Customer Reviews

The Book of Alternative Photographic Processes

5 star:		(39)
4 star:		(0)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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!

I started to explore the alternative (historic) photographic printing techniques approx. a year ago, and have learned lots of stuff by searching the net for information. I have also bought several books on the theme, but only this book had the information level I was searching. It is a thick book, and very structured. Great read too. So far I have only explored a few of the techniques described in the book, but it is a joy to read about all the other techniques. The author brings the techniques into perspective by starting each chapter with a historic overview. In this way, I have got a much better understanding of why and how the different techniques evolved. But most important: I get a much better understanding of how to make beautiful images printed in alternative techniques. Highly recommended.
I am running a blog on my personal experience with these techniques, and had to make a short review of the book on www.retrofoto.dk. Off course I gave it top score, which I also do here.

Bjorn

I officially recycled all my other alt-pro books when I found this one. Why recycle? Because I didn't want to risk circulating bad information out there. Before finding Christopher's book, I had been working in alternative process photography, some techniques learned in college, some in workshops, some self taught for 15 years.
From set-up to process to finish, this book gives me all the instruction and troubleshooting clues I need to complete a successful print. He takes the mystery out of the process while sharing his sense of humor (necessary in this line of work).
I especially like the historical attributes he offers and that I can get all of this in one book! Yes, it's hefty, I don't carry it around with me. But it is prominently displayed in my studio where I work.
When I replaced my first edition with the second, I wrote on the inside front cover: "This is the first edition, good information but there is a newer edition out there so FIND IT!" then took it to the thrift store in hope that someone interested in alternative processes will find it and get hooked.

If you have ever had any interest in alternative printing or working in the non tradition of wet darkroom work this is a must have. To think of giving a brief historical background, a full chemical proprieties list, and than giving in depth instruction of how to make the physical print of more than 10 process's is simply amazing to pack into one book. While reading you can really appreciate Christopher's passion for the hand made craft. He is able to explain these often complicated chemical prints in a easy and non intimidated manner. In a fully digitized world it is so refreshing to see a man fully dedicate himself to something alternative than the norm.

What I loved about this book is how nothing is left to the imagination, often times while reading technical instructional books there is always that little something that is left out that can really make the world of difference while in the studio. With James's book nothing is left to the imagination, anything that could go wrong or may go wrong he warns you off, and gives you insight on how to avoid that. I was amazed to see that he was able to top himself with the first edition, i very much look forward to the third edition.

As i write this review i look to the book case fondly at my battle tested personal copy stained all over with various shades of browns and blacks from chemistry and smelling like lavender varnish.

I have read a number of publications on antique or alternative photographic processes, and most are dry, dull, and highly formulaic. Each process is going to be different for each practitioner depending on his/her environment. Christopher James walks us through many (MANY) different processes by describing what is tried and true for him, but he is also careful to give alternative methods that have worked for many other well-known and respected artist/practitioners in regard to individual processes. He gives engaging historical lead-ins to each of the processes while letting the modern practitioner know that these processes are not just part of the past--they are current, exciting, "alternative" methods of creating beautiful photographs. He lets us know what chemicals or products worked in the past but may no longer be available, while listing the modern equivalents and how to purchase and use them. He also covers everything from paper types and prep to digital negatives. And, he manages to do all of this and more in a charming and engaging manner.

Funny, but my second edition, with post-its and other notes attached, happens to be sitting on the couch next to me as I type this. It is a wonderful reference, not only for the processes listed in the book (there are beautiful photographs throughout) but for the stories behind each as well.

This book is amazing. Clearly written with easy to follow step by step instructions. Love the table & sink set up for each alternative process. I own numerous alt pro books but the Christopher James book is my go to book because it is packed with tons of information and the instructions are straightforward. If you don't own this book, your alt pro library is not complete.

I have to say, I was a little reluctant when I saw the price of this book. Now that I have it, I realize it is worth five times the price. If you have even the slightest interest in alternative processes this book is a must have. You will not regret buying this book.

Excellent and greatly expanded over the first edition. Great survey of alternative photographic processes and thorough instructions and illustrations. A classic!