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"If I could only have one photography book this would be it." - Tim Whelan Photographic Books
Product Description
Photographic artists and students of alternative process photography will welcome this new edition of Christopher James' The Book of Alternative Photographic Processes. This significantly expanded edition is a full-color, lavishly illustrated, comprehensive resource that explores every aspect of alternative process image making. With his highly conversational writing style, James explores the techniques, processes, idiosyncrasies, history, and cultural connections that are such a significant part of the genre. Best of all, Christopher makes it extremely accessible, providing clear instructions and practical workflow advice. The book delves into a vast menu of alternative and traditional options, among them: calotype, salted paper, cyanotype, argyrotype, chrysotype, POP, kallitype, ambrotype/wet collodion, Van Dyke, platinum/palladium, Ziatype, gelatin dry plate emulsions, carbon, gum bichromate, albumen, hand-applied emulsions, paper, alternative imaging systems, and digital negative production for alternative process image making. This book has become the unanimous standard reference text for alternative process photography, one that students love to read and work from. Not only does this definitive work make the most complex ideas easy to understand, it is conversational, comfortable, inspirational, and fun to read- a tremendous resource and a treasure trove of alternative process images. "If I could only have one photography book this would be it." -Timothy Whelan, Photographic Books.
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Paperback
This book is quite simply inspirational. One of the best photography books I've ever read. Packed with detail, very comprehensive and full of historical insights into the development of photographic technique. it's also full of great examples of artists currently working in alternative techniques which I found really interesting. If it's not in this book it's not worth knowing.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
42 reviews
27 of 34 people found the following review helpful
nice brochure
7 Sep 2009
Format:Paperback
This is a great glossy overview of processes if you're curious about which to pursue, but not so much use as for practical instruction. James has an approach and writing style in which contradiction and lack of coherent detail(and perhaps even proofing errors) play no small role. Eccentric and charming at first (in a self-edited sort of way) it can be quite maddening if you make purchases or try out processes based on his recommendations and instructions. I'd seriously recommend double checking with other sources once you decide on a process to try out. Of course that's good advice for any source of info, but here it's critical. It's maddening that he'll list creme brulee recipes while be curiously tightlipped about crucial process details. I'm an experienced and largely self-taught printer- carbon transfer, albumen, tri-color gum and kallitype, so I'm not a novice that needs a lot of hand-holding.
A notable irritation is the gum chapter. A typical recipe- 'An 1 1/4 inchworm of watercolor per 12 full eyedroppers of gum and 12 full eyedroppers of dichromate'..? I wouldn't recommend measuring pigment unless you measure in all dimensions -aka volume- not just length. Much more accurate to weigh. And what size eyedroppers? When he does use traditional weights and measures they are inconsistent: he mentions Stephen Livick using 12g of pigment for every 12ml of dichromate when using Sennelier paints, double the concentration of other brands. In a separate section he then says Livick uses 2.5-4g g of Lindel paint in 12ml of dichromate. Forgetting for an instant that 12g of watercolor is an absolutely fantastic quantity of paint (I pigment 4 36x50cm 2mm thick carbon tissues with less- and that's 2 liters worth of solution) I still wouldn't call 12 the double of 2.5 or even 4.
I'm sure he is a wonderful printer, certainly his photographic eye is very good judging by his images, but as an instructor he reminds me of some teachers that give just enough info to engage and tantalize, but not seriously to give you a leg up on their years of toil/hard knocks, and maybe go so far as to play a few hazing tricks on you along the way. The best sections are those contributed by other printers- such as Mark Osterman's section on dry plate. Also much of the prints/ process examples are nice.
I'd been hoping for sections on traditional gravure, or at least photopolymer, also daguerreotype; no such luck. That's just a niggle though, I didn't seriously expect a complete resource on every process there is. Certainly it was a considerable undertaking as it was to assemble this volume. But considering the size of the book, and the cost, he could have been more precise about the subjects covered and sacrificed a little of that ingratiating style in the name of clarity.
All that said, I'm still glad this book exists, it is a wonderful introduction to the great world of alt printing. But be sure to check other sources before proceeding with any process.
A notable irritation is the gum chapter. A typical recipe- 'An 1 1/4 inchworm of watercolor per 12 full eyedroppers of gum and 12 full eyedroppers of dichromate'..? I wouldn't recommend measuring pigment unless you measure in all dimensions -aka volume- not just length. Much more accurate to weigh. And what size eyedroppers? When he does use traditional weights and measures they are inconsistent: he mentions Stephen Livick using 12g of pigment for every 12ml of dichromate when using Sennelier paints, double the concentration of other brands. In a separate section he then says Livick uses 2.5-4g g of Lindel paint in 12ml of dichromate. Forgetting for an instant that 12g of watercolor is an absolutely fantastic quantity of paint (I pigment 4 36x50cm 2mm thick carbon tissues with less- and that's 2 liters worth of solution) I still wouldn't call 12 the double of 2.5 or even 4.
I'm sure he is a wonderful printer, certainly his photographic eye is very good judging by his images, but as an instructor he reminds me of some teachers that give just enough info to engage and tantalize, but not seriously to give you a leg up on their years of toil/hard knocks, and maybe go so far as to play a few hazing tricks on you along the way. The best sections are those contributed by other printers- such as Mark Osterman's section on dry plate. Also much of the prints/ process examples are nice.
I'd been hoping for sections on traditional gravure, or at least photopolymer, also daguerreotype; no such luck. That's just a niggle though, I didn't seriously expect a complete resource on every process there is. Certainly it was a considerable undertaking as it was to assemble this volume. But considering the size of the book, and the cost, he could have been more precise about the subjects covered and sacrificed a little of that ingratiating style in the name of clarity.
All that said, I'm still glad this book exists, it is a wonderful introduction to the great world of alt printing. But be sure to check other sources before proceeding with any process.
6 of 7 people found the following review helpful
Don't leave home without it
9 Jun 2011
Format:Paperback
If you are having trouble sleeping don't pick this one up for a quick fix. Christopher's knowledge and wit will keep you engaged. I have a good many other books on alternative processes and this is my "Go to" volume. For those with an interest in historic processes, regardless of your skill level, this important text needs to be in your library. Neither the First nor Second editions have been anything other than first rate sources of information. My second edition is beginning to show the signs having a little too much chemistry spilled on it and I may have to get another as my breadth of knowledge and experience expands, thanks to Mr. James.
3 of 3 people found the following review helpful
Outstanding! A book for beginners and professionals!
11 Jun 2011
Format:Paperback|Amazon Verified Purchase
Wonderful book! I have never had much success learning from books and had my doubts when I purchased this one. In buying the book my goal was to learn platinum, cyanotype, salt, and albumen printing. I succeeded in all four methods and many more. Christopher James writing is not only informative but entertaining, which is a rare combination. I am a professional photographer who was well versed in digital and darkroom printing but I wanted to expand my photographic toolbox and this book helped me achieve that. An outstanding resource!
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