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Photographic Possibilities, 4th Edition

Book Description

The long-awaited new edition of this seminal text features clear, reliable, step-by-step instructions on innovative alternative and traditional photographic processes. Over and above a full update and revision of the technical data, there are new sections on digital negative making, electrophotography, and self-publishing. Foremost practioners, including Edward Bateman, Dan Burkholder, Tom Carpenter, Mark Osterman, France Scully Osterman, Jill Skupin Burkholder, Brian Taylor, and Laurie Tümer, have contributed their expertise to this edition. Perfect for practitioners or students of handmade photography, the book covers classic black-and-white film and paper processes, hand-coated processes like Cyanotype, and Platinum/Palladium. Also featured is an enhanced section on gum bichromate, invaluable instruction on workflow, and the integration of digital, promoting the effective union of one’s concepts, materials, and processes. The book showcases work and commentary from more than 150 international artists.

Table of Contents

  1. Cover
  2. Halftitlepage
  3. Titlepage
  4. Copyright-Page
  5. Dedication
  6. Table Of Contents
  7. Preface
  8. Essential Moments in Photographic Printmaking
  9. The Language of Photography
  10. Concepts and Technology Affecting Photographic Printmaking
  11. Extending Photographic Boundaries
  12. Electronic Imaging: New Ways of Seeing
  13. Possessing a Sense of History
  14. Predarkroom Actions: Imaginative Thinking
  15. Establishing a Personal Creation Process
  16. Photographic Origins
  17. Thinking within a System
  18. Purposes of Photography
  19. Special Classic Cameras and Equipment
  20. What is a Camera?
  21. The Pinhole Camera
  22. Handmade Cameras
  23. Toy Plastic Cameras: Low-Fidelity Aesthetic
  24. Disposable Cameras
  25. Macro Lenses: Extreme Close-Ups
  26. Lensbaby and Bokeh: Controlled Depth of Field
  27. Telephoto Lens: Compressed Depth of Field
  28. Wide-Angle Lenses: Expanding the View
  29. Panoramic Cameras
  30. Miscellaneous Special Use Cameras
  31. Stereoscopic Photography
  32. Stroboscopic Photography
  33. Underwater Equipment and Protection
  34. Image Capture: Special-Use Films, Processing, and Digital Negative Making
  35. Film and the Photographer
  36. General Film Processing Procedures
  37. Infrared Black-And-White Film
  38. Extended Red Sensitivity Film
  39. High-Speed Black-And-White Film
  40. Heightening Grain and Contrast
  41. Ultra-Fine-Grain Black-And-White Film: Ilford Pan F Plus
  42. High-Contrast Litho Films
  43. Making a Litho Negative
  44. Orthochromatic Film
  45. Paper Negatives and Positives: Contemporary Calotypes
  46. Reversing Black-And-White Film
  47. The Impossible Project: Instant Positive Film
  48. Processing Black-And-White Film for Permanence
  49. Digital Negative Making: An Overview
  50. Scanners
  51. Formulas of One’S Own
  52. Basic Eqmipment
  53. Chemicals
  54. Preparing Formulas
  55. US Customary Weights and Metric Equivalents
  56. Black-And-White Film Developers
  57. What Happens to Silver-Based Films during Exposure and Processing?
  58. Image Characteristics Of Film
  59. Components And Characteristics Of Black-And-White Developers
  60. Basic Developer Types
  61. Postdevelopment Procedures
  62. Film Developer Formulas and Their Applications
  63. Visual Test for Determining Processing Times and Iso
  64. Is All This Necessary?
  65. Analog Fine Printmaking: Equipment, Materials, and Processes
  66. The Analog Fine Printmaking Process
  67. Printing Equipment
  68. Standard Printing Materials
  69. Print Finishing
  70. Special Printing Materials
  71. Processing Prints for Permanence
  72. Black-and-White Paper Developers
  73. Paper Developer And Developing-Out Paper
  74. Components Of Black And-White Silver Print Developers
  75. Additional Processing Factors
  76. Controlling Contrast During Development
  77. Matching Developer And Paper
  78. Developer Applications And Characteristics
  79. Classic Paper Developer Formulas
  80. Toning for Visual Effects
  81. Processing Controls
  82. Basic Types of Toners
  83. Processing Prints to Be Toned
  84. General Working Procedures for Toners
  85. Brown Toners
  86. Blue Toners
  87. Red Toners
  88. Green Toners
  89. Toning Variations
  90. Classic Historic Processes
  91. Salt Prints
  92. Cyanotype Process
  93. History of the Ambrotype and Tintype Processes
  94. Kallitype And Vandyke Brownprint Processes
  95. Chrysotype Process
  96. Platinum And Palladium Processes
  97. Pigmented and Alternative Processes
  98. Gum Bichromate Process
  99. Tri-Color Gum Prints from Digital Negatives
  100. The Bromoil Process
  101. Gumoil
  102. Mordançage
  103. Lith Printing
  104. Electrostatic Processes: Copy Machines
  105. Electrophotography: The Xerox Flat Plate System
  106. Toner Transfer Process
  107. Transforming Photographic Concepts: Expanding the Lexicon
  108. Hand Altered Work
  109. Cameraless Images
  110. Chemigram
  111. Cliché-Verre
  112. Extended Camera Exposures
  113. Postcamera Technic Jes in Search of Time
  114. Multiple-Exposure Methods
  115. Fabrication: Creations Made for the Camera
  116. Composite Variations
  117. Processing Manipulation: Reticulation
  118. Hand-Coloring
  119. Airbrushing
  120. Transfers and Stencils
  121. Safety Guidelines
  122. Contact Allergies, Chemical Sensitivities, and Poison Control
  123. Disposing of Chemistry
  124. Darkroom Ventilation
  125. Water for Photographic Processes
  126. Index