[Alt-photo] the alt family tree

johnbrewerphotography at gmail.com johnbrewerphotography at gmail.com
Fri Aug 4 19:29:56 UTC 2017


Sent from my iPhone

> On 4 Aug 2017, at 7:53 pm, bobkiss caribsurf.com via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org> wrote:
>     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)
>> _______________________________________________
>> Alt-photo-process-list | altphotolist.org
> -- 
> John Brewer
> www.thevictorianphotographer.com
> www.johnbrewerphotography.com
> workshops:equipment sales:chemistry sales
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