Jill Enfield’s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques (Alternative Process Photography)

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9780415810241: Jill Enfield’s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques (Alternative Process Photography)

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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Review:


Images and stories from Jill Enfield’s Guide to Photographic Alternative Processes


A digital image does not have to stay digital! I photographed this in Croatia. When I came home, I decided it would make a good kallitype.

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Dry plate tintypes are great for making photograms. Once the plates are dry, they can be kept in a light tight box for approximately one month. The plates can be exposed in a camera or with an enlarger using positives or by placing objects for photograms.

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I photographed special pictures for a wedding in Tuscany, Italy. The ceremony started around sunset, when the light is typically too reddish for wet plate collodion to work with fast enough exposure to capture a scene like this. Since I was there, however, I gave it a try. Even with the motion, this image captures the moment.

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This image was taken inside a church in Italy with a Hasselblad camera and black and white film. It was underexposed a bit and I thought I would never be able to use it. Then came digital! I made a digital negative and a cyanotype that actually has detail in the shadows.

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A Letter to Amazon.com Readers from Jill Enfields


Dear Amazon.com Readers:

I have been teaching historical photographic techniques, or alternative processes, for more than twenty-five years. The moment I started using these techniques, I realized that by adapting them, my work knew no bounds. Every project that I start leads me to the type of process that I feel is a perfect way to display my vision.

No matter your style of photography — whether you are interested in landscapes, portraits, flowers, architecture, or something else entirely — these processes are useful in continuing to interpret your image after the camera capture. Digital or film, it makes no difference. The process you choose is driven by the image, which leaves you open to ideas and discovery.

A darkroom is helpful, but not necessary, for most of the processes discussed in my book, Jill Enfield's Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques. You will learn about the materials needed to set up a workspace, which chemicals to use and how to mix them properly and safely, and where to get all of the above, no matter where you live. The tactile process of using hand-applied emulsions and then watching the image appear is always a magical experience! My hope is that this book brings the magic to others.

Need inspiration? The work of 106 artists from all over the world is beautifully reproduced in the book. This is more than a mere how-to book; it is also a showcase of some of the best artists in the historical techniques genre.

I hope that you enjoy Jill Enfield's Guide to Photographic Alternative Processes as much as I have had enjoyed creating it.

Best wishes in creating your own magic,

Jill Enfield

About the Author:

Jill Enfield, one of the most experienced and respected hand-coloring artists in the United States, is a fine art, editorial, and commercial photographer. She has taught hand-coloring and non-silver techniques at Parsons The New School for Design, Fashion Institute of Technology, New York University, Long Island University, and the International Center of Photography in New York, as well as at workshops throughout the United States and Europe.

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