Historic Photographic Processes: A Guide to Creating Handmade Photographic Images

** one suggestion, if your darkroom is not efficiently ventalated then you may want to stay away from some of the processes involved


History of cool things!   March 4, 2003
SandyWells (Galveston, TX United States)
3 out of 10 found this review helpful

You'll enjoy the info in this one. Makes for a heavy read.


A useful guide   July 6, 2002
18 out of 19 found this review helpful

For the budding alternative practitioner, this book is an invaluable resource. It is clearly and engagingly written, and covers the gamut of processes from simple salted-paper calotypes, through platinum/palladium and bromoil. Safety is emphasized, with an overview in the second chapter, and a chemical index with hazards in the back. A thorough list of sources for materials, other references, online resources, etc, is in the back.

One of the best features of the book is that it is not limited merely to the historic processes, but also to modern variants. Therefore, not only classic cyanotype or kallitype is presented, but also modern formulations, with a discussion of how they differ and the advantages/disadvantages of each. The section on carbon printing includes recommendations for 3-color, and for 'overpigmenting' the gelatin base to produce grainy 'mezzotint' pictures. Illustrations include modern prints by the author and british photographer/chemist Michael Ware, as well as classic prints from the days when the techniques were in vogue. Each technique also has a discussion of the proper negative contrast which is required, which is important since most of these processes require contact printing and a denser negative than modern practitioners are used to.

If there is a problem, it's that the design of the book appears to be meant to get a practitioner started in the process, and then point them elsewhere for other sources. It is also clear that some processes (gum bichromate/bromoil) seem to get more attention than others (cyanotype), probably reflecting the author's personal interests in his work. This is a minor quibble, since the cyanotype chapter is still more thorough than most I've read elsewhere, and the formulations for image-color control in the kallitype chapter is invaluable to allow one to explore the range of the process.

In short, this is a well-written, thorough, text which will allow an interested party to get started, and then go to more specialized sources if they decide to delve deeper into one of the processes. It is also an enjoyable read in its own right. I bought it initially to get started in cyanotype, and have no regrets as a result.


Indispensable Photo Book   January 7, 2002
4 out of 4 found this review helpful

This book covers many historic methods. This book is for the photographer looking to go beyond silver. It gives you all you need to know to get you started. HIghly recommended - easy to read and follow.


The ultimate alt-photo book   January 17, 2000
Richard S. Sullivan (Santa Fe, New Mexico)
56 out of 56 found this review helpful

First a disclaimer: I am the inventor of the Ziatype process described in the book.

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.