[Alt-photo] the alt family tree

Christina Z. Anderson christinazanderson at gmail.com
Tue Jul 25 02:36:29 UTC 2017

Dear All,
Thanks for the stories. I am compiling them into one document to spend some time with and make sense of so I’m keeping all the emails. Don’t know where I will take this thought process ultimately, No rush in answering, too, as I will continue to add the stories. 
Initially there were key texts that influenced lots of us, but also key people, and all over the world I would assume. 
Unfortunately right now I am in the throes of correcting my lack of Oxford comma use throughout 320 pages of text in the salt book, that and taking out the comma before the © sign for 400 images. I will never make those two mistakes again (when did “when in doubt leave it out” become passé?)! OH, and correctly spacing 8˝ x 10˝. Another 400x. Arrrggghh. 
So if my replies to this are short, it’s all for the sake of getting the salted paper book off to press asap. 
When I get the list of books/etc. compiled I’ll shoot it back to the list for comments. One thing I’ve already noticed is key texts in other languages is sorely lacking on my list so it greatly helps when someone mentions these.

> On Jul 24, 2017, at 8:14 PM, Jorj Bauer via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org> wrote:
>> Chris, The history and family tree is an interesting topic. There is also a maturing of the internet that can be intertwined there.
> 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"...
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