Jill Enfield’s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques

375 Pages·2020·211.415 MB·English

by  Jill Enfield

J i l l E n f i e l d ’s G u i d e t o
P h o t o g r a p h i c A l t e r n a t i v e
P r o c e s s e s
Jill Enfield’s Guide to Photographic Alternative imagination to their imagery. Whether in a
Processes, 2nd edition, is packed with stun- darkroom using traditional chemicals, at the
ning imagery, how-to recipes, techniques kitchen sink with pantry staples, or in front
and historical information for emulating the of the computer re-creating techniques dig-
ethereal, dream-like feel of alternative pro- itally, you will learn how to add a richness
cessing. and depth to your photography like never
This fully updated edition covers alternative before.
processing from its historical roots through
to digital manipulation and contemporary Jill Enfield is a fine art photographer, edu-
techniques and how to combine them. It fea- cator, curator and author with many years
tures several new techniques alongside new of teaching experience. While well versed
approaches to older techniques, including in digital imagery, Enfield’s concentration
hand painting on silver gelatin prints, ceramics is on historical techniques and alternative
and photography, cyanotypes, wet plate col- processes, with annual workshops and lec-
lodion, digital prints and many more. Enfield tures in locations throughout the USA, South
showcases the different styles and methods America and Europe. Enfield’s work has
of contemporary artists together with sugges- shown in galleries and museums as well as
tions for vegan and vegetarian friendly alter- private collections, and recently featured in
native processing, transforming 2D images to a 3-month solo show on Ellis Island, USA, at
3D installations, and how to apply darkroom PhotoVille in the DUMBO section of Brooklyn
techniques to digital captures. and in Los Angeles at the Annenberg Space
Professionals, students and hobbyists for Photography.
will discover how to bring new life and
&
Taylor Francis
Taylor & Francis Group
http://taylorandfrancis.com
J i l l E n f i e l d ’s G u i d e t o
P h o t o g r a p h i c A l t e r n a t i v e
P r o c e s s e s
Popular Historical and Contemporary
Techniques
Second edition
Jill Enfield
Second edition published 2020
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Jill Enfield
The right of Jill Enfield to be identified as author of this work has been
asserted by her in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
First edition published by Routledge in 2013
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book
ISBN: 978-1-138-22906-8 (hbk)
ISBN: 978-1-138-22907-5 (pbk)
ISBN: 978-1-315-39036-9 (ebk)
Typeset in Slimbach and Helvetica Neue
by Servis Filmsetting Ltd, Stockport, Cheshire
Dedication
Immeasurable credit goes to my husband, force in the face of every project challenge.
Richard. He has been there since the begin- Thank you, Richard.
ning, for 40+ years. He has been my fixer, Watching daughters, Eve and Sally grow to
my cheerleader, my strategist, my critic, my strong, independent women and simultane-
advance-man, my friend and my devil’s advo- ously share their lives with each other and
cate. He has celebrated with me at every turn their parents has made me so very proud.
calling for celebration, and been my steady This book is for them.
&
Taylor Francis
Taylor & Francis Group
http://taylorandfrancis.com
Contents
Dedication v
Acknowledgments xiii
Introduction: History of Photography – A brief timeline xvii
Chapter 1 Safety with Chemicals 1
Taking Basic Precautions 4
Suggestions on Buying, Mixing, and Storing Chemicals 5
Chemicals from Grocery Stores and Other Suppliers 6
Ventilating Your Workspace 7
Disposing of Materials 8
Chapter 2 A Guide to Materials and Techniques 13
Stock Up Your Darkroom 14
Light Sources 20
Paper 21
Learning the Basic Techniques 23
Preparing and Cleaning Glass and Other Supports 24
Acidifying Papers 25
Sizing Formulas 25
Sizing Techniques 29
Sensitizing Techniques 31
Basic Steps For Applying Sensitizer With a Brush 33
Drying Techniques 34
Protecting Finished Images 35
Chapter 3 The Digital Negative Process: and Other Approaches
to Making and Printing Negatives 37
The Process 39
Reasons For Doing Different Types of Negatives 39
Getting Started 40
viii Contents
Instructions 40
Curves 43
Making Separation Negatives For Gum Printing 43
Other Approaches to Making and Printing Negatives 46
Troubleshooting 47
Chapter 4 Fugitive (Impermanent) and Not-So-Fugitive Printing: Anthotypes,
Photosynthesis, and Lumen Prints 51
Some History 52
Anthotypes 53
Photosynthesis 56
Lumen Prints 57
Cool and Different 59
Chemical Experiments 60
Chapter 5 Cyanotypes: Old and New Approaches, Plus the Cuprotype
(Copper) Process 63
The Process 65
Mixing the Chemicals For Stock Solutions 68
Traditonal Cyanotype 69
Chemistry Mix For Printing On Glass 70
Mike Ware’s “New Cyanotype” 71
Prepare the Support For Sensitizing With Emulsion 74
Mixing the Stock Solutions to Make the Sensitizer For Traditional
Cyanotype 74
Coating Paper 75
Checking the Exposure 75
Determining the Proper Exposure 76
Washing the Print 76
Drying the Print 76
Changing the Color From Blue to … 77
To Produce Different Colors 77
Tips 79
Troubleshooting 79
The Cuprotype Process 80
Getting Ready to Print 81
Mixing the Stock Solutions 82
Contents ix
Directions 83
Toning Options For Other Colors 83
Other Toning 83
Chapter 6 Salted and Albumen Prints 87
Photographic Printing Before 1850 88
Differences in Dilutions 89
Organic Sizing 89
Watercolor Paper Choices 90
Plain Salted Paper 91
Sizing Papers 92
Sizing With Starch 92
Glossy Albumen 93
Matte Albumen 94
Making the Silver Solution 96
Sensitizing Your Support 97
Negatives Needed 99
Exposing Your Print 99
Toning 100
Borax Gold Toning 101
Platinum Toning 101
Troubleshooting 102
What to Do With Those Left Over Egg Yolks 102
Chapter 7 Van Dyke brown, Kallitype, and Argyrotype Prints 107
Creating Van Dyke Brown Prints 108
Creating Kallitypes 117
Argyrotype Process 125
Troubleshooting 126
Chapter 8 Traditional Platinum and Palladium Prints, the Malde-Ware
Technique and the Ziatype 129
Creating Platinum and Palladium Prints – The Developing
Out Way 131
Troubleshooting 148
Malde–Ware Technique 150
The Ziatype 158