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.