Christina Z. Anderson

Christina Z. Anderson from Montana, USA shows her gallery with a very personal series of tricolor gum over cyanotype and Mordancages.
From: Bozeman, Montana, USA.
Shows: Mordancage and Gum over cyanotype.

Christina Z. Anderson came to photography by way of painting. Anderson is an Assistant Professor of Photography and Photo Option Coordinator at Montana State University, Bozeman, Montana. She specializes in experimental and alternative processes, particularly gum bichromate, mordancage, and chromoskedasic printing in that order. Anderson’s alternative process works are in Christopher James The Book of Alternative Photographic Processes, 2nd Edition, Robert Hirsch’s Photographic Possibilities, 3rd Edition, the British Journal of Photography (“By Gum!” Oct. 22, pp. 35-37), and have been in 48 shows in 20 states as well as Puerto Rico, China, Belgium, and New Zealand. Her work concentrates on the 21st century cultural landscape expressed in 19th century processes.

“Hands-on processes allow me to connect to my work in a more direct, intimate way. Creativity begins in the camera, but in the darkroom and now dimroom I thrive on the ability to change an ordinary image into something unique through gum, platinum, chromo, or mordancage, for instance. This sometimes unpredictable transformation of an image teaches me acceptance, flow, and commitment in the creative process.”

More about Christina:
Articles and books

Photographer is also featured in:

Alternative Photography: Art and Artists, Edition I


  • Email: christinaZanderson (at)
  • Website

About the “Family of origin” series: The American Snapshot
Growing up the youngest in a family of 7 girls and 1 boy was a unique opportunity to be an observer of the social landscape. In 2000 after the death of both parents, I became the archivist for my family of origin’s photographs, about 40,000 images in all. The oldest ones were glass slides. Many were moldy, dusty, and ruined. As I culled through these pictures and narrowed down to 100 for this project, I became fascinated with the family snapshot. Which moments in life lure the family member into rushing for the camera to take a picture? How does what we find of interest today compare with what was of interest to those in the 30’s? The family photo album is a fascinating cultural read as well as a repository for silent family secrets. In Family of Origin, these images from the past, mold, dust, and all, are woven into the fabric of my present work and imagery to express a continuum of my family of origin’s “reality.” Quirk and humor exist alongside sadness and darkness as well, because, in this family as in most, there were certainly darker dramas going on beneath the smiling Kodachrome faces.