Christina Z. Anderson gives us her best tips for chrysotype papers. If you want to learn more about Chrysotypes, there is plenty to know in Leanne MacPhee’s book, Chrysotype. Writer and photography / Christina Z. Anderson With the rising cost of palladium, Mike Ware’s chrysotype process is an intriguing noble metal process to add to your alternative process arsenal. Leanne McPhee’s Chrysotype: A Contemporary Guide to Photographic Printing in Gold … Read more
Jalo Porkkala has tested papers for cyanotype printing and shares the result.
This detailed paper survey is the Special Edition Art Project effort to document how papers behave when paired with historic Siderotype processes used in our coastal California working environment. The Siderotype processes Cyanotype (iron), Vandyke Brownprint (silver) aka VDB, and Ziatype (palladium / gold / tungsten / platinum) are the focus of this survey, creating an assessment of a paper’s image density across exposure corrections, amount and type of grain, … Read more
Christina Z. Anderson spends her hard earned money ($1613) on paper research for cyanotype papers and generously shares the results. Writer and photography / Christina Z. Anderson Over the last twenty years of practicing alternative processes, good papers for alt have come and gone on the market—Weston Diploma Parchment being one example. Worse, formerly excellent papers have gone the buffered route to increase their archival properties—not good for many of … Read more
Mike Ware tests out the new Ruscome Mill papers – papers he has also helped develop especially for processes such as cyanotype, argyrotype, palladiotype, platinotype and new chrysotype.
Mike Ware tests palladium, platinum, platinum/palladium, new cyanotype, new chrysotype and argyrotype printing on Weston Diploma Parchment.
An excerpt from Jill Enfield’s book Photo-Imaging (unfortunately out of print!) complete with how-to and formulas on how to size papers.
Photographers working actively with alternative photographic processes have shared their experience on which papers they size and which formula they use.
The three most common ways of coating emulsion onto paper are floating the paper, using a coating rod, or brushing it on. An extract from the book Alternative Photography Processes.
Anne Storm van Leeuwen outlines a very simpliflied process of making paper. An introduction the old craft of papermaking.
While a variety of surfaces can be coated various emulsions, paper is the most widely used for most processes and the most preferred.
Artists and photographers share their experience with photographic papers, see the results
