Say goodbye to cyanide: a less toxic approach to fixing wet collodion plates
Elizabeth Graves experiments with Waldack’s Formulas for Collodion Positives “Formula No. 1. For Dead-Whites” followed by a sodium thiosulfate fixer.
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Get Organized, Alt Process Photographer!
Elizabeth Graves recommends some good organizational habits for wet darkroom, alt-process photographers.
Blue plate special: Wet collodion images on blue aluminum
Elizabeth Graves satisfies her curiosity about straying from black to explore wet collodion on deep blue plates.
Acrylic and Aluminum Homemade Large Format Camera: Preview
Elizabeth Graves provides a preview of her recent large format camera-building experiments.
How to modify a film holder for wet plate collodion: design #2: magical magnetic tape
Elizabeth Graves develops another impermanent, non-damaging way to hold thin metal plates in a conventional large format film holder.
Is what you see what you get? Sometimes.
Elizabeth Graves remarks on the perils of digital reproduction of analog media in a un-color-calibrated age.
The mysteries of pricing art for distant shows: a plea
Elizabeth Graves on the mysteries of pricing art for distant shows, what research to do and guidance needed.
How “alt” is alt?
Elizabeth Graves on the alt. proc. label on art – loathing it or loving it?
Imitation is the Sincerest Form of Flattery: Thoughts on Faux-Alt-Process Digital Images
Thoughts from Elizabeth Graves on why new digital imaging technology is often used to imitate the appearance of old, chemical photography.
Subtle blues: Impossible Color Shade
Elizabeth Graves reviews the first edition of The Impossible Project’s experimental color film, Color Shade First Flush and finds the aged prints resemble color photographs of earlier eras.
Impossible Project Silver Shade Film: so very temperature sensitive
The Impossible Project (the IP) has been releasing their re-engineered integral films for use in Polaroid cameras this year, and before trying out any manipulations or lifts, Elizabeth took two versions of their monochrome film for a test drive in a Polaroid 600 camera to view their unique characteristics.
Against all good advice: how to build a large format camera for wet collodion work at home
The unlikely story of how Elizabeth Graves built a large format camera, modified film holders by her own design to hold wet plates, mixed collodion chemistry without blowing up her home, used her garage door as a shutter, and (after several adjustments) got her homemade plates into a group gallery show in New York City.
Notes on Rexer’s ‘The Edge of Vision’
Elizabeth Graves reviews “The introduction to The Edge of Vision: the Rise of Abstraction in Photography” by Lyle Rexer.
Brought to Light: Photography and the invisible 1840 – 1900
Elizabeth Graves reviews a book of inspiring alternative process images with a surprising emphasis.
Review of Diffusion magazine, volume 1
Elizabeth Graves picks up the first copy of Diffusion magazine and just loves it.
Vinegar-developed cyanotypes: non-toxic midtone contrast control
Elizabeth Graves examines acetic acid development upon classic formula cyanotypes and disprove the myths about developing in vinegar.
Wet plate collodion studio rental in San Francisco
Elizabeth Graves interviews Michael Shindler of RayKo Photo Center after the opening of a new a wet plate collodion darkroom/studio for hire.
Vandyke over cyanotype: a combination process with special effects
Elizabeth Graves examines the effects of ageing on the "blue vandyke" process.
How to mount and mat a print for framing
Elizabeth Graves instructs us on how to cut a mat for your prints.
Cyanotypes and chocolate: a match made in San Francisco
Elizabeth Graves visits Chocolate Covered, a cyanotype and chocolate shop in San Francisco.