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010323s2002 nyua b 001 0 eng d |
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|a 2001028615
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|a BIB MATCHES WORLDCAT
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|a 0766820777
|q alk. paper
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|a 9780766820777
|q alk. paper
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|a (ATU)b10237902
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|a (DLC) 2001028615
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|a (OCoLC)46640906
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|a DLC
|b eng
|e rda
|d ATU
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|a pcc
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|a TR350.
|b J35 2002
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|a 771
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1 |
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|a James, Christopher,
|e author.
|9 1021422
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1 |
0 |
|a Book of alternative photographic processes /
|c by Christopher James.
|
264 |
|
1 |
|a Albany, N.Y. :
|b Delmar Thomson Learning,
|c [2002]
|
264 |
|
4 |
|c ©2002
|
300 |
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|a xiv, 386 pages :
|b illustrations (some colour) ;
|c 28 cm
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336 |
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|a text
|b txt
|2 rdacontent
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337 |
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|a unmediated
|b n
|2 rdamedia
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338 |
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|a volume
|b nc
|2 rdacarrier
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504 |
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|a Includes bibliographical references (pages 376-379) and index.
|
505 |
0 |
0 |
|t Introduction --
|t The Pinhole: --
|t Overview & Expectations --
|t A Little History: Conception & Connections --
|t The Thumbnail Principle --
|t A Little Science --
|t How To Make a Pin Hole Camera & Pinhole Construction --
|t Testing the Camera --
|t Finding the Correct Exposure & Making Pictures --
|t Pinhole Recommendations, Resources, & Related Web Sites --
|t The Negative: Traditional & Alternative Options --
|t Overview & Expectations --
|t A Little History --
|t Tiphaigne de la Roche's, Giphantie, (1760) --
|t An Appropriate Time to Explain Things --
|t What Negative Density Means --
|t Negative Production Options --
|t Commercial Labs, Copy Machine, Desk-Top Printers --
|t Acrylic Negatives from Printed Sources --
|t Polaroid Type 55 Positive / Negative Film --
|t Conventional Films --
|t The Cliche Verre & The Photogram --
|t Single Stage Negative to Negative Duplicating --
|t Multi-Stage Duplicating Films --
|t Exposure & Development Considerations --
|t Pyro --
|t Soemarko's LC-1 & LC-1B Low Contrast Lith Formulas --
|t Digital Options --
|t Overview & Expectations --
|t A Little History: The Digesting Duck to the Present --
|t My View: the Present State of the Digital Arts --
|t A Digital Caveat --
|t A Digital Negative: A Layman's Explanation --
|t Making CMYK Separation Negatives THE PLASTIC CAMERA --
|t Overview & Expectations --
|t A Little History --
|t Toy Camera Philosophy & The Six Plastic Virtues --
|t Plastic Camera Hints, Tips, & Shutter Modification --
|t The Salted Paper Process --
|t Overview & Expectations --
|t A Little History --
|t The Camera Lucida --
|t Chemistry and Formulas --
|t Gelatin, Sea Salt, & Starch Salting Formulas --
|t The Silver Nitrate Sensitizing Formula & Application --
|t Coating &Printing Salted Paper --
|t Pre Wash & Wash Considerations --
|t Toning Formulas for the Salted Paper Process --
|t Gold Borax, Gold-Thiocyanate, Gold-Acetate Toning --
|t Platinum, Palladium, Gold 231, & Blue-Gray Toning --
|t Fixing the Salted Paper Print --
|t Contrast Control & Final Wash THE CYANOTYPE PROCESS --
|t Overview & Expectations --
|t A Little History --
|t How Cyanotype Works --
|t The Chemistry: Chemicals and Sensitizer Formula --
|t The Negative --
|t Paper, Fabric Surfaces & Sensitizing --
|t The Hake Brush --
|t A Few Words About the Sun & Exposing the Cyanotype --
|t Development: Water or Acid Options --
|t Washing and Instant Gratification Oxidization --
|t Clearing Highlights --
|t Trouble-shooting & Formulas for Toning the Cyanotype --
|t Cyanotype Variations: Fabrics & the New Cyanotype --
|t Overview & Expectations --
|t Materials & Preparation of Fabrics --
|t Making Images: Chemistry & Formula --
|t Coating, Printing, & Development --
|t Post Development Options, Toning & Care --
|t The New Cyanotype --
|t A Little History --
|t Five Shortcomings of the Classic Cyanotype Process --
|t Chemical Solutions for the First 3 Shortcomings --
|t Chemistry, Preparation, Coating & Drying --
|t Negatives, Exposure, Processing, & Clearing --
|t The Kallitypes: Van Dyke, B-V-D, Kallitype, & Brownprint Processes --
|t Overview & Expectations --
|t A Little History --
|t The Van Dyke process --
|t Van Dyke Chemistry: Sensitizing & Fixing --
|t Papers, Sizing, & Negatives --
|t Coating, Exposure, & Processing Steps for the Van Dyke --
|t Lead Acetate, Gold 231, Selenium, Blue, & Split Toning --
|t The Blue-Van-Dyke Process (B-V-D) --
|t The Kallitype Process --
|t The Sensitizer --
|t A Little History --
|t The Process: Chemistry, Formula & Preparation --
|t Brush & Glass Rod Coating and Preparing a Hake Brush --
|t Exposing the Print --
|t Development Option #1: Black, Sepia, Brown, Gray-Blue Tones --
|t Development Option #2: Ammonium Citrate and Sodium Acetate --
|t Alternative Toning Options for Kallitype ·Contrast Control, Clearing, Fixing Formulas & Final Wash --
|t The Brownprint Process --
|t Overview of Sensitizer: Chemistry & Preparation --
|t Exposure, Development, Fixing & Washing --
|t The Platinum / Palladium Process --
|t Overview & Expectations --
|t A Little History --
|t The Process Explained & Supplies and Materials --
|t The Negative --
|t Papers & Sizing --
|t The Chemistry, Sensitizer, & Developers --
|t Developer Formulas: Ammonium Citrate & Potassium Oxalate --
|t Clearing Bath Formulas (EDTA) & an Emergency Clearing Bath --
|t The Sensitizer Formulas: Platinum & Palladium --
|t Platinum / Palladium Drop Chart --
|t Coating the Paper & Exposure --
|t Developing the Platinum / Palladium Image --
|t Pre-Washing, Clearing, Final Wash & Trouble-shooting --
|t Gum, Cyanotype, and Van Dyke with Pt / Pd --
|t The Ziatype Process --
|t Overview & Expectations --
|t A Little History --
|t How it Works & the Process --
|t Abbreviation Symbols for Ziatype --
|t Ziatype Drop Count Formulas --
|t The Process: Mixing, Coating, & Exposure --
|t POP Observations, Contrast Control, & Process Considerations --
|t The Anthotype Process --
|t Overview & Expectations --
|t A Little History --
|t Materials: Flowers, Berries & Alcohol --
|t The Working Process --
|t Paper: History, Shrinking, Sizing & Hardening --
|t Overview & Expectations --
|t A Few Words About the History of Paper --
|t Shrinking, Sizing, & Hardening --
|t Formalin & Glyoxal --
|t Materials You Will Need --
|t The Sizing Process --
|t Formalin & Glyoxal Hardening Baths & Processes --
|t The Gelatin-Glyoxal Single Step Solution --
|t Arrowroot, Gesso-Acrylic, Polyurethane, & Gum Sizing --
|t The Gum Bichromate Process --
|t Overview & Expectations --
|t A Little History --
|t Collotype, Calotype, Woodburytype, & The Fish-Glue Process --
|t How Gum Bichromate Works --
|t A Few Words Before Beginning --
|t The Gum Negative & Registration --
|t Ammonium Dichromate Sensitizer --
|t Watercolors, Gum Arabic, & Glue --
|t Traditional Sensitizer Formulas --
|t Sensitizing the Paper & Staining --
|t Coating & Exposure --
|t Printing with a Single Color and One Negative --
|t Development & Clearing the Print --
|t Multiple Negative Printing --
|t Trouble-shooting & Resources --
|t Dichromate Options: --
|t Overview & Expectations --
|
505 |
0 |
0 |
|t The 3-D Gum Bichromate Process --
|t How 3-D Works, Negatives, & Process --
|t Gum Bichromate on Alternative Surfaces --
|t The Basic Premise --
|t The Tooth, Coating, Exposure & Processing --
|t The Dusting-On process --
|t A Little History --
|t The Process: Contemporary --
|t Working on Glass --
|t Traditional Materials, Chemistry & Formulas --
|t Hot & Humid Image Development --
|t The Transfer Option & Herschel's Breath Printing Process --
|t The Ferro-Tannic / Ferro-Gallic Iron Processes --
|t A Little History --
|t Chemistry, Sensitizing, Intensifying, & Toning Processes --
|t The Albumen Process --
|t Overview & Expectations --
|t A Little History --
|t How the Albumen Process Works --
|t Method #1: Traditional Raw Egg Method --
|t Method #2: The Powdered Albumen Method --
|t Method #3: The Instant Gratification Method --
|t Coating & Floating the Paper: Glossy or Matte Coating --
|t Hardening & Sensitizing Paper: Silver to Salt Ratio --
|t The Effects of Silver Albumenate --
|t Exposure, Processing, Toning & Fixing the Albumen Print --
|t A Simple Test for Residual Silver & Washing the Albumen Print --
|t Pop: the Printing Out Process --
|t Overview & Expectations --
|t A Little History --
|t POP Formulas and Process --
|t Pre-Coated POP Papers & Process --
|t Gold-Thiocyanate & Gold-Alkaline Toners --
|t Replenishment of Gold Toners --
|t Platinum, Gold-Platinum, Split Toning, & Gold-Borax Toning --
|t Fixing and Final Wash for --
|t Pop Hand Applied Emulsions: --
|t Photo-Etching & Resists, Paint, The Contemporary Tintype, The Wet Collodion & Ambrotype Processes --
|t Overview & Expectations --
|t Varieties of Liquid Emulsions and Hardening Liquid Emulsions --
|t Emulsions on Glass, Ceramics and Metal: Materials & Process --
|t Solarplates, Photo-Resists, Simple Resists, Formulas & Etching --
|t Contemporary Tintype Process: --
|t A Little History --
|t The Dry Plate Process --
|t Coating, Exposure, Development, & Trouble-shooting --
|t Wet Collodion & Ambrotype Process --
|t A Little History --
|t The Ambrotype Process --
|t Salted Collodion Emulsion, Developer, & Fixer --
|t Mounting, Varnishing, & the Presentation of Ambrotypes --
|t The Mordancage Process --
|t Overview & Expectations --
|t Materials & Process --
|t Re-development & Depouillment (gelatin removal) --
|t Oxidation & Final Steps --
|t Image Transfer Processes: --
|t Color Lazer, Heat Transfer, Lazertran System, Polaroid Transfers & Emulsion Lifts & Ink Jet Water Transfer --
|t Overview & Expectations --
|t How a Color Laser Copier Works --
|t Copyright and Post-Modernism --
|t At the Copy Store & Materials --
|t Color Laser Solvent Transfer, Varneytype, Blender Pens --
|t Water & Dry Mount Process --
|t Fabrics, Transfers & Non-Silver --
|t Lazertran Transfer Systems --
|t Transfer Processes for Paper, Glass, Metal, Wood, & Plaster --
|t Lazertran Silk & Fabric Transfer --
|t Lazertran Etch --
|t Polaroid Emulsion Transfers & Emulsion Lifts --
|t What is Polaroid Film & How it Works? --
|t Materials & Processes for Transfers & Emulsion Lifts --
|t Exposing Type 59 in an Enlarger --
|t Ink Jet Water Transfer Process --
|t Appendices --
|g Appendix A.
|t Safety Considerations & Data for Chemicals Used in This Book --
|t MSDS and Lab Safety Web Sites --
|t Simple Definitions: pH, Acid, Alkali --
|t Working With Chemicals: Always & Never Rules --
|t CAS Numbers --
|t Chemicals and Definitions --
|t Disclaimer --
|g Appendix B.
|t Us / Metric Conversion Tables --
|t Dry and Liquid Measures Conversions (small volume) --
|t Temperature Conversions --
|t Percentages: Description & Calculation --
|g Appendix C.
|t How To Make a Simple Uv Exposure Unit --
|t Overview, Materials and How to Make One --
|g Appendix D.
|t A Working Inventory for Planning an Alternative Process Workshop Or Class --
|t Materials and Set Up for the Working Space --
|g Appendix E.
|t A Modest List of Resources --
|t Chemicals, Lab Gear & Kits --
|t Www.msdssearch.com --
|g Lab Materials.
|t & Art Supplies --
|t Film & Photographic Supplies --
|t Scans, Digital Printing, Books, Postcards, Portfolios --
|g Appendix F.
|t Alternative Processes on the Interment --
|g Appendix G.
|t An Alternative Process Working Space --
|g Appendix H.
|t Selected Bibliography: Contemporary & Historical.
|
588 |
|
|
|a Machine converted from AACR2 source record.
|
650 |
|
0 |
|a Photography
|x Processing
|9 322246
|
650 |
|
0 |
|a Photography
|x Printing processes
|9 322245
|
650 |
|
0 |
|a Photography, Handworked
|9 322261
|
907 |
|
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