The Experimental Darkroom: Contemporary Uses of Traditional Black & White Photographic Materials
Experimental Photography Workbook by Christina Z. Anderson, 6th edition.
Gum bichromates
Christina Z. Anderson and Tricolor gum bichromates
Christina Z. Anderson features in the Members’ spotlight with the Tricolor gum bichromate process.
Ceramics and photography – a beginning
Many alternative photographic processes can be used to print on ceramics and clay. In this excerpt from “Jill Enfield’s Guide to Photographic Alternative Processes”, Jill shows us how to print Pyrofoto, Laser Transfers, Gum bichromates, Cyanotypes, Silkscreen PhotoEZ and Phototransfer onto different surfaces.
Gum Printing and Other Amazing Contact Printing Processes
Now shipping the 2013 revision of Christina Z. Anderson’s book Alternative Processes Condensed with an extensive gum section.
An update on the Ferric gum process
Michael Andrews describes two approaches to the ferric gum process: Frank Gorga’s and Peter Friedrichsen.
A Non-Silver Manual: One interpretation of gum printing
The chapter called “One interpretation of gum printing” of Sarah Van Keuren’s book “A Non-Silver Manual: Cyanotype, Vandyke Brown, Palladium & Gum Bichromate with instructions for making light-resists including pinhole photography”, written by Melissa Good.
A Non-Silver Manual: Gum bichromate
The chapter called “Gum bichromate” of Sarah Van Keuren’s book “A Non-Silver Manual: Cyanotype, Vandyke Brown, Palladium & Gum Bichromate with instructions for making light-resists including pinhole photography”.
An introduction to the gum bichromate process
Peter J. Blackburn gives us an introduction to the Gum bichromate process including a step-by-step to give anyone a good start.
The extraordinary mechanism underlying the ferric gum process
Michael Andrews explains some of the technical details of the ferric gum process.
Ferric gum process – a radically different variation on gum
The ferric gum process is like gum bichromate in some respects but it is also radically different. Sensitiser is brushed onto the paper, the paper is dried and exposed under a suitable image, and only at this point would pigmented gum be brushed onto the exposed paper.