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Amazon.com 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. Click here for a larger image. 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. Click here for a larger image 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. Click here for a larger image. 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. Click here for a larger image 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
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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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Product details
Series: Alternative Process Photography
Paperback: 288 pages
Publisher: Routledge; 1 edition (June 7, 2013)
Language: English
ISBN-10: 9780415810241
ISBN-13: 978-0415810241
ASIN: 0415810248
Product Dimensions:
10 x 1 x 7 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
36 customer reviews
Amazon Best Sellers Rank:
#491,753 in Books (See Top 100 in Books)
I'm not the only one finding this book disorganized. I'd imagine a book like this to describe a technique in one chapter and another technique in the next chapter and so on. Instead, the information is disjointed and difficult to find which makes it not very usable as a practical guide book to alternative processes. I also have to second some complaints about the font size and style. The descriptions under the pictures are particularly difficult to read.
A colleague of mine showed me this book because she had some images in it. As I thumbed through it, I was really impressed. So much so that I went straight to amazon and purchased it. This guide has valuable information of a lot of different processes. At the time I was looking into several alternative processes that interested me like cyanotypes, ambrotypes, & salt prints. Plus I thought it would be a great reference for some of my students. By the way, there is not a lot of material out there on ambrotypes which makes you the artist do a lot of trial an error which equals time & money. I like that the author had really good example photos of each process, step by step guide and troubleshooting tips. All are extremely helpful when you are trying out a new process for the first time. I bought this book awhile ago and I haven't moved past cyanotypes yet. But it is waiting for me on my bookshelf for when I'm ready.
From printing digital negatives to producing prints with a number of alternative processes -- and even a simple explanation of how Dan Burkholder's 'Pigment over Platinum' works -- this is the information I was looking for in a single volume. This book touches on many (most) of the alt processes (bromoil is the most notable exception that I can think of). It has enough information to get you started and experimenting. Many readers will want to supplement this book if they want to do a deep dive on any particular process, utilizing websites like alternativephotography.com (Enfield has articles published there) and other available resources. However, there is more than enough information in this book to explore your 'inner artist' and start putting images to paper, tile, fabric, etc.A note of caution: Be sure to follow Enfield's safety precautions for handling the chemicals and ventilating your darkroom or work area. Some of the processes can be quite toxic.
Jill Enfield's guide is full of practical advice and suggestions. A particular strength: the very well-chosen photographs by a wide range of artists that illustrate how the different techniques can be used to create powerful, interesting images. Enfield often urges the reader to experiment and to understand that different materials will give widely varying results, this is excellent advice as some of these techniques can be frustrating at first. You need to take the time to discover the papers, chemistry, brushes, etc that serve your artistic goals. This is an overview, not an exhaustive text. You might want to look elsewhere for guidance on some particulars, such as how to create color separations in Photoshop for gum printing. I love the spirit of optimistic experimentation that runs throughout...
Don't be put off by the choice of the cover photo (which MAY not immediately draw you to this title). This is a WONDERFUL book. In fact, this is a completely rewritten update to Ms. Enfield's earlier book entitled "Photo-Imaging: A Complete Visual Guide to Alternative Techniques and Processes". When asked to compare the two books specifically regarding which one would be best for learning about printing on tiles, Jill's words were "The new book goes further in what you can do with tiles - not just liquid emulsion but cyanotype and gum as well. So - i will leave it to you - either book will do for liquid emulsion." The new book contains much more up to date information and is highly recommended.You or may not be familiar with Jill Enfield, but she is eminently qualified to write a volume such as this, with 35 years of experience. With all of that experience, I appreciate the balance that she strikes between giving you valuable tips and the fact that she does not generally make very *specific* recommendations - preferring instead that you discover your *own* preferences through experience and experimentation. As an example, I turned in the index directly to the subject of "paper". The subheading "Paper" (found in Chapter 2 on "A Guide to Materials and Techniques" is rather short, but complete. She gives you the basics to identifying paper characteristics and what they will mean for your prints, but does not recommend even a single paper or mill by NAME. She does name a couple of paper suppliers from which one can get catalogs, however. I am fine with this (in fact, I think it wise. An endorsement by a famous practitioner could lead to shortages or a sharp rise in prices for any paper thus specified.) One can easily get many paper recommendations simply by typing in your particular paper question into Google. Jill highlights something that this newbie was unaware of (that papers have a "right" and "wrong" side) and gives a tip on marking the "wrong" side to make identification of cut pieces easy. She also shares her personal path (and part of the "fun" of the process) when she shares: "I personally found my favorites by spending time at art-supply stores and touching everything to see which papers felt good to me. During each trip I would buy a few different kinds, making sure that I could either read the watermark put on the paper by the manufacturer or that I marked on the back of the paper before having the paper packed up for me. Once I got home I would cut the paper down and try it out with different processes." This is just an example of the helpful tone that Ms. Enfield takes as she "takes you by the hand" and gently leads you on a journey that you can take with confidence, while not robbing you of the joys of discovering your own specific path.She wisely begins with a short (4 page) chapter on "Safety with Chemicals" in which she covers the basics (and the rationale) for such caution and includes subheadings on the subjects of proper ventilation and materials disposal.Following those two chapters, the Table of Contents contains the following:3. The Digital Negative Process4. Fugitive and Not-So-Fugitive Printing (Some History, Anthotypes, Photosynthesis, Lumen Prints, Cool and Different)5. Cyanotypes6. Salt and Albumen Prints7. Van Dyke Brown, Kallitype and Argyrotype Prints8. Platinum and Palladium Prints9. Wet Plate Collodion10. Liquid Emulsion Prints11. Gum Printing12. Transfers, Multiple Printing and Other Techniques13. Ceramics and PhotographyI appreciate how each chapter on processes includes a "Troubleshooting" section that briefly lists common problems and their solutions.Appendices include Conversion Tables, Sources and Websites (nearly a HUNDRED, by my count), a Bibliography, a List of Artists, and a pretty complete Index.There are only two (small) quibbles that I have with this book. (1) The cover image seems a bit dour for such a wonderful book (which is anything but dour). (2) The page type is fairly small, which may bother older readers. (I'm 54 and think it is fine). Note that choice this makes the book, in reality, a much larger volume (information-wise) than you might think from the number of pages it contains. With a normal type size this would easily be a 400 page volume, and thus be required to cost a lot more. As it is, I believe it is an INCREDIBLE bargain at less than $30.I highly recommend this volume to anyone interested in one or more of the above listed subjects. I am not familiar with Christopher James' title "The Book of Alternative Photographic Processes", which by all accounts is also excellent, but if you are wanting to start with a book that costs a fraction of that one then I certainly don't believe you can go wrong with this, Jill Enfield's most recent title.EDIT (7/26): The Chapter on Digital Negatives is a little thin, but then people have written entire books about that subject alone. You don't have to let it intimidate you. For a nice overview of the (pretty simple) process of making a digital negative for Cyanotypes, see this video:[...](QuickTime required)and for a step-by-step breakdown of what you see in that video (along with links to related pages) see:[...]
I would reccomend "Jill Enfield's - Guide to Photographic Alternative Processes" to any one who want to explore historic photographic processes as well as the alternative processes. The information about each process is well written in easy to understand sequencing. I love historic photographic processes and have been an avid practicioner for the past 30 years, of several of the methods she covers. Examples of artist's works is a wonderful addition to every chapter and identifies the process characteristics for the beginner as well as the advanced artist.
The guide is well written. Some of the information may be a little dated; however, this book is one more addition to my alternative photography library. Jill is considered to be an authority on the subject, and she does beautiful work.
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