842

C O N T E M P O R A RY B I B L I O G R A P H YStephen Anchell, The Darkroom Cookbook (Boston:

Focal Press, 1994).

Jan Arnow, Handbook of Alternative Photographic

Processes (New York: Van Nostrand Reinholt Co.,

1982).

Dick Arentz, Platinum & Palladium Printing, 2nd ed.

(Focal Press, 2005).

Dick Arentz, Outline for Platinum/Palladium Printing,

3rd ed. (Self-published, 1998).

Janet Ashford and John Odam, Start With a Scan

(Berkely, CA: Peachpit Press, 1996).

Geoffrey Batchen, Burning With Desire (Cambridge,

MA: MIT Press, 1999).

B

Selected Bibliography: Alternative Processes

John Barnier, ed., Coming Into Focus (San Francisco,

CA: Chronicle Books, 2000).

Faber Birren and M.E. Chevreul, The Principles of

Harmony and Contrast of Colors and Their

Applications to the Arts, rev. ed. (Schiffer, 2007).

Bill Bryson, A Short History of Nearly Everything

(New York: Broadway Books, 2003).

Buckland, Gail, Fox Talbot and the Invention of

Photography (Boston: Godine, 1980).

Peter C. Bunnell, ed., Non-silver Printing Processes

(New York: Arno Press, 1973).

Peter Bunnell, ed., A Photographic Vision: Pictorial

Photography, 1889–1923 (Salt Lake City: Peregrine

Smith, 1980).

Dan Burkholder, Making Digital Negatives for Contact

Printing (San Antonio, TX: Bladed Iris Press, 1998).

Vannevar Bush, “As We May Think,” The Atlantic, 1945.

Max Byrd, Shooting the Sun (Bantam/Random House,

2004).

Charles Caffin, Photography as a Fine Art, the

Achievement and Possibilities of Photographic Art

in America (1901; repr., Dobbs Ferry, NY: Morgan &

Morgan, 1971). Introduction by Thomas F. Barrow.

John Paul Caponigro, Adobe Photoshop Master Class

(San Jose, CA: Adobe Press, 2000).

John Paul Caponigro, Adobe Photoshop Master Class:

John Paul Caponigro, 2nd ed. (Adobe Press, 2003).

Nancy Clark, Ventilation (New York: Lyons & Burford,

1990).

Brian Coe and Mark Haworth-Booth, A Guide to Early

Photographic Processes (London, England: Victoria

& Albert Museum, 1983).

APP–2 Jill Skupin Burkholder, Man with Baseballs, 2001 (bromoil) This image, from the State Fair of Texas in Dallas, is made with the bromoil process. Jill writes, “I have a strange reaction to this image. Maybe because it’s just the torso, it makes me think of the statue David which throws me into an antiquity state of mind. The carnival barker seems more like a Greek hero to me, ready to battle the dark forces.” (Courtesy of the Artist)

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Betty Hahn, Photography or Maybe Not (Albuquerque,

NM: University of New Mexico Press, 1995).

John Hammond, The Camera Obscura: A Chronicle

(Bristol, England: Adam Hilger Ltd., 1981).

Margaret Harker, The Linked Ring: The Secession

Movement in Photography in Britain, 1892–1910

(London: Heineman, 1979).

Barbara Hewitt, Blueprints of Fabric: Innovative Uses for

Cyanotype (Loveland, CO: Interweave Press, 1995).

Wolfgang Hesse, Hermann Krone (Historisches

Lehmuseum für Photographie, 1998). Kupferstich-

Kabinett der Staatlichen Kunstsammlungen

Dresden, Technishe Universitat, Dresden

Ann Hoy, Fabrications (New York: Abbeville Press,

1987).

Robert Hughes, “Mirrors and Windows,” Time, August 7,

1978.

Christopher James, The Book of Alternative

Photographic Processes, 1st ed. (Albany, NY:

Delmar Thomson Learning, 2002).

Christopher James, The Book of Alternative

Photographic Processes 2nd ed. (Albany, NY:

Delmar Cengage, 2007).

Kate Jennings and Mark Osterman, Dr. Thomas

Keith’s Waxed Paper Process Experiment: Part

II, Advanced Residency Program in Photograph

Conservation (ARP) at George Eastman House,

International Museum of Photography and Film,

August 2002.

B. E. Jones, ed., Cassell’s Cyclopedia of Photography

(New York: Arno Press, 1973).

Nancy Keeler, “Inventors and Entrepreneurs,” History

of Photography 26(1).

Ross King, Brunelleschi’s Dome: How a Renaissance

Genius Reinvented Architecture (Penguin, 2001).

Ross King, Michelangelo and the Pope’s Ceiling,

new ed. (Pimlico, 2006).

Jaromir Kosar, Light Sensitive Systems: Chemistry

and Application of Non Silver Halide Photographic

Processes (New York: John Wiley and Sons, 1965).

Boris Kossoy, “Hercules Florence: Pioneer of

Photography in Brazil,” Image 20(1): 12-21.

Loring Knoblauch, “2013, The Year of Interdisciplinary

Photography,” Collectors Daily, January 2014.

Steven Levy, Insanely Great (New York: Penguin Books,

1994).

John Coffer, The Doers Guide (self-published, 2000).

Athel Cornish-Bowden, “Elizabeth Fulhame and the

Discovery of Catalysis 100 Years Before Buchner,”

Journal of Bioscience 23 (1998): 87–92.

William Crawford, The Keepers of Light (Dobbs Ferry,

NY: Morgan & Morgan, 1979).

George DeWolfe, George DeWolfe’s Fine Digital

Photography Workshop (McGraw-Hill Osborne

Media, 2006).

Robert Doty, Photo-Secession: Stieglitz and the Fine

Art Movement in Photography (New York: Dover

Publications, 1978).

Will Dunniway, The Wet Collodion Plate: 16 Steps to

Making the Plates (Self-published, 2010).

George Eaton, Photographic Chemistry (Dobbs Ferry,

NY: Morgan & Morgan, 1999).

Dan Estabrook, 3-D gum printing worksheet and email

reply to anthotype question (1998).

Howard Etkin and Carson Graves, “Toning Safety,”

Ilford Photo Instructor Newsletter (1997).

Malin Fabri, Anthotypes: Explore the darkroom in

your garden and make photographs using plants

(2012).

Richard Farber, Historic Photographic Processes (New

York: Allworth Press, 1998).

Vilém Flusser, Towards a Philosophy of Photography

(London: Reaktion Books, 1983).

Peter Galassi, Before Photography: Painting and the

Invention of Photography (New York: Museum of

Modern Art, 1981).

Arnold Gassan, A Chronology of Photography (Athens,

OH: Handbook Company, 1972).

Arnold Gassan, Handbook for Contemporary

Photography, 4th ed. (Rochester, NY: Light

Impressions, 1977).

Helmut Gernsheim, The Origins of Photography (New

York: Thames and Hudson, 1982).

Allan Goodman, Elegant Images: Instructions and

Troubleshooting Guide for Platinum and Palladium

Photoprinting (Delaware, MD: Elegant Images, 1976).

Christopher Grey, Photographer’s Guide to Polaroid

Transfers (Buffalo, NY: Amherst Media, 1999).

Alan Greene, Primitive Photography: A Guide to Making

Cameras. Lenses, and Calotypes (Focal Press, 2001).

Sarah Greenough, On the Art of Fixing a Shadow: 150

Years of Photography (Boston: Bulfinch Press, 1989).

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844

John Rudiak, “Creating a Platinotype,” View Camera,

July/August 1994.

Salman Rushdie, Midnight’s Children (Random House,

1981).

David Scopick, The Gum Bichromate Book (Rochester,

NY: Light Impressions, 1987).

Larry Schaaf and Hans Kraus (contributor) Sun

Gardens: Victorian Photograms by Anna Atkins

(New York: Aperture, 1985). This book is based on

Anna Atkins’s 10-year, 3-volume collection entitled

British Algae: Cyanotype Impressions, privately

printed (1843–1853).

Larry Schaaf, Out of the Shadows: Herschel, Talbot,

and the Invention of Photography (New Haven,

CT: Yale University Press, 1992).

Larry J Schaaf, “The Talbot Collection: National

Museum of American History,” History of

Photography 24(1) 7–15.

Larry Schaaf, ed., The Correspondence of William

Henry Fox Talbot. The Project has prepared a com-

prehensive edition of the nearly 10,000 letters to

and from Talbot (1800–1877) in association with

De Montfort University, Leicester. Web site: http://

www.foxtalbot.dmu.ac.uk/letters/letters.html

Susan Shaw and Monona Rossol (contributor)

Overexposure: Health Hazards in Photography

(New York: Allworth Press, 1991).

Thomas Shillea, Instruction Manual for the Platinum

Printing Process, 1986.

Jim Schull, The Hole Thing: A Manual of Pinhole

Photography (Dobbs Ferry, NY: Morgan &

Morgan, 1974).

Judy Seigel, ed., Post Factory Photography, Issues 1,

2, 3, 4, 5, 6, 7, and 8 (New York: Post Factory Press,

1998–2000).

Lucy Soutter, Why Art Photography (Routledge,

London, 2013).

Jerry Spagnoli, Daguerreotypes: 1995–2004

(Göttingen, Germany: Steidl Publishing, 2006).

D. A. Spencer, ed., Focal Encyclopedia of Photography

(London & New York: Focal Press, 1973).

Dick Stevens, Making Kallitypes: A Definitive Guide

(Stoneham, MA: Butterworth & Heinemann,

1990).

Craig Stevens, A Mordançage Process Worksheet . . .

from Jean Paul Sudre notes (1998).

Merck Index, Encyclopedia of Chemicals and Drugs

(Whitehouse Station, NJ: Merck & Co., 1968).

Bonnie Pierce Lhotka, Digital Alchemy: Printmaking

Techniques for Fine Art, Photography, and Mixed

Media (New Riders, 2010).

Luis Nadeau, History and Practice of Platinum

Printing (New Brunswick, Canada: Atelier Luis

Nadeau, 1994).

Luis Nadeau, Encyclopedia of Printing, Photographic

& Photomechanical Processes (New Brunswick,

Canada: Atelier Luis Nadeau, 1989).

Luis Nadeau, Gum Dichromate (New Brunswick,

Canada: Atelier Luis Nadeau, 1987).

Bea Nettles, Breaking the Rules: A Photo Media

Cookbook, 3rd ed. (Urbana, Illinois: Inky Press

Productions, 1992).

Beumont Newhall, The History of Photography (New

York: Museum of Modern Art, 1982).

Beaumont Newhall, ed., The Art and Science of Photo-

graphy (Century House, Watkins Glen, NY, 1956).

Mark Osterman, The Wet Plate Process; A Working

Guide (Scully & Osterman, 2002).

Lynn Picknett and Clive Prince, Turin Shroud: In

Whose Image? The Truth Behind the Centuries-

Long Conspiracy of Silence (Amherst, MA: Acacia

Press, 1994).

James Reilly, The Albumen and Salted Paper Book:

The History and Practice of Photographic Printing

1840–1895 (Rochester, N.Y: Light Impressions, 1980).

Martin Reed and Sarah Jones, Silver Gelatin: A

Users Guide to Liquid Emulsions (New York:

Amphoto, 1996).

Eric Renner and Nancy Spencer, Pinhole Photography

(Stoneham, MA: Focal Press, 1994).

Lyle Rexer, Antiquarian Avant-Garde: The New Wave

in Old Process Photography (New York: Harry N.

Abrams, 2002).

Lyle Rexer, The Edge of Vision: The Rise of Abstraction

in Photography (New York: Aperture, 2013).

Nancy Rexroth, The Platinotype (Missoula, MT:

Formulary Press/Violet Press, 1977).

John Ross, Clare Romano, and Tim Ross, The Complete

Printmaker (New York: Collier Macmillan

Publishers, The Free Press, 1990).

John Rudiak, “The Platinotype,” View Camera,

January/February 1994.

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Bruce Warren, Photography (New York: Delmar

Publishers, 1993).

Roger Watson and Helen Rappaport, Capturing the Light:

The Birth of Photography, A True Story of Genius and

Rivalry (New York: St. Martin’s Press, 2013).

Randall Webb and Martin Reed, Spirits of Salts

(London: Argentum, 1999).

Mike Wooldridge and Linda Wooldridge, Teach Yourself

VISUALLY Photoshop CS2 (2005).

Lee Witkin and Barbara London, The Photograph

Collector’s Guide (Boston: New York Graphics

Society, 1979).

E A R LY & H I S TO R I CA L B I B L I O G R A P H YAristotle, Problems, I. Books I-XXI, trans. by W. S. Hett

(London: William Heinemann Ltd., 1936).

W. de W. Abney and Lyonel Clark, Platinotype (London:

Sampson Low, Marston and Co., 1895).

W. de W. Abney and Lyonel Clark, Platinotype (New

York: Scovill & Adams, 1898).

W. de W. Abney, Instruction in Photography (London:

Piper and Carter, 1886).

Leon Battista Alberti, On Painting, trans. Cecil Grayson

(London: Phaidon Press Ltd, 1972).

Count Francesco Algorotti, Essays on Painting

(London: Davis & Reymers, 1764).

Paul Anderson, Pictorial Photography, Its Principles

and Practice (New York: J.B. Lippincot, 1917.

(Republished as The Technique of Pictorial

Photography, 1939).

Paul Anderson, Handbook of Photography (New York:

Whittlesey House, 1939).

Anna Atkins, British Algae: Cyanotype Impressions

(Halstead Place, Sevenoaks: Privately printed, 1843–

1853). A dozen copies are known to exist. The first

volume of images was issued in October 1843 (prior

to Talbot’s The Pencil of Nature). See L. J. Schaaf and

H. P. Kraus, Sun Gardens: Victorian Photograms by

Anna Atkins” (New York: Aperture, 1985).

George E. Brown, Ferric & Heliographic Processes

(London: Dawbarn & Ward: 1900).

Rev. W. H. Burbank, Photographic Printing Methods

(New York: Scovill & Adams, 1891).

Rev. W. H. Burbank, The Photographic Negative

Written As a Practical Guide to the Presentation

of Sensitive Surfaces by the Calotype, Albumen,

Dick Sullivan, Lab Notes (Van Nuys, CA: Bostick &

Sullivan, 1982).

Dick Sullivan and Carl Weese, The New Platinum Print

(Santa Fe, NM: Working Pictures Press Book, 1998).

John Szarkowski, Looking at Photographs (New York:

Museum of Modern Art, 1973).

George Tice, “Processes: Palladium & Platinum,”

Modern Photography, March 1971.

Hollis Todd and Richard Zakia, Photographic Sensito-

metry (Dobbs Ferry, NY: Morgan & Morgan, 1969).

Alan Trachtenberg, ed., Classic Essays on Photography

(New Haven, CT: Leete’s Island Books, 1980).

Sarah Van Keuren, A Non-Silver Manual, Self-

Published Notes for Students at the University of

the Arts in Philadelphia, 1999–2006.

Kent Wade, Alternative Photographic Processes

(Dobbs Ferry, NY: Morgan and Morgan, 1978).

Michael Ware, “The Argyrotype,” British Journal of

Photography 139 (6824): 17–19

Michael Ware, Cyanotype: The History, Science &

Art of Photographic Printing in Prussian Blue

(London: Science Museum & National Museum of

Photography, Film & Television, 1999).

Mike Ware and Pradip Malde, A Contemporary Method

for Making Photographic Prints in Platinum &

Palladium (1988).

Michael Ware, Mechanisms of Image Deterioration

in Early Photographs: The Sensitivity to Light of

W.H.F. Talbot’s Halide-Fixed Images 1834–1844

(London: Science Museum and National Museum of

Photography, Film & Television, 1994).

Michael Ware, Gold in Photography: The History and

Art of Chrysotype (Abergavenny: Ffotoffilm, 2006).

Michael Mike, The Chrysotype Manual: The Science

and Practice of Photographic Printing in Gold

(Abergavenny: Ffotoffilm, 2006).

Michael Ware, “An Investigation of Platinum and

Palladium Printing,” Journal of Photographic

Science 34: 13–25.

Michael Ware, “The Eighth Metal: The Rise of the

Platinotype Process,” in Photography 1900,

The Edinburgh Symposium (National Museums

of Scotland and National Galleries of Scotland,

1994).

Michael Ware, “Photographic Printing in Colloidal Gold,”

Journal of Photographic Science 42(5): 157–161.

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W. Jerome Harrison, Scoville Photographic Series, A

History of Photography (New York: Scoville Mfg.

Company, 1887).

W. Jerome Harrison, The Chemistry of Photography

(New York: Scoville & Adams Company, 1892).

J.F.W Herschel, “On the Action of Light in

Determining the Precipitation of Muriate

of Platinum by Lime-Water,” London and

Edinburgh Philosophical Magazine and Journal

of Science I, July 1832.

J.F.W. Herschel, “On the chemical action of the rays

of the solar spectrum on preparations of silver

and other substances, both metallic and non-

metallic, and on some photographic processes,”

Philosophical Transactions of the Royal Society of

London (1840): 1–59.

J.F.W. Herschel, “On the Action of the Rays of

the Solar Spectrum on Vegetable Colours

and on Some New Photographic Processes,”

Philosophical Transactions of the Royal Society

202 (London: 1842).

Margaret Herschel, Memoir and Correspondence of

Caroline Herschel (New York: Appleton & Co., 1876).

Ibn al-Haitam, On the Form of an Eclipse, circa 1038.

This document can be found at the India Office

Library in London.

Robert Hunt, Researches on Light (1844; repr., New

York: Arno Press, 1973).

Bernard E. Jones, ed., Cassell’s Cyclopaedia of

Photography (London:Cassell and Co., 1911).

Edward MacCurdy, The Notebooks of Leonardo da

Vinci (New York: Reynal & Hitchcock, 1938).

C. B. Neblette, Photography: Its Materials and

Processes (New York: Van Nostrand Co., 1927).

Isidore Niépce (son of Joseph Nicéphore Niépce)

History of the Discovery Improperly Called

Daguerreotype (Paris: Astier, 1841).

G. Pizzighelli and Baron A Hübl, Platinotype (London:

Harrison and Sons, 1886).

Rev. J. B. Reade, A letter to Robert Hunt written

on February 13, 1854, that you will find most enter-

taining.

Karl Wilhelm Scheele, Chemical Observations and

Experiments on Air and Fire (1777).

R. S. Schultze, “Rediscovery and Description of

Original Material on the Photographic Researches

Collodion, and Gelatine Processes, On Glass

and Paper, With Supplementary Chapters on

Development, Etc., Etc. (New York: Scovill, 1888).

M. E. Chevreul, De La Loi du Contraste Simultane des

Couleurs (Pitois-Levrault, 1839).

M.E. Chevreul, The Principles of Harmony and

Contrasts of Colors and Their Application to the

Arts, trans. ed. (1854).

Lyonel Clark, Platinum Toning: Introducing

Directions for the Production of the Sensitive

Paper (New York: E. & H.T. Anthony, 1890).

L. P. Clerc, The Technique of Photography (Bath,

England: Henry Greenwood & Company, 1930; New

York: Pitman & Sons, 1930).

Hugh Welch Diamond, “ The Simplicity of the Calotype

Process,” Notes and Queries: A Medium of Inter-

Communication for Literary Men, Artists,

Antiquaries, Geneologists, Etc., Volume 8th,

December 17, 1853 (London: George Bell, 1853).

Peter Henry Emerson, Life and Landscape on the

Norfolk Broads (London: Sampson Low, Marston,

Searle, & Rivington, 1886).

Peter Henry Emerson, Naturalistic Photography

for Students of the Art (London: Sampson Low,

Marston, Searle & Rivington, 1889).

Peter Henry Emerson, The Death of Naturalistic

Photography (London: Self-published, 1890).

Edward Estabrooke, The Ferrotype and How to Make

It (1872 and 1903 in twelve revised editions. Morgan

& Morgan printed the last version in 1974.)

Frank R. Fraprie and Walter E. Woodbury,

Photographic Amusements: Including Tricks

and Unusual or Novel Effects Obtainable with

the Camera (Boston: American Photographic

Publishing, 1931).

Frank R. Fraprie and Florence O’Connor,

Photographic Amusements: Including Tricks

and Unusual or Novel Effects Obtainable with

the Camera (Boston: American Photographic

Publishing, 1937).

Lady Elizabeth Eastlake, “Photography,” London

Quarterly Review, April 1857: 442–68.

Elizabeth Fulhame, An Essay on Combustion, With a

View to a New Art of Dying and Painting, wherein

the Phlogistic and Antiphlogistic Hypotheses Are

Proved Erroneous (London: Self-published, 1794).

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of Sir F.W. John Herschel, 1939–1944,” Journal of

Photographic Science 13 (1965).

Jean Senebier, Mémoires physico-chimiques sur

l’influence de la lumière solaire (Genève, 1782).

Henry Snelling, The History and Practice of the Art

of Photography (New York: G. P. Putnam, 1849).

Note: The chapter on the Calotype and Chrysotype,

Chapter IX, is particularly informative.

Mary Somerville, “On the Action of Rays of the Spectrum

on Vegetable Juices,” Philosophical Transactions of

the Royal Society 136 (1846).

Thomas Sutton (editor of Photographic Notes)

A Dictionary of Photography (London: Sampson,

Low, Son and Co., 1858).

Thomas Sutton, The Calotype Process. A Hand Book to

Photography on Paper, 1st ed. (1854). Frontispiece

with two mounted specimens of unwashed and

washed iodized paper, twelve pages of advertise-

ments at end, publisher’s orange flexible cloth, front

endpapers dampstained.

Thomas Sutton, A New Method of Printing

Photographs, by Which Per manent and Artistic

Results May Be Uniformily Obtained (St. Brelade’s

Bay, Jersey: Self-published, 1855).

Thomas Sutton, “On Printing by Development,”

Photographic Notes 1(1): vii-viii.

William Henry Fox Talbot, “Calotype Photogenic

Drawing,” (communique to the Royal Society,

London, June 10, 1841).

William Henry Fox Talbot, The Pencil of Nature (London:

Longman, Brown Green & Longmans, 1844).

William Henry Fox Talbot, Letter sent to the Royal

Society on February 20, 1839, clarifying the specifics

in the production of photogenic drawings.

William Henry Fox Talbot, Photogenic Drawing Details,

Literary Gazette, February 22, 1839.

William Henry Fox Talbot, “Patents by William Henry

Fox Talbot for Improvements in Photography,

June 1843,” Chemical Gazette, Volume II, 1844.

Norman Tiphaigne de la Roche, Giphantie (Paris: 1760).

John Tennant, The Photo-Miniature, #10 (London:

Dawbarn and Ward, January 1900).

John Tennant, The Photo-Miniature #47 (London:

Dawbarn and Ward, 1903).

John Tennant, The Photo-Miniature, #69 (London:

Dawbarn and Ward, December 1904).

John Towler, The Silver Sunbeam, rev. ed. (1864; repr.,

Morgan & Morgan, 1974).

E. J. Wall and Franklin I. Jordan, Photographic Facts

and Formulas (Boston: American Photographic

Publishing Co., 1947).

H. Snowden Ward, Figures, Facts and Formulae of

Photography (London: Dawbarn and Ward, 1903).

W. A. Watts, The Photographic Reference Book

(London: Iliffe and Son, 1896).

Wedgewood and Davy, An Account of a method of

Copying paintings Upon Glass and Making Profiles

by the Agency of Light Upon Nitrate of Silver

(1802).

Hans Thøger Winther, Anviisning til paa Trende

Forskjellige Veie at fembringe of fastholde

Lysbilleder paa papir (Self-published, 1845).

APP–3 Etienne Carjat (1828–1906) Portrait of Charles Baudelaire, c. 1863 (woodburytype plate from Galerie Contemporaine, Paris, 1878)Charles Baudelaire (1821–1867) the subject of this image, was a man of deep moods and un-relenting despair whose poetry centered upon the inseparable connection between beauty and the inevitable corruption of that beauty. Baudelaire wrote about his first impressions of photography in less than glowing terms, implying that society was squalid and narcissistic in its rush to gaze upon trivial images of itself rendered on scraps of metal. He also wrote, in a critique of an exhibition in 1859, “If photography is allowed to supplement art in some of its functions, it will soon have supplanted or corrupted it altogether. . . .” And that, my friends, is about as positive a statement as Baudelaire ever made. (Courtesy of George Eastman House, International Museum of Photography and Film)

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