Jill Enfield’s Guide to Photographic Alternative Processes

Popular Historical and Contemporary Techniques

Jill Enfield

• Publisher: Routledge
• Year: 2020
• Print ISBN: 9781138229068
• eBook ISBN: 9781315390345
• Edition: 2
• Topic: Art
• Subtopic: Photography

Jill Enfield's Guide to Photographic Alternative Processes, 2nd edition, is packed with stunning imagery, how-to recipes, techniques and historical information for emulating the ethereal, dream-like feel of alternative processing.

This fully updated edition covers alternative processing from its historical roots through to digital manipulation and contemporary techniques and how to combine them. It features several new techniques alongside new approaches to older techniques, including hand painting on silver gelatin prints, ceramics and photography, cyanotypes, wet plate collodion, digital prints and many more. Enfield showcases the different styles and methods of contemporary artists together with suggestions for vegan and vegetarian friendly alternative processing, transforming 2D images to 3D installations, and how to apply darkroom techniques to digital captures.

Professionals, students and hobbyists will discover how to bring new life and imagination to their imagery. Whether in a darkroom using traditional chemicals, at the kitchen sink with pantry staples, or in front of the computer re-creating techniques digitally, you will learn how to add a richness and depth to your photography like never before.

One

SAFETY WITH CHEMICALS

When working with any of the chemicals mentioned in this book, safety precautions should be your primary concern. This said, such precautions always sound worse than they really are, particularly when applied to the small quantities required by home darkroom artists. Provided you observe clean working methods and adopt a modicum of protection, the risk is very low. The risk increases for those particularly susceptible to allergic reactions or who have asthma, and of course to children and pets who tend to put things in their mouths.

01.1 © Pete Kolonia. Covering your scale protects it from contamination and wearing gloves is a must in any darkroom.

There are different types of chemicals, but the ones to think about are chemical grade, photo grade and food grade. You need to be aware of what you are buying for safety and storage. For example, hydrogen peroxide as a chemical grade usually comes as a 30% concentration while hydrogen peroxide that you buy in the pharmacy to use as a disinfectant, or to brush your teeth with, is a 3% solution. The 30% solution is dangerous to keep in your home and can explode, while the 3% solution can be bought on pharmacy and grocery store shelves and is perfectly safe to use. In other words, stronger is not better. Food grade and photo grade is what you use in photography. While we are not using “chemical grade products,” you still need to be chemical smart.

Another example is from Dr. Mike Ware who states: “ammonium dichromate (or the corresponding potassium or sodium salts) has long been used on a large commercial scale in the printing industry, and for tanning of leather, occasionally giving rise to documented cases of occupational illness. It is also employed in large amounts for the Gum Bichromate and Carbon printing processes.” The very small quantity used in the sensitizers described in this book does not represent a serious risk if the chemical is handled sensibly and proper precautions are taken. You can always leave this chemical out of your tool box and avoid it altogether.

Chemicals can enter your body in three ways: breathing in powders (or inhaling toxic fumes), absorbing them through your skin, and digesting them. This is equally true for household cleansers and artists’ materials.

01.2 My favorite apron with silver stains and various other chemical stains. Without wearing an apron, this would be on my clothes.

Learn as much as possible about each chemical you purchase and make sure to learn how to use each chemical safely, particularly in relation to everything else in your darkroom. Know the antidote for any chemical you are using in case of accidental spills, splashes, or ingestion. All chemical supply companies are required by law to include MSDS (material safety data sheets) with purchases. Keep these in a notebook for easy access, just as required by schools. (MSDS forms are also called SDS.) SDS copies can be downloaded for free at: www.msds.com. The local poison control hotline is an important number to have. Write it next to your phone and in your cell phone for emergencies.

With all of that being said, SDS forms are not written by organic chemists, but are legal documents to protect schools and labs from being sued. There is a lot of misinformation on the chemicals we use. For instance, I learned that silver is a heavy metal and can be absorbed into your body if you get it on your skin. It is not a heavy metal, but a noble metal, as is platinum, palladium, and gold that are used by photographers. Noble metals resist oxidation and corrosion in moist air, which is why they are considered archival when processed correctly. The SDS form for silver is frightening. Reading the “Potential Acute Health Effects” you wouldn’t go near silver. Then reading “Potential Chronic Health Effects,” maybe not so bad. Then down further, if you get it on your skin: “Wash with a disinfectant soap and cover the contaminated skin with an anti-bacterial cream. Seek immediate medical attention.”

However, silver is used in creams to help burn victims. If it gets on your skin and you go out into the sun, it will turn a dark brown. It will cause what is called a “skin burn” and needs to wear off. According to Derek Lowe, an organic chemist in Cambridge, MA, silver is only absorbed into the outer layers of your skin. It binds with your skin and wears off with time. Your underlying skin will be new skin and might be sensitive until it toughens up, like your skin after a blister pops and heals, but there is no lasting danger.

Another example, look at the SDS form for LAKE SAND. It says that it “may cause cancer through inhalation and causes damage to lungs through prolonged or repeated exposure by inhalation. Personal protective equipment is required.” So cover up when you go to the beach! This SDS form is for people working with tons of gravel and sand all day, and yes, inhaling too much dust is bad for you. But if you are using sand in an art project, should all of these precautions be taking place? Because that is what is happening in our schools! These forms are worst case scenarios. Just like you should lock up your household cleansers, and dishwasher soap pods, the take away is to use chemicals wisely and not drink any of the chemicals, wear gloves and wash your hands regularly, and have good, proper ventilation.

Of course, these metals are used in other ways besides photography. Silver is used as an antibacterial and also in making contacts and electrodes. Palladium is used in dentistry, watches, spark plugs and surgical instruments.¹

My point is, chemicals, when used in a smart, respectful way, can be used in photography without being frightened that you are killing yourself with poisons. If you look up how long photographers live, it is very impressive. Ansel Adams lived from 1902–1984. Imogen Cunningham lived from 1883–1976. Just two examples of darkroom photographers who did not use all safety precautions, and lived well beyond the average life expectancy of the time. Most photographers in the early years did not use gloves or tongs, did not have good ventilation, and smoked and drank in the darkroom.

01.3 © Jill Enfield. Toned cyanotype photogram.

I did not include how to dispose of each chemical, as that depends on where you live and if you have a septic or sewer system. In the bibliography I have included links to many websites on the subject. Don’t be scared off and don’t be deterred from alternative processes! The most important aspect is to be smart and take proper precautions. Most of the warnings you will encounter are for high concentrations of chemicals. It is important to remember that we are using chemicals that are being diluted, and therefore cause a minimum risk to the environment and to ourselves.

According to Ilford Photo²

Chemicals that may enter the sewer have to be judged concerning their biodegradability (ease of being destroyed or broken down in the environment) and toxicity (hazard posed to the environment). Fortunately, most photographic chemicals are non-toxic or easily biodegradable and many therefore pose no problem for the environment. Micro-organisms, growing in waste water treatment facilities or in rivers and lakes easily take care of them.

TAKING BASIC PRECAUTIONS

USE COMMON SENSE. Proper handling should negate any potential risk. Clearly label all chemicals and store in a safe, childproof place. Promptly mop up any spills. If any of these chemicals get on your skin, wash them off with soap and plenty of cold running water. At most hardware stores, You can buy a mask to wear while mixing dry chemicals. Dry, powdery solids present a greater risk than solutions, because the dust can be inadvertently inhaled. There are many sources listed in this book where you can buy already mixed chemistry kits if you are worried about mixing them yourself.

The following is a list of things to be aware of as you set up your work areas. Some points may seem like common sense, and others may be things you would never know without a chemistry class. But each of them is very important. Keep them in mind, and continue to pay attention to them. To help, I will repeat them throughout the book.

1. Protect surfaces. As in all darkrooms, designate one counter as the dry area and another counter as the wet area. This will help to minimize contamination of all surfaces and materials. I have a large piece of a thick plate-glass on top of my table for easy clean up.

2. Protect clothing. When mixing chemicals or working in the darkroom, wear an apron or smock to protect your clothing, or wear old clothes. Wear closed toed shoes, preferably waterproof (leather, vinyl, etc.), for wet darkroom work to prevent spills onto your feet. Long sleeve shirts or a smock and long pants can help prevent splashes on your arms and legs.

3. Protect hands. Nitrile gloves should be worn at all times and the use of tongs is recommended. Whether you are mixing powder or liquid chemicals, or are coating, washing or drying your paper, your skin should be protected from coming into contact with any of the chemicals. Sometimes darkroom chemicals cause people to break out. Allergies and sensitivity to chemicals sometimes don’t affect you until years later. Other chemicals can build up in your system over time and years later may cause skin and/or breathing problems.

Many art-supply stores carry reusable neoprene protective gloves. (People who are sensitive to latex should be aware that neoprene is made with latex.) Regular household latex gloves also work and are readily available at supermarkets and home-related stores, but they tend to be a little bulky. Pharmacies and medical-supply stores have latex and nitrile examination gloves that are thin and easy to use. Because they easily puncture, these disposable gloves need to be changed often. Even if you are wearing gloves when working with chemicals, always wash your hands before you leave the darkroom to avoid contaminating any other part of your work or home space. If any staining occurs on your skin, it will go away with repeated washings over time.

4. Protect eyes. Gogg...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Contents
• Acknowledgments
• Introduction: History of Photography – A brief timeline
• Chapter 1 Safety with Chemicals
• Chapter 2 A Guide to Materials and Techniques
• Chapter 3 The Digital Negative Process: and Other Approaches to Making and Printing Negatives
• Chapter 4 Fugitive (Impermanent) and Not-So-Fugitive Printing: Anthotypes, Photosynthesis, and Lumen Prints
• Chapter 5 Cyanotypes: Old and New Approaches, Plus the Cuprotype (Copper) Process
• Chapter 6 Salted and Albumen Prints
• Chapter 7 Van Dyke brown, Kallitype, and Argyrotype Prints
• Chapter 8 Traditional Platinum and Palladium Prints, the Malde-Ware Technique and the Ziatype
• Chapter 9 Wet Plate Collodion
• Chapter 10 Liquid Emulsion Prints and Dry Plate Tintypes
• Chapter 11 Gum Printing
• Chapter 12 Transfers and Decals
• Chapter 13 Hand Painting Photographs: Silver Prints, Non-Silver and Inkjet Prints
• Chapter 14 Multiple Printing and Other Techniques
• Chapter 15 Ceramics and Photography
• Sources, Websites and Podcasts
• Bibliography
• Conversion Tables
• List of Artists
• Index