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As technology advances in the world of photography, a passionate crowd of professionals, students, and hobbyists is returning to the darkroom in search of a more authentic, handmade feel to their art. Jill Enfield’s Guide to Photographic Alternative Processes shows how to do just that. Packed with stunning imagery, how-to recipes, techniques, and historical information on the evolution of processes, this guide provides the instruction to emulate the ethereal, dream-like feel of alternative processing. Whether in a darkroom using traditional chemicals, at the kitchen sink with pantry staples, or in front of the computer re-creating techniques digitally, you will learn how to add a richness and depth to your photography like never before. Covers alternative processing from its historical roots up through digital manipulation. Showcases the different styles and processing methods of various artists. Includes suggestions for vegan and vegetarian-friendly alternative processing!
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Product details
Series: Alternative Process Photography
Paperback: 288 pages
Publisher: Routledge; 1 edition (June 7, 2013)
Language: English
ISBN-10: 9780415810241
ISBN-13: 978-0415810241
ASIN: 0415810248
Product Dimensions:
10 x 1 x 7 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
36 customer reviews
Amazon Best Sellers Rank:
#491,753 in Books (See Top 100 in Books)
I'm not the only one finding this book disorganized. I'd imagine a book like this to describe a technique in one chapter and another technique in the next chapter and so on. Instead, the information is disjointed and difficult to find which makes it not very usable as a practical guide book to alternative processes. I also have to second some complaints about the font size and style. The descriptions under the pictures are particularly difficult to read.
A colleague of mine showed me this book because she had some images in it. As I thumbed through it, I was really impressed. So much so that I went straight to amazon and purchased it. This guide has valuable information of a lot of different processes. At the time I was looking into several alternative processes that interested me like cyanotypes, ambrotypes, & salt prints. Plus I thought it would be a great reference for some of my students. By the way, there is not a lot of material out there on ambrotypes which makes you the artist do a lot of trial an error which equals time & money. I like that the author had really good example photos of each process, step by step guide and troubleshooting tips. All are extremely helpful when you are trying out a new process for the first time. I bought this book awhile ago and I haven't moved past cyanotypes yet. But it is waiting for me on my bookshelf for when I'm ready.
From printing digital negatives to producing prints with a number of alternative processes -- and even a simple explanation of how Dan Burkholder's 'Pigment over Platinum' works -- this is the information I was looking for in a single volume. This book touches on many (most) of the alt processes (bromoil is the most notable exception that I can think of). It has enough information to get you started and experimenting. Many readers will want to supplement this book if they want to do a deep dive on any particular process, utilizing websites like alternativephotography.com (Enfield has articles published there) and other available resources. However, there is more than enough information in this book to explore your 'inner artist' and start putting images to paper, tile, fabric, etc.A note of caution: Be sure to follow Enfield's safety precautions for handling the chemicals and ventilating your darkroom or work area. Some of the processes can be quite toxic.
Jill Enfield's guide is full of practical advice and suggestions. A particular strength: the very well-chosen photographs by a wide range of artists that illustrate how the different techniques can be used to create powerful, interesting images. Enfield often urges the reader to experiment and to understand that different materials will give widely varying results, this is excellent advice as some of these techniques can be frustrating at first. You need to take the time to discover the papers, chemistry, brushes, etc that serve your artistic goals. This is an overview, not an exhaustive text. You might want to look elsewhere for guidance on some particulars, such as how to create color separations in Photoshop for gum printing. I love the spirit of optimistic experimentation that runs throughout...
Don't be put off by the choice of the cover photo (which MAY not immediately draw you to this title). This is a WONDERFUL book. In fact, this is a completely rewritten update to Ms. Enfield's earlier book entitled "Photo-Imaging: A Complete Visual Guide to Alternative Techniques and Processes". When asked to compare the two books specifically regarding which one would be best for learning about printing on tiles, Jill's words were "The new book goes further in what you can do with tiles - not just liquid emulsion but cyanotype and gum as well. So - i will leave it to you - either book will do for liquid emulsion." The new book contains much more up to date information and is highly recommended.You or may not be familiar with Jill Enfield, but she is eminently qualified to write a volume such as this, with 35 years of experience. With all of that experience, I appreciate the balance that she strikes between giving you valuable tips and the fact that she does not generally make very *specific* recommendations - preferring instead that you discover your *own* preferences through experience and experimentation. As an example, I turned in the index directly to the subject of "paper". The subheading "Paper" (found in Chapter 2 on "A Guide to Materials and Techniques" is rather short, but complete. She gives you the basics to identifying paper characteristics and what they will mean for your prints, but does not recommend even a single paper or mill by NAME. She does name a couple of paper suppliers from which one can get catalogs, however. I am fine with this (in fact, I think it wise. An endorsement by a famous practitioner could lead to shortages or a sharp rise in prices for any paper thus specified.) One can easily get many paper recommendations simply by typing in your particular paper question into Google. Jill highlights something that this newbie was unaware of (that papers have a "right" and "wrong" side) and gives a tip on marking the "wrong" side to make identification of cut pieces easy. She also shares her personal path (and part of the "fun" of the process) when she shares: "I personally found my favorites by spending time at art-supply stores and touching everything to see which papers felt good to me. During each trip I would buy a few different kinds, making sure that I could either read the watermark put on the paper by the manufacturer or that I marked on the back of the paper before having the paper packed up for me. Once I got home I would cut the paper down and try it out with different processes." This is just an example of the helpful tone that Ms. Enfield takes as she "takes you by the hand" and gently leads you on a journey that you can take with confidence, while not robbing you of the joys of discovering your own specific path.She wisely begins with a short (4 page) chapter on "Safety with Chemicals" in which she covers the basics (and the rationale) for such caution and includes subheadings on the subjects of proper ventilation and materials disposal.Following those two chapters, the Table of Contents contains the following:3. The Digital Negative Process4. Fugitive and Not-So-Fugitive Printing (Some History, Anthotypes, Photosynthesis, Lumen Prints, Cool and Different)5. Cyanotypes6. Salt and Albumen Prints7. Van Dyke Brown, Kallitype and Argyrotype Prints8. Platinum and Palladium Prints9. Wet Plate Collodion10. Liquid Emulsion Prints11. Gum Printing12. Transfers, Multiple Printing and Other Techniques13. Ceramics and PhotographyI appreciate how each chapter on processes includes a "Troubleshooting" section that briefly lists common problems and their solutions.Appendices include Conversion Tables, Sources and Websites (nearly a HUNDRED, by my count), a Bibliography, a List of Artists, and a pretty complete Index.There are only two (small) quibbles that I have with this book. (1) The cover image seems a bit dour for such a wonderful book (which is anything but dour). (2) The page type is fairly small, which may bother older readers. (I'm 54 and think it is fine). Note that choice this makes the book, in reality, a much larger volume (information-wise) than you might think from the number of pages it contains. With a normal type size this would easily be a 400 page volume, and thus be required to cost a lot more. As it is, I believe it is an INCREDIBLE bargain at less than $30.I highly recommend this volume to anyone interested in one or more of the above listed subjects. I am not familiar with Christopher James' title "The Book of Alternative Photographic Processes", which by all accounts is also excellent, but if you are wanting to start with a book that costs a fraction of that one then I certainly don't believe you can go wrong with this, Jill Enfield's most recent title.EDIT (7/26): The Chapter on Digital Negatives is a little thin, but then people have written entire books about that subject alone. You don't have to let it intimidate you. For a nice overview of the (pretty simple) process of making a digital negative for Cyanotypes, see this video:[...](QuickTime required)and for a step-by-step breakdown of what you see in that video (along with links to related pages) see:[...]
I would reccomend "Jill Enfield's - Guide to Photographic Alternative Processes" to any one who want to explore historic photographic processes as well as the alternative processes. The information about each process is well written in easy to understand sequencing. I love historic photographic processes and have been an avid practicioner for the past 30 years, of several of the methods she covers. Examples of artist's works is a wonderful addition to every chapter and identifies the process characteristics for the beginner as well as the advanced artist.
The guide is well written. Some of the information may be a little dated; however, this book is one more addition to my alternative photography library. Jill is considered to be an authority on the subject, and she does beautiful work.
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