[Alt-photo] the alt family tree

Jacques Kevers jacqueskv at gmail.com
Sat Jul 29 00:01:41 UTC 2017


Christina,
Bergger used to market a bromoil paper Brom 240. Discontinued since years
now.
The discontinuation of the Kentmere Document Art, with its distinctive and
unique surface structure was a big loss...
I am rather sceptical however that a manufacturer wouls accept to relaunch
the production of a true non--hardened, non supercoated bromoil paper. The
potential market is likely to be simply too small....
The most promising alternatives for now are making its own paper with
liquid (non hardened) emulsion - Emil Schildt from Denmark is quite
successful with this - or to make oil prints (contact printing process on
dichromate-sensitized paper).

Best,
Jacques

Jacques Kevers
Beau Site
Première Avenue 7
B-1330 Rixensart
Belgium
+32 2 653 56 02

2017-07-28 17:29 GMT+02:00 Christina Z. Anderson via Alt-photo-process-list
<alt-photo-process-list at lists.altphotolist.org>:

> I’ve got your book, Jalo, on my shelf!
> I have always felt you must be an important part of the foundation in
> Finland.
> Would you say the daguerreotype is a more rarely-practiced alt process
> today (lately it seems wet plate collodion is the most!)? Of course, now
> there is probably a FB page with hundreds of practitioners that I’m unaware
> of, but I can think of only a handful of daguerreotypists.
> Jacques, what a bummer about bromoil. I’m going to talk to Freestyle about
> if there is a potential to bring back a bromoil paper. They’ve brought back
> the Holga and are now stocking lots of different Bergger papers so you
> never know and it can’t hurt to ask. There has been a resurgence in analog
> after a very long downward trend. I agree with you that casein is a not yet
> thoroughly tapped process that needs lots of study/testing/practice.
> Chris
>
>
> > On Jul 27, 2017, at 7:04 PM, Jalo Porkkala <jporkkala at gmail.com> wrote:
> >
> > Hi Christina et al.
> >
> > A short history of my involving in alt processes.
> >
> > 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
> >
> > 2017-07-16 19:43 GMT+03:00 Christina Z. Anderson via
> Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org
> <mailto:alt-photo-process-list at lists.altphotolist.org>>:
> > Dear All,
> >
> > A few years ago SPE (Society of Photographic Education) was working out
> this photography family tree thing, where members would write in who taught
> them photography. I thought it was an interesting proposition, even though
> most of us have several moms and dads so to speak so the final tree trunk
> might not be just one set of “parents.”
> >
> > An MFA in photography is a comparatively new field as compared to other
> arts, but even other arts had schools of training and thought (e.g.
> Bauhaus).
> >
> > So that got me thinking about the key texts (and mentors, teachers,
> people) who influenced me in alt over the years. And it also got me to
> thinking about alt list members over the years, who’s still on, who still
> posts, that kind of thing.
> >
> > And then I’ve noticed lately “pockets” of alt in different countries and
> wondered who was at the foundations of those movements. It had to start
> somewhere. Where did Mrhar come from?
> >
> > Whatever the case, alt seems to be a burgeoning movement, unlike in the
> 60s or 70s where it was decidedly not mainstream.
> >
> > Anyway, it is an interesting conversation to think about, our
> forefathers and foremothers.
> >
> > Perhaps all contemporary collodion, for instance, leads back to Osterman
> or Coffer? Salt leads back to Reilly (1980)? Gum to Scopick?
> >
> > William Crawford’s text and then Scopick’s were at my foundation, but
> then Airey, House, Arnow, Blacklow, Hahn (who was influenced by Henry
> Holmes Smith), Nettles, Van Keuren…and then later Enfield, James, Farber,
> Barnier.
> >
> > I’d love to hear input from others as to their influences, perhaps too
> long a conversation for the summer vacation months! I decided to make a
> list of which I will share when I feel it is comprehensive. Wouldn’t want
> to miss someone because they weren’t on my personal radar.
> >
> > Chris
> >
> > _______________________________________________
> > Alt-photo-process-list | altphotolist.org <http://altphotolist.org/>
> >
>
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