“Light-Marking Photographic Alternatives”

I wish I would have taken the time to explore this section of the book about using solar-plates because I would have known what kind of image lends itself best to the process. The book talks about making test strips which would have been super handy during the workshop this quarter but regardless it was a great learning experience. Once again, the trouble shooting section of this chapter is insanely handy!

“Alcohol Gel and Supersauce Transfers”

I really love doing transfers because unlike alternative processes like cyanotype, solarplates, platinum printing or Van Dyke Brown, you can use a color image to experiment with which results in a whole new array of possibilities and outcomes! The alcohol gel transfer was pretty nifty and cool but there wasn’t as much distortion as with polaroid transfers which is what i was hoping for, and supersauce would have been cool to try.

“The Platinum/Palladium Process”

These last seven pages of this chapter were completely necessary, especially had we not had the help of Ken to troubleshoot the various issues most of us ran into during the platinum printing workshop. Listed are practically every issue one could run into during the process and reading it beforehand could definitely save someone a lot of stress and frustration because they could properly prepare their situation.

“The Platinum/Palladium Process”

Because I was aware of what an awesome opportunity it was to get to experience the platinum process I explored this chapter beforehand so I could take full advantage of the unique qualities of platinum printing. This section does a good job of “demystifying the process as it clearly explains the sequence of the stages. It was actually very similar to the section about cyanotype in its layout and handiness. I appreciate the way the author uses images that combine different alternative processes, like Suzanne Solis’s Susquehanna, which combines a pin-hole negative with the platinum process.

“Cyanotype: Variations & Adaptations”

Making large murals using sensitized fabric is one of the super special qualities of cyanotype. It was interesting to read about how the different countries of origin had an affect on the success of the fabric being used for cyanotype. In one of the images, a detail from a larger mural created in Oklahoma, the fabric is placed under a tree, where highlights of the sun, and shadows of the leaves contribute to the already made composition, and it made me think of yet another possibility in terms of creating something and then documenting it and having the documentation become it’s own piece.

“The Cyanotype Process”

Because Cyanotype is my favorite process, as well as the one that I have explored the furthest, it is exciting and valuable to know that there are so many techniques I can use to take each cyanotype project further, to keep it interesting and to make it what it needs to be without just falling back on the anticipated results of deepish blue and white. This gives me a bit more control in the planning and outcome. There is a sad note however that mentions that the toning suggestions almost always lead to results that look better wet than dry. sad. I definitely think that some of the results become less photographic and more painterly but I find that to be an interesting and valid transformation.

“The Cyanotype Process”

Cyanotype just might be my favorite photographic and artistic process. The nearly endless possibilities of substrates and surfaces you can coat, as well as the images and objects you can document, make for an exciting scientific and artistic exploration. The list of papers that work well with the process definitely comes in handy and may prevent a lot of trial and error which results in wasted money and resources. It’s nice to know what to look for. It’s interesting to see a process that I have become comfortable with and used to, broken down in an depth step-by-step format. There are also helpful rescue mission tips for mishaps like overexposure, which I didn’t even know could possibly be remedied.

“The Negative Alternative Process Options”

This section of the chapter was definitely less flashy but will probably end up being entirely helpful in the future when I want to further explore the use of negatives in alternative processes. I have to admit that I actually have never put much consideration in the type of film negative I am using, mostly due to the fact that I don’t have much background knowledge in what variables there are in negatives and negative construction. This section not only brought me to such awareness, but it listed specifics and options that I can use in the future to further my physical photo creationary explorations.

“The Negative Alternative Process Options”

This chapter was definitely the one to get me pumped about alternative processes. The endless possibilities, alterations and combinations of the physical production of an image is personal and special. I found the section on negative density to be helpful because I finally have first hand experience on how frustrating it can be to work off of a negative that is unfit for the technique that is being attempted. Reading about the Acrylic Lifts was also interesting because one of the downsides I found with the hand-sanitizer transfers was an inability to layer images and graphics. Bin Danh’s study for metamorphosis where he places a negative directly on a living leaf for several weeks and exposes it using the natural process of photosynthesis is epic and inspired! Tons of great processes in this chapter!

“The Pinhole: Making Pictures with a box of Air”

I think that out of all of the readings, this one definitely helped broaden my mind with what was possible with the given technique by providing various images of examples done by masters and lucky photographers. Something a lot of the photographers touched on was how satisfying and thrilling it is to not know what you’re going to get post shooting. Seeing the examples also helped me visualize the signature affects of a pinhole photograph and to try and take full advantage of things like warped edges and double exposures. The book makes me really want to try it using color film as well!