The Book of Alternative Photographic Processes

The fun of this book--even for someone unlikely ever to set foot in a darkroom--lies in the author's fascinating excursions into the wide world of knowledge, from the workings of 3-D to Charles Babbage's steam-driven punch-card systems. Equally compelling are the author's sense of humor and his utter lack of dogmatism. "In gum printing," he writes, "there are very few absolutely correct ways to do anything." --Cathy Curtis

Product Description
Photographic artists and students of alternative process photography will welcome this new edition of Christopher James' The Book of Alternative Photographic Processes. This significantly expanded edition is a full-color, lavishly illustrated, comprehensive resource that explores every aspect of alternative process image making. With his highly conversational writing style, Christopher James explores the techniques, processes, idiosyncrasies, history, and cultural connections that are such a significant part of the genre. Best of all, Christopher makes it extremely accessible, providing clear instructions and practical workflow advice. The book delves into a vast menu of alternative and traditional options, among them: calotype, salted paper, cyanotype, argyrotype, chrysotype, POP, kallitype, ambrotype/wet collodion, Van Dyke, platinum/palladium, Ziatype, gelatin dry plate emulsions, carbon, gum bichromate, albumen, hand-applied emulsions, paper, alternative imaging systems, and digital negative production for alternative process image making. The Book of Alternative Photographic Processes has become the unanimous standard reference text for alternative process photography, one that students love to read and work from. Not only does this definitive work make the most complex ideas easy to understand, it is conversational, comfortable, inspirational, and fun to read- a tremendous resource and a treasure trove of alternative process images.

Technically, the book is clear and informative (winner of the Golden Light Technical Book of the Year in 2001) and goes the distance making sure that the reader will have little difficulty comprehending and working with the myriad processes covered.

Besides James's very accessible writing style, which reads like conversation between good friends, the collection of illustrated work is truly outstanding. It is significant that of the 300 odd illustrations, a good percentage were made by James's students and those of other artists, and teachers, represented in the book.

The book is a contemporary survey, really the most comprehensive in print, and makes it a terrific resource for students of any age. For teachers, it "sets-the-bar" with a buffet of visual possibilities. I viewed an exhibition of the work in the book last fall, at The Art Institute of Boston, and can assure you that the quality of reproduction is first rate.

All in all, this is a wonderful book to read and to look at? even if you never attempt the creation of an image using the recipes and techniques within.


The last word on alternative processes   July 20, 2001
J. Rosenbaum (Rockport, ME USA)
13 out of 15 found this review helpful

The category can now be put to rest. James has written the definitive book on the wide subject of alternative photographic processes. For each process he combines some history, contemporary examples, detailed instructions, and the knowledge gained through many years personal experience. What could have been a deadly bore to read is instead lively and personal. Huge number of examples lets you see what is happening today in each medium. First at Harvard, now at Art Institute of Boston, James is one of the leading artist-teachers in the country. If you are interested in the subject, this is the only book to own


THE Book   December 17, 2003
13 out of 14 found this review helpful

Christopher James has written the most reader friendly, technically demystifying, and visually rich books that I have seen in a very long time. The "Little History" sections that begin nearly every chapter are fun to read and full of the connections, anecdotes, and colorful characters, that has made the photographic arts so compelling to historians and artists.

Technically, the book is clear and informative (winner of the Golden Light Technical Book of the Year in 2001) and goes to great lengths to be sure the reader will have little difficulty comprehending and working with the myriad processes covered.

Besides James's very accessible writing style, which reads like conversation between friends, the collection of illustrated work is truly outstanding. It is significant that of the over 300 illustrations, a good percentage were made by James's students and those of other artists, and teachers, represented in the book. It is important to note that the production values in this full color book are outstanding.

James has collected a rich contemporary survey of alternative process work, likely the most comprehensive in print, and this alone makes his book a terrific resource for students of any age. For teachers, it clearly "sets-the-bar" with a buffet of visual possibilities. I viewed an exhibition of the work in the book last fall, at The Art Institute of Boston, and can assure you that the quality of reproduction is first rate.

All in all, this is a wonderful book to read, work with in the studio, and to enjoy purely for the images. If you've ever had an interest in alternative process photography, this is The Book to have.