- Paperback: 256 pages
- Publisher: Allworth Press; 1st edition (October 1, 1998)
- Language: English
- ISBN-10: 1880559935
- ISBN-13: 978-1880559932
- Product Dimensions: 8.8 x 0.8 x 11.5 inches
- Shipping Weight: 1.9 pounds
- Average Customer Review: 12 customer reviews
Amazon Best Sellers Rank:
#1,129,161 in Books (See Top 100 in Books)
- #94 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Darkroom & Processing
- #685 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Handbooks & Manuals
- #873 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Equipment
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Historic Photographic Processes: A Guide to Creating Handmade Photographic Images Paperback – October 1, 1998
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About the Author
Richard Farber is a teacher, writer, and fine-art photographer. His work has been internationally exhibited and can be found in museums and private collections in both Europe and the United States. He lives in The Hague, Netherlands.
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** one suggestion, if your darkroom is not efficiently ventalated then you may want to stay away from some of the processes involved
It is a very practical book with a lot of classical and new recipes for the most popular of photograpgic processes one of best I ever seen.
The title is a little misleading since it says "historical processes." The book focuses on photo processes that are used largely in art photography and do not involve the normally used silver paper or color paper. Yes, many of these processes were used for photography in its earlier years and are "historical," but these processes are most often referred to as "alternative photography" now. If you are a photographer and are looking for a respite from the ordinary, this is your book.
This book replaces the now quite dated Keepers of Light first published in 1979. Since that time, and to the credit of Keepers of Light, alternative photography has grown considerably. This book is excellent and takes in much of the later developments and knowledge of the field.
Farber's treatment is lucid, well illustrated, and takes a hands-on approach. Despite the advances in alternative photography, many of the materials previously available have disappeared from the marketplace. Farber takes this into account and I particularly found his chapters on bromoil and carbon printing to be valuable as he discusses the use of modern bromide papers for making bromoil prints and also how to make your own carbon tissue.
This book belongs on the shelf of every serious darkroom photographer. If you are a photographic collector, I would also advise buying a copy even if you never intend to make an alternative photo print. There is a wealth of succinct information here that would be valuable for any collector wanting to understand the nature of many earlier photographic print-making processes.