The paper base or substrate used to create a print can make a huge difference to the final result. Learn about paper basics, sizing, choosing and working with papers and art papers.
Duotone cyanotypes #5 – Shrink the paper
Part 5 in Matthew Bary’s series Duotone cyanotype shows how to prepare watercolor paper for printing due-tone cyanotypes, by shrinking the paper, coating it with cyanotype chemicals, and drying it…
It’s big… it’s huge… it’s The MASSIVE paper chart for alternative processes
Is “massive” as in a massive paper chart for alternative photographic processes an exaggeration? No, more of an understatement. Christina Z. Anderson has run countless tests on any paper she…
Paper basics: Buffering
In alternative photographic processes, the choice of paper plays a crucial role in achieving a good print as well as in the archival quality and longevity of prints. Buffered and…
Paper basics: Sizing paper for alternative photographic processes
A few decades ago, when I first started out, I believed sizing was about cutting the paper into the right size: I was very wrong. When a paper is “sized”,…
Paper basics: An overview of paper qualities
The basic knowledge of paper includes a few terms that are good to know for selecting your base. Selecting the right paper for alternative process prints is akin to choosing…
BFK Rives for Gum Printing? Seeing is Believing
Peter J. Blackburn has found his favorite gum bichromate paper. One that he used to shun. And one that needs no sizing. Writer and photography / Peter J. Blackburn Gum…
Papers for chrysotype
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…
Tests in blue – papers for cyanotypes
Jalo Porkkala has tested papers for cyanotype printing and shares the result.
Siderotype Paper Survey: Cyanotype, Vandyke Brownprint, Ziatype v1.0
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…
Papers for traditional / classic cyanotype process
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…
A new linen paper for all siderotype (iron-based) processes
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.
Weston diploma parchment paper: Test results
Mike Ware tests palladium, platinum, platinum/palladium, new cyanotype, new chrysotype and argyrotype printing on Weston Diploma Parchment.
Sizing or subbing papers
An excerpt from Jill Enfield’s book Photo-Imaging (unfortunately out of print!) complete with how-to and formulas on how to size papers.
Sizing substrates and papers – survey results
Photographers working actively with alternative photographic processes have shared their experience on which papers they size and which formula they use.
Coating paper by floating, rod or brush
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.
Light-resists without camera or computer
An extract from Sarah’s book A Non-Silver Manual.
Making paper by hand
Anne Storm van Leeuwen outlines a very simpliflied process of making paper. An introduction the old craft of papermaking.
Paper basics
While a variety of surfaces can be coated various emulsions, paper is the most widely used for most processes and the most preferred.
Papers for alternative processes – survey results
Artists and photographers share their experience with photographic papers, see the results
World Anthotype Day
World Cyanotype Day
