Become a member

Would you like to support us? We believe this resource should be free and will NOT put up a paywall – so, please help us by becoming a Supporting Member to:

  • Learn alternative processes with free information.
  • Get inspired in our galleries.
  • Connect with other photographers.

We believe learning should be hands-on, fun and inspiring. We regularly add more articles, galleries, and technical information that we think are useful to learn about alternative processes.

Amy Heller Cyanotype Arist

“The website and the events are really wonderful. You do so much keeping us all connected and inspired. Thank you. The ripple effect is felt and makes a difference in people’s lives.”
– Amy Heller, cyanotype artist

 

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Whether you choose a monthly or a yearly subscription, the benefits are the same.

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48 dollars a year

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What you say
Don Grant

“I want to thank you for the alternative processes photography web site that you edit and all of the efforts that you have made for those of us who have come to love this world of alternative process photography. At this time I only do cyanotypes but I hope to soon learn gum bichromates. Life was good before I starting into alternative process, but it great now.”

– Don Grant

What you say
Spiffy Tumbleweed

“It is not an exaggeration to say that this site and the creative community it has spawned have changed my life. What began as a simple inquiry about how cyanotypes are done has grown into years of experimentation and rewarding creative expression, and I feel that I have barely scratched the surface. I still hesitate to call myself a photographer, but I’m happy and proud to be an alt process guy.”
– Spiffy Tumbleweed.

Liam Smith tintype portrait

“Long time follower of the blog, I love the eclectic mix of work on show.
I followed your tintype step by step and finally managed to crack the process! It took a long time to finally source everything and achieve consistent results but I think I’ve nailed it!
Just wanted to let you know how useful your article was, I’ve been wanting to make tintypes since my teenage years.”
– Liam Smith – photography teacher and your number one fan.

“AlternativePhotography.com has completely changed my artistic and teaching practice, I can’t thank you enough, it’s just amazing. Keep going!”
– Rachel Sokal, Photographer and Workshop Facilitator.
 
Why membership?

This site takes a lot of work and maintenance, but we don’t charge for it, and we don’t get paid. We do this because we love doing it – and we also believe information should be free. Anyone should be able to access the knowledge they need to carry out their art. The more items we add to the site, the more popular the site gets. This is great. We want to keep doing this.

What we ask from you is that if you find the information here valuable and are able to contribute towards the cost of running the site – we would really appreciate it. The money will only go to running and improving the site, promoting the artists, and adding more functionality. Nothing else. No one gets paid.

  • If you don’t like using PayPal there is an option to use Stripe, or, email us at talk@alternativephotography.com for an address to send a contribution.
  • If you have any questions, do not hesitate to contact us at talk@alternativephotography.com

AlternativePhotography.com appreciates your support – it is very welcome and we thank you very much.

An important note about Paypal and Stripe and your subscription

To keep subscribing to your Supporting Membership at AlternativePhotography.com you do not need to do anything. PayPal or Stripe will automatically draw the fee on the same date next year, but you can cancel any time you wish. There will be no notification from us before the fee is drawn next year (we don’t have an automatic system for this), so either make a note of the date you subscribed or change your PayPal or Stripe settings to receive notification emails.

To change or cancel your subscription you log in to your Paypal account. We do not have access to your PayPal account or your credit card details.

Please also note a little odd thing with Paypal… if you change or update your credit card details, your Subscription gets cancelled, but no worries, you can renew it easily, we get a notice if this happens and will pass the information on to you.

We are very grateful that you are considering becoming a supporting member and that you enjoy the website!

What you say
“Was thrilled to hear that one of my cyanos was accepted into the Black and White Photography magazine/ Alternative Photography Competition. A big thank you goes out to Malin for the many years of providing guidance through her books and building a wonderful community of alternative photographers!”
– Rebecca Bruyn – Artist
Christian Klant

“Alternative Photography is probably the best way to get a brief overview of all the different alternative techniques. It’s a pity that I realised so late that I’m able to support this base of knowledge by getting a member. But now I am!”
– Christian Klant – photographer

 
The team

Everyone in the team works on a voluntary basis, without getting paid. They give their spare time to enable others to learn, get inspired and connect. Below are the true heros. There are also many more contributors of articles. Big thanks to all!

Malin Fabbri

Malin Fabbri
Editor

Malin Fabbri founded AlternativePhotography.com in 1999 and continues to work as the Editor and contributor. She is also an author and artist.

Portrait of Dennis Humphrey Cyanotype photographer

Dennis Humprey
Copy editor

Dennis Humphrey is an interdisciplinary artist using digital photography, alternative photography (cyanotype and gum bichromate) as well as contemporary mixed media processes.

Nancy Breslin Cyanotype portrait

Nancy Breslin
Copy editor

Nancy Breslin from Washington, DC, USA works with a variety of techniques, including pinhole, cyanotype and gum.

Peter J. Blackburn

Peter J. Blackburn
Contributor

Has been working in gum and casein bichromate printing for 30+ years. Represented by Afterimage Gallery, Dallas, Texas, since 2004 and occasional workshops.

Spiffy Tumbleweed

Spiffy Tumbleweed
Moderator

Spiffy Tumbleweed lives and works in South Austin, Texas. He works mainly in pinhole photography, but also shares his work in albumen, cyanotype, gum, mordancage and Polaroid SX-70.

Crystal Edwards, previously Crystal Jackson

Crystal Denke Edwards
Moderator

Crystal Denke Edwards (previously Chrystal Jackson) from Southern California, shows her work in gum bichromated – for us to enjoy.

John Brewer photographer

John Brewer
Moderator

Worked in alternative photography for 25 years and tried many of the alternative/historical processes and teaches gum bichromate and wetplate collodion.

Jalo Porkkala

Jalo Porkkala
Moderator

Jalo Porkkala studied photography and works in Finland. He works in just about every alternative process under the sun and shows everything from anthotypes to ziatypes.

Dennis Moser, photographer

Dennis Moser
Moderator

Retired librarian/archivist, musician, and visual artist working mainly in kallitype, argyrotypes and various gum-based processes, using both film and digital devices, while looking for the perfect croissant.

Silvino González Morales
Moderator

Artist and photographer.

 

8 thoughts on “Become a member”

  1. For any teacher, alternative photographic processes can ensure a safe environment for children to discover image making, using light. Processes such as cyanotype and anthotype provide a wealth of opportunities for experimentation and creativity in the classroom and outside.
    The Alternative Photography website and community allow real international exchange and documentation of tried and tested results of process exploration.

  2. As an artist whose practice is centered around experimental photography and historical photographic processes, AlternativePhotography.com has been an invaluable resource to me over many years. In today’s society, it is not often that one encounters access to comprehensive educational resources along with an experienced and supportive community FREE of cost. With the advent of digital photographic technologies as well as continued advances in VR and AR, it is imperative that the art of alternative photographic processes not be lost to time. AlternativePhotography.com is a treasure chest of information; ensuring that historical photographic processes will continue to live, with access provided to all regardless of financial wherewithal. Thank you for your dedication to this art form.

  3. Alternative Photo has been an amazing resource and reference for me over the years! Whether I want a refresher, find inspiration or learn a new process – I can find everything I need here.

  4. Hi,
    I stumbled onto your site via Cafe and excitedly thought that I had found a potential show in which to enter my very alternative photography. Alas, I think that I do not fit into the mold. I am a sculptor and a photographer and began in the early 1960’s using wet darkrooms and hand tinting while participating in the Earthworks and Conceptual arts movements in the San Francisco Bay area art scenes and schools. I spent years working in abstract metal sculpture and pursued documentary and abstract photography.

    A few years ago I began to sculpt my large photographs. I find that sculpting the photographs satisfies my desire to sculpt using heavy weight art paper, in stead of metal. The photographic subject matter is usually captured in the fabulous reflections discovered in the huge chrome bumpers and paint jobs found on1950’s automobiles.

    Yes, I do use a large Epson digital printer and work on heavy fine art paper supplied by Epson. I process my images very minimally. I have felt for some time that PhotoShop has ruined most photography. I do use Lightroom’s tools that mimic the manipulations that I could use in the old, wet darkrooms. I do fanatically believe that the capture of the photograph is the most important part of the process.

    I have seen a few attempts by photographers to add real depth to their work, but usually it only involves folding the paper, or cutting it up. It would take a large investment of time to learn how to actually sculpt the images. If you are curious, visit my website and you will see that I include frontal and side shots of some of the work so that it’s depth can be perceived in spite of our flat screens.

    I do enjoy the processes that I have developed, but it is a bit lonely out here. I have been in a few good shows, however my list of rejections would be enough to discourage most artists. The fine art world is still weary about photography (particularly the overused digital photography) and the photography world is…………………..still rather flat.

    Congrats on your interesting and important site.

    Yours,
    Abigail

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