and December 1978
> dealing with what were called "New Trends". There were recipes about POP
> prints, Platinum, Palladium, Carbon, Kallitype, Bromoil, Daguerreotype,
> Calotype, Tonings, Resinotype, Gum Bichromate, etc. Pictures from Demachy,
> Steiche, Sudek, Neal, Nadeau, Penn, Tice, Echague, Batho, Pinto, Mortensen,
> ..., Cordier, Brihat, Sudre. I was interested in everything was alternative
> to the traditional way to print a picture. I already printed Sabattier,
> posterization, embossing and their combination, but those examples were
> really different and captivating. I missed my darkroom for about ten years
> and I coudn't continue my experiments, but in 1998 I found a booklet titled
> Manuale Antiche Tecniche (Manual of Old Techniques) printed in 1994
> collecting the experiences of the newborn Gruppo Rodolfo Namias. In a year
> I started printing gum bichromate, salt print, Van Dyke and cyanotype. I
> had two my solo exhibition in 2000 "On the Thread of a Dream" and in 2001
> "From PC to Salt Print", etc. In 2001 I joined the Rodolfo Namias Group...
> and you know the following.
> 69.           Osterman, Mark and France
> 70.           paulacdlourenco at gmail.com <mailto:paulacdlourenco at gmail.com>
> Paula in Portugal; Pavão, Luis (Portugal) albumen, salted paper, gum,
> cyanotype, carbon, platinum, emulsions (pop and dop)..
> 71.           Persinger, Tom. Photography Beyond Technique. Massachusetts:
> Focal Press, 2014.
> 72.           Porkkala, Jalo. Köyhä Dagerrotyyppi. vaihtoehtoisia
> valokuvamenetelmiaä. Satakunnanammattikorkeakoulu, 2012. The first time I
> heard about alternative photographic processes was sometime in late
> 1970's... there was the wonderful Swiss Camera magazine showing palladium
> and albumen prints, and in 1980 I mail ordered my copy of the Keepers of
> Light. One of my fellow photography students made gum prints as his
> graduation work in 1979... a brave and beautiful thing that we all admired
> as none of these processes were taught in photographers' education at that
> time, and not largely since. I started my work as a museum photographer,
> and in early 1980's taught myself some processes to print glass negatives
> from 1880's-1920's, including printing-out paper and others. I learned
> cyanotype and platinum/palladium from the Keepers of Light. Another great
> source of information for me was Nancy Rexroth's The Platinotype 1977.
> There was also George Tice's workshop on Pt/Pd in Finland in early 1980's,
> this process was the next thing I wanted to do. Since I am in Finland it
> was next to impossible to buy chemicals for platinum printing. I managed to
> order some from Photographers' Formulary and Bostick & Sullivan... there
> was no internet and I especially remember some late night phone calls (best
> business hours in the US) to Dick Sullivan to order chemicals. :) In 1990's
> I started working as a photography teacher at an art school. I did some
> classes of basic photography, but also wanted to familiarize the students
> with alternative processes. They were accepted with enthusiasm, and we
> gradually did them more and more. There were alt-photo classes of several
> weeks at Satakunta University of Applied Sciences in 1995 and 2008, and a
> few weeks slot of alt processes each year remained in the curriculum. In
> 2006 at the Satakunta University we started Project Vedos, studying
> numerous alt-processes and visiting collections at museums in Europe and
> USA, and also participating in the APIS symposium in 2007 and 2009 in Santa
> Fe. The Vedos ended in 2015 which also was the year of my retirement from
> the teaching work. The project actually made it possible to produce the
> first book of alt processes in Finland. In 2011 I participated in Mike
> Robinson's Daguerreotype workshop in Lacock, England, and have been totally
> hooked since. Regarding alt processes, I'm only doing daguerreotypes for
> now, and giving occasional workshops on other processes. –Jalo
> 73.           Puyo, Constant. Les procédés d'Art en Photographie – 1931;
> Les procédés aux encres grasses. Huile & Report 1926
> 74.           Rattle, Henry.(Crawford’s book)
> 75.           Reed, Martin, and Sarah Jones. Silver Gelatin-A User’s Guide
> to Liquid Photographic Emulsions. New York: Amphoto Books, 2001.
> 76.           Reeder, Ron
> 77.           Reeve, Catharine and Marilyn Sward. The New Photography. NJ:
> Prentice Hall, 1986.
> 78.           Reilly, James. The Albumen and Salted Paper Book: The
> History and Practice of Photographic Printing, 1840–1895. Rochester: Light
> Impressions Corp., 1980.
> 79.           Renner, Eric. Pinhole Photography; Rediscovering an Historic
> Technique. Boston: Focal Press, 1995.
> 80.           Rexer, Lyle. Photography’s Antiquarian Avant-Garde. New
> York: Harry N. Abrams, 2002.
> 81.           Rombaut, Emile. L'Interprétation Artistique par la
> Photographie
> 82.           Rudman, Tim. The Master Photographer’s Lith Printing Course.
> New York: Amphoto Books, 1999; The World of Lith Printing. London:
> Argentum, 2006;The Photographer’s Toning Book. The Definitive Guide. NY:
> Amphoto, 2003.
> 83.           Sanderson, Andrew. Handcoloring and Alternative Darkroom
> Processes. Switzerland: Rotovision, 2002.
> 84.           Schaefer, John P. The Ansel Adams Guide, Basic Techniques of
> Photography, Book 2. Boston: Little Brown and Company, 1998.
> 85.           Schreiber, Keith
> 86.           Scopick, David. The Gum Bichromate Book, Non-Silver Methods
> for Photographic Printmaking, 2nd ed. Boston: Focal Press, 1991 (also 1st
> Ed. 1978).
> 87.           Seigel, Judy, editor. The World Journal of Post-Factory
> Photography. New York: Post Factory Press, editor at post–factory.org
> 88.           Shilea, Tom c 1979
> 89.           Skupin-Burkholder, Jill
> 90.           Smigiel, Joe: Kodak's Creative Darkroom Techniques from the
> early 70s and that actually predated Skopick and Keepers of Light by a few
> years. In terms of wetplate collodion, I believe the modern lineage should
> include George Berkhofer and John Hurlock (John Brewer agrees). I'm not
> sure about this, but I think they were mentors to John Coffer who got the
> ball rolling in the re-enactor scene. Later, I found the Osterman's
> "Collodion Journal" though it took at least a decade for me to investigate
> that process further and finally take a workshop first with one of their
> students, Michael Mazzeo, and shortly afterward with John Coffer. The
> recent collodion forum of Bob Szabo and Quinn Jacobson was also very
> important in the wetplate revival. Other alt influences for me included
> Elizabeth Opalenik who was a protégé of Jean-Pierre Sudre in mordançage. In
> addition to the texts you've already mentioned, Nadeau's and Dick
> Sullivan's publications were helpful in other areas and Dick Arentz's book
> clarified Platinum printing for me. Judy's WJPFP, too. And Sandy King
> should be mentioned in the context of carbon printing among his other
> contributions. This list was a gift and exponentially increased my
> knowledge base and contacts.
> 91.           Stevens, S. Gayle
> 92.           Sullivan, Richard: I learned much from a man named Jack
> MacDonald, who ran a school of alt photography in Inglewood Ca. in approx
> 1968. Jack taught at Mortensen's School in Laguna Beach Ca that goes back
> to the 20's or at least the 30's. Jack was working in many processes and
> teaching them as well. Melody and I officially hung out our single in 1980
> selling pt and pd materials but I was working much earlier in Kallitype,
> even before I met MacDonald and then when I started selling pt and pd
> material there were a handful of older and a few existing  younger workers
> in platinum. I was doing gum in 1967 but there were others lurking about. I
> think what the critical link is being able to get materials. As for
> platinum etc, the early modern source was Elegant Images which existed for
> several years. They went defunct and then we hung out our shingle and  for
> a few months or so there was a company called Blue Mountain supplies or
> something like that. (I am at an age were when I learn something new I have
> to forget something old, and I've learned a lot of new things lately!) Of
> course the keystone issue holding up the modern renaissance in early
> processes was Keeper of Light. Big industry is and was a problem. Just
> checked a company on the price of quinacridone magenta. Minimum order 50
> lbs at $6,000.00. You can either buy a little bit at a very high price or a
> whole lot but not much in between.--Dick Sullivan I believe he was the one
> who wrote it. It was written after I studied with him which was in the
> early 70's. The book you mention  is 1981. As for learning old processes my
> favorite haunt for info was the UCLA research library. In that time, you
> needed a stack pass to get to the books and to get one you needed to be a
> grad student. I noticed there was a "Door Nazi" guarding entrance to the
> stacks and the key was a library card with the work "Stack" stamped in inch
> high letters on the back. So I got a big gum eraser, borrowed a friends
> card and traced the word onto my eraser and stamped my card. Ooops.I just
> failed printmaking 101. It came out backwards so I had to get another card
> and do it all over again. The second one worked like a charm. Once past the
> Door Nazi  with my forged pass I would find the photography section and sit
> on the floor and browse the books and make copies at a nickel a page. This
> was in the late 60's. The copy machines were not modern Xerox style but
> made some sepia  prints that hand a pervasive sulfur stink. My notebook got
> rilly big. I loaned it to a student of mine at Brooks who was doing her
> masters in alt processes. She had to have an adjunct professor as no one at
> Brooks knew squat about platinum and gum etc, and she found me. She was
> supposed to pay me but since I was getting a free research assistant I
> didn't charge her. My precious book of stinky copies disappeared to
> Australia as she suddenly had to go home as her father was dying I never
> heard from her again or my book. Weird. Never mind the book, I now have
> over 750,000 pages of old books and journals in my indexed archive that is
> Regex searchable. As odd as it sounds, Brooks was a hotbed of alt
> photography in the 80's and 90's. Brooks was known for no nonsense
> technical craft, there was a healthy underground movement there -- they
> even had a "Fine Art Club" that I would drive up from LA to Santa Barbara
> and give lecture and demo to the club once in a while. Early on in the
> early 1980's  I had Nitza Luna as a student who was also working on her
> Masters at Brooks. She is now heading up the photography department in San
> Juan Puerto Rico at Colegio Universtario del Sagrado Corazon [Sacred Heart
> University. Also known as USC!] I give the full name as much online about
> her is in Spanish. If anyone is interested in Caribbean workers in alt, she
> is the key figure. Nitza is also in both the Platypus Portfolios of the
> early 1980's. In the Spanish speaking world there is also Julio Galindo in
> Mexico City who is also key to infecting people with our disease.
> 93.           Taylor, Brian. “Places of Magic” in Darkroom Photography Dec
> 1987, 30–37.
> 94.           Taylor, Keith
> 95.           Tilney, F. C. Principles of photographic pictorialism – 1930
> 96.           Valentino, Laura: My intro to alt was from a random stranger
> on a usenet group back in the mid-90s. The funny thing is that I was not
> even doing photography at the time, I was doing vector artwork on the
> computer and was looking for a way to print onto fine art paper. Someone
> suggested gum bichromate of all things (why not silkscreen?). Whoever it
> was (wish I knew today) said it's cool because you develop in water and you
> can use any color, even metallic gouache colors like silver and gold. I was
> intrigued so I googled (or webcrawled) and found the alt photo website and
> this list. I did a few attempts at gum (using a single blacklight bulb) but
> didn't really get going until much later, when I took a 5-day alt sampler
> class at Central Saint Martins in London. Finally some hands-on experience
> and the inspiration to come back home and get serious. But this list, and
> Christina's book is where I mostly got my alt education. And many failed
> attempts.
> 97.           Van Keuren, Sarah. A Non Silver Manual. Cyanotype,
> Brownprint, Palladium, and Gum Bichromate with Instructions for Making
> Light Resists Including Pinhole Photography. Landsdowne, PA: 1999.
> 98.           Wade, Kent. Alternative Photographic Processes. NY: Morgan
> and Morgan, 1978.
> 99.           Walker, Melanie
> 100.        Walker, Todd
> 101.        Wang, Sam. Four Decades of Photographic Explorations. China:
> Jiangsu Arts, 2010.
> 102.        Wanless, Marydorsey
> 103.        Ward, Nowell. Picture making with paper negatives – 1938
> 104.        Ware, Mike. Gold in Photography, The History and Art of
> Chrysotype. Brighton: Ffotoffilm publishing, 2006; Ware, Mike. Mechanisms
> of Image Deterioration in Early Photographs. London: Science Museum, 1994.
> Cyanotype.
> 105.        Webb, Randall & Martin Reed, Spirits of Salts – 1999;
> Alternative Photographic Processes: A Working Guide for Imagemakers. NY:
> Silver Pixel Press, 2000.
> 106.        Whalley, Geoffrey E. Bromoil and transfer-1961
> 107.        Wilks, Brady. Alternative Photographic Processes: Crafting
> Handmade Images. NY: Focal Press, 2015.
> 108.        Willems, Eddy: I studied photography in Brussels (1970) and
> there I never heard about alt photo. years later we wanted to start gum but
> we where not able to find the necessary products during a visit at the
> royal photography society in bath UK (1988), Hope Kingsley showed us the
> collection and told about her work in alt photography, she was so kind to
> teach us in the SASK Tassel Belgium a workshop of a week in alt (1989);
> everyday she showed us an other technique. that was the start of my
> involvement in alt and since that week we worked on a regular base with the
> students with different techniques we had also a college with the gum
> printers jean janssis and roland castro to printers with a very different
> approach we had also 2 students who made there final presentation in alt
> one with gum and the other in salt prints (karel van gerven who participate
> in the new salt book of christina)
> 109.        Worobiec, Tony and Ray Spence. Beyond Monochrome, A Fine Art
> Printing Workshop. London: Surrey Fountain Press, 1999.
> 110.        Young, Ellie. The Salt Print Manual, An Historic Photographic
> Print Process. Victoria: Goldstreet Studios, 2011.
> 111.        Zielke, Willy. Technik des Bromöl-Umdruckes - 1931 (reprint
> 1988)
> _______________________________________________
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