This FAQ is meant to be a primer to the beginner and as refence to more detailed
material. This document is not meant to be used as a guide or handbook on doing
alternative photographic work.
This FAQ is not yet available the the listprocessor. I will periodically post
this list to the alt-photo-list.
Thank you's to David A. Green for his help editing and proofing this document.
Please email me at: Holtlsander@skyfox.usask.ca
ALT-PHOTO-PROCESS FAQ
Table of Contents
Introduction ....................................1
Equipment and Materials .........................2
Light Sources ...............................2.1
Printing Frames .............................2.2
Enlarged Negatives ..........................2.3
Processes .......................................3
Calotype ....................................3.1
Albumen Print ...............................3.2
Cyanotype ...................................3.3
Kallitype ...................................3.4
Platinum and Palladium Print ................3.5
Gum Bichromate Print ........................3.6
Carbon Print ................................3.7
Carbro Print ................................3.8
Polaroid Transfer ...........................3.9
Sources of Materials ............................4
References ......................................5
Alt-Photo-Process Mailing list info..............6
1. INTRODUCTION
This FAQ is organized into five sections. This section; a section in which
equipment you may need is discussed; a section in which the different
processes are discussed; a list of companies from which you may be able to
purchase supplies (chemicals, paper, etc.); and a list of reference books
you may wish to consult.
The purpose of this FAQ is to introduce the novice to the field of
alternative photographic processes. Alternative photographic processes are
usually considered to be any photographic process that does not use the
methods and technology of current silver-gelatin materials. The list also
caters to those that use silver-gelatin materials in unconventional ways.
This FAQ is not meant to be used as a guide to alternative process work,
but as an introduction and reference for finding further information.
2.EQUIPMENT AND MATERIALS
Alternative process work can be accomplished without having a proper darkroom,
but having one is a great advantage. The materials used in alternative process
photography are not nearly as light sensitive as silver-gelatin materials. It
is often possible to use a temporarily darkened room with success. Care must
still be taken to not inadvertently fog material. The usual graduated
cylinders and processing trays are necessary. It is very useful to have a
small balance for weighing out materials. A lot of materials are
available in kits, with individual compounds packaged in pre-weighed
envelopes, making a balance optional for the beginner.
2.1 Light Sources
Most alternative processes are sensitive only to Ultraviolet light. Most
light sources used in silver-gelatin processes do not emit a significant amount
of ultraviolet light and thus are not useful in alternative process work. It
is necessary to have a light source that emits significant amounts of
ultraviolet light. Common light sources of UV light are full spectrum or plant
growth fluorescent lamps, sunlamps, Mercury Vapour lamps. The cheapest most
accessible source of UV light is the sun. Using the sun is difficult
because the amount of UV light that lands on a particular location is quite
variable and unpredictable. This tends to make things even more complicated.
Most do not use the sun to expose their alternative process work. I have used
the sun for cyanotype when the exposures were not critical
A fluorescent printer can be made by creating a bank of small strip lamps to
evenly illuminate a particular area. Wiring a bank of fluorescent lamps is
quite simple -- most public libraries have books on this. The critical
thing is to get an even illumination. It is helpful to have the lamps
mounted on a spacer so they point down to the work surface. The print and
contact frame can be slipped underneath the printer. This method
eliminates a layer of glass, which absorbs UV light, and thus makes
exposure times somewhat shorter. I use what is known as a self-ballasting
mercury vapour lamp. This is a MV lamp that screws into a normal
incandescent light fixture. This is very easy to set up though the lamps
can be a little expensive costing between $50 - $150.
2.2 Printing Frames
Most alternative processes are made by contact printing. Contact printing is
when the negative and support are tightly sandwiched together under glass.
The negative must be in complete contact with the support in order to get a
sharp image. A device for holding the negative and support together during
exposure is necessary. The simplest method is to use a large piece of glass.
The weight of the glass holds the negative and support in place. If you are
planning on doing Gum bichromate printing with multiple prints some sort of
registration apparatus must be used to allow for multiple exposures.
2.3Enlarged Negatives
It is necessary to use a relatively large negative in alternative process work,
because the work is contact printed. The resulting image is only as big as the
negative used to make the print.
Ideally original large format negatives are used. Original negatives have the
greatest resolution and clarity. Large format negatives are made in large
format cameras. Unfortunately not everyone works with large format cameras so
an enlarged copy negative must be made. There are two ways to do this. A
direct positive film can be used. The original negative is enlarged onto the
direct positive film. The direct positive film is processed resulting in
an enlarged negative. The other method is to make an interpositive. The
original negative is enlarged or contact printed to normal film and processed,
resulting in a positive. The positive is again enlarged or contact printed to
regular film and processed giving a negative. The interpositive method allows
for a great deal of control of the contrast and density of the final enlarged
negative. This can be quite helpful because different processes work best with
different qualities of negatives.
The low-tech way to make large format negatives is with a pinhole camera,
though the resulting image has low resolution. This would be fine for
gum-bichromate prints, but a real waste if used to make platinum prints.
3. PROCESSES
Note : Info on processes was taken from Arnow's "Handbood of Alternative
Photographic Processes" and Craawford's "Keepers of the Light"
3.1 Calotype
Paper is coated with silver nitrate and potassium iodide, forming silver iodide.
Prior to use the coated paper is recoated with a solution of gallic acid,
silver nitrate and acetic acid. The gallinonitrate greatly increases
sensetivity. When dry it is exposed to ultaviolet light. It is
developed with more of the gallinonitrate of silver solution. The image is
fixed with a weak hypo solution.
3.2 Albumen Print
Paper is coated with a thin layer of albumen and sodium or ammonium chloride,
and then floated on a silver nitrate solution. When exposed to ultraviolet
light the image prints out without need for development. To obtain a
better color, and to preserve the image, the print is usually toned with
gold chloride.
3.3 Cyanotype
The cyanotype relies on the reaction of ferric or iron salts to light, where
they are reduced to the ferrous state. The ferrous salt reacts with the
potassium ferricyanide to from insoluble ferric ferrocyanide, also known as
Prussian Blue. Seperate solutions of ferric ammonium citrate and pottasium
ferricyanide are made. Just prior to exposure equal parts of the solutions
are combined and the paper is coated. Once dry the paper is exposed to UV
light. The image is developed and fixed by rinsing the paper in warm running
water for about 10 minutes. The image can be intensified by placing print in
a 3% hydrogen peroxide solution. The resulting image is an intense blue. Other
colors are possible by toning with a number of solutions.
A source for ready-made cyanotype paper is:
SOLARGRAPHICS
P.O. Box 7091P
Berkeley, California 94707
USA
(415) 525-1776
3.4 Kallitype
The kallitype is an iron-sensetive process that uses silver to form the image.
The kallitype emulsion is a mixture of ferric oxalate and silver nitrate, with
the addition of either oxalic acid or pottasium oxalate. When exposed to light
the ferric oxalate is changed to the ferrous state, which reduces the silver
nitrate to the metallic silver. When developed the ferrous oxalate is
dissolved and the metallic silver is left forming the image.
The kallitype process is a very unforgiving one, great care must be
taken. The resulting prints are quite similar to platinum prints, however
kallitype prints are not nearly as permanent as platinum, although
substantially cheaper to produce.
There is a book detailing this process, it is _Making kallitypes: a
definative guide_, by Dick Stevens, Boston Focal Press, c1993
end of part 1 see part 2