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THE PROCESSES

 

Albumen paper - make it

Anthotypes

Cyanotype process

Dry plate

'Forgotten' processes

Gum bichromates

Gum oil process

History of alt. processes

Gum bichromates

Kallitype / VD brown

Liquid light

Oilprint process

Oleobroms

Platinum & palladium

Photopolymer

Polaroid emulsion lifts

Polaroid image transfer

Resinotype process

Saltprints

Tempera prints

Tintype/Ferrotypes

Wet plate collodion

   
 
   

Albumen

Ambrotypes

Argyrotypes

Bromoils

Carbon/carbro

Chrysotypes

Collodion / wetplate

Cyanotypes

Digital

Ferrotypes

Gelatin silverprints

Gumbichromates

Gumoils

Infrareds

Kallitypes

Lithographs

Lithprints

Liquidemulsion

Miscellaneous

Pinholes

Platinum & Palladium

Polaroid sx-70

Polaroid image transfers

Polaroid emulsion lifts

Polymergravure

Saltprints

Satistaprints

Tin types

Vandykes

Ziatypes

   
 
   

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[in his own words] Although I don't remember it due to my early age I had my left leg partially chewed off by a dog and was given a little walking stick made from a tripod leg. I guess that started me in the direction of photography!
I was home schooled and my father was a photographer by trade, I would help him in the darkroom and was given many valuable lessons about acid stop bath and small cuts on the hands. Over the years I would take my Dads cameras out and shoot scenes in and around our village in East Lothian, Scotland.
At the age of 20 I ran away from home and came to Los Angeles where I now live. My basement room doubles as my darkroom where I have made a small and irregular income for the past twenty years.

I found the carbon process quite by accident one day in a show of photographs for sale, it was an image of Danby Mill by Frank Meadow Sutcliff, I was hooked!

It took me two years to get my first print to come out but it was worth it. I print carbon as often as I can but it is a lengthy process but well worthwhile.

 

 
 


 

The Carbon printprocess

- A contribution from Andrew Glover

Still waiting for a practioneer to contribute with a recipe, but in the meantime, here is a couple of tips:


 

Reader's comments on the processes

After I make a new emulsion for a series of prints I have a book that I use for my recipes. This book has the ingredients listed and above them is a smear that I made when I dipped my finger in the gelatine solution and spread over the paper. This allows you to see(when dried) how 'dark' the shadow tone will be in comparison to the highlights etc . When picking a colour for a print the smear will be an easy to use guide to what you may expect from a print.

Any extra emulsion leftover can be saved in a tupperware tub and frozen for later use (if you don't plan to print for a while). When you remelt the gelatine be sure not to loose any of the ice crystals in the tub as they are part of the solution and if you throw them out the emulsion will be different in contrast from the time you froze it. Also be careful not to use ice cream tubs as containers, your girlfriend will complain about the horrible tasting ice cream in your freezer and you'll have to look at a chocolate coloured mouth all night.

- Andrew Glover

 

 
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