From: Judy Seigel (jseigel@panix.com)
Date: 07/27/01-01:53:11 PM Z
Christopher James's "The Book of Alternative Photographic Processes"
(Delmar -- www.delmar.com) has arrived. Having had the signal honor of an
invitation to blurb it, I prophesied that it would be "both landmark and
guide. It's where we've been, where we are now, and where we're going.
Photography's classic methods and materials are explained, explored,
extended, and reinvented, while marching well into the age of inkjet and
digital."
At that point, I'd seen only the text and something like 400 names. With
the book in hand I can only add "instant classic." Chris vetted chapters
with the reigning experts *for years*, bringing them to state of the art.
MANY fresh works by newcomers (including Sara Van Keuren's and Chris
James's students), as well as the old masters, classics in the field, from
Francis Firth and Talbot himself, to Robert Demachy and our own Galina
Manikova. A most special delight is four (4!) iconic works by the mother
of all us "moderns," Naomi Savage, too little known today.
Chris may succeed with his almost irresistibly relaxed & conversational
tone (that is, readable !), here & there dropping in the unproved or
experimental as casual suggestions along with the straight authoritative
data, because he's taught so much of it himself for so long -- he's
perfectly comfortable both with the material & teaching it.
So far, however, I've only managed to tear myself away from compulsive
caption reading long enough to skim a few paragraphs & chapter heads. I
note in particular "the instant gratification method" for albumen (I made
a note) and lazertrans, among its 386 pages. I could (I confess) live
without anthotype, but there on the page across from Dan Estrabrook's
anthotype dress from pink petal dye is a totally delicious Christopher
James drawing titled "Sir John Herschel's Actual Fingers Selecting an Odd
Flower for His Anthotype, 1840."
Every page has its own gifts. In fact, if you never read a formula the
(well printed) illustrations & captions are delight enow. Well worth the
cover price, whether a farthing or a king's ransom. (This detail is
omitted, no matter -- eat oatmeal if necessary.)
MERCIFULLY, the book is NOT perfect. I managed to find at least one flaw
(otherwise I was going to fold my tent & let Chris carry the ball, to mix
metaphors). I'm not really happy with the letter face used as dividers in
the index. Got that? They're red, which is some help, however. And the
overall type design is blessedly clear, coherent & easy to follow. No more
now, see for yourself -- but Oh yes, a chapter on this very list will
bring a smile or two... also a subscriber or two.
When I was a late-life retread studying photography, Christopher James was
one of the photo artists we most admired. It's a thrill to be in his book,
which he improved & improved & improved for years, making it a joy
forever.
Judy
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| Judy Seigel, Editor >
| World Journal of Post-Factory Photography > "HOW-TO and WHY"
| info@post-factory.org >
| <http://rmp.opusis.com/postfactory/postfactory.html>
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