Index

Entries in italics denote artworks; entries in bold denote tables.

13-step grayscale, 141–3, 156

acetate

for bromoil prints, 254, 263

photocopies on, 224

see also clear acetate

acetate lift method, 4, 7–8, 11, 20, 24–7, 103

acetic acid

and casein printing, 223, 226

glacial, 190, 193

acid-free board, 263, 290

acrylic medium

and gum prints, 214

and volcanic ash, 157

acrylic medium method, lifts, 24–31

acrylic/polymer medium method, sizing, 209, 217, 225

activators, 60, 69, 306–7

Admarker pens, 5

Adobe Photoshop, 9

adjustment layers, 134–7, 147, 300, 347

basic instructions for, 133–4

clipping, 126, 128–31, 132, 344

color management, 144, 344

contrast adjustment, 136, 147

creating grayscale with, 141–2

Curves Adjustments, 120, 135–8, 206

density adjustment curve, 140

and enlargement emulsions, 279

and file sizes, 127

for gum bichromate printing, 206

image correction in, 134–40

layers in, 134

photomerging, 103

for platinum and palladium printing, 234, 248

printing negatives, 144–5

resizing in, 133

reversing images, 9–10

and scanning, 122–3, 126

sliders, 126, 128–9, 135, 138, 301, 347

Swatko and digital negatives, 300–1, 303–4

agitate, definition, 343

AG-Plus emulsion, 269, 282

albumen prints, 189, 234

alcohol, rubbing, 23

Alhazen (ibn al-Haytham), 286

alizarin, 54, 206–7, 215

alkali, 70, 203

alkaline processing gel, 19

alternative color exposure for print

alternative film techniques, 303–5

chromoskedasic painting, 306–7, 323

alum and spray starch sizing, 90, 208

alum hardener, 91

aluminum foil tape, 112

aluminum plates, 111, 208, 269, 272, 280–2

amberlith, 291

ammonia

and casein printing, 221, 223, 227–8

for color removal, 46

for contrast control, 191, 198

safety with, 96, 173

ammoniated products, 96

ammonium bichromate, see ammonium dichromate

ammonium caseinate, 223

ammonium chloride, 190–1

ammonium citrate

ferric, 154–5, 159, 162, 173–4, 179

for platinum and palladium prints, 233, 235, 238

ammonium dichromate, 202, 205, 207, 210, 223, 225

ammonium hydroxide, 168, 223

analogue, definition, 343

analogue methods of making negatives, 99, 299

annotated bibliography, 321

with a darkroom, 100

without a darkroom, 100–1

Anderson, Christina Z., 91, 220, 236

Anzeri, Maurizio, 108

aperture, definition, 343

applicators

for casein prints, 222

for cyanotypes, 155

for enlargement emulsions, 268

for gum bichromate prints, 204

for hand coloring, 50

for photo-printmaking studio, 91–2

for platinum and palladium prints, 237–8

for toning, 70

for transfers and lifts, 24

for Van Dyke brown prints, 173

appropriated imagery, see found images

apron, xiv, 222, 240

Aquarelle paper, 20, 88, 208, 224

Archer, Frederick Scott, 189

Arches Platine paper, 88, 140, 176, 224, 236

archival, definition, 343

archival interleafing, 23, 96

archival tape, 291

Argytotype process kit, 174

arrowroot, 90–1, 190, 237

artificial light, 158–9, 209, 225

Atkins, Anna, 152

Atomic-X film, 118

automatic correction, 125, 130–1

Awalt, Liz, 68, 93

Axon, Martin, 237

baby wipes, 32, 34

Badger’s Foto Frisket Film, 51

baking soda, 168, 191, 195, 228

banding, definition, 343

Barber, Craig J., 230

Barnier, John, 165, 168

Basye, John, 154

beaker

for bromoil prints, 254

for casein prints, 224–5

for cyanotypes, 157, 160

for enlargement emulsions, 269–70

for hand coloring, 46

for platinum and palladium prints, 239, 243

for Van Dyke brown prints, 178–80

Beal, Lindsey, 296

Beato, Felice, 103

Becquerel, Alexander-Edmond, 287

Becquerel process, 287, 291–2, 295–6

buffs, 290

see also daguerreotypes

beeswax, 190–1, 196, 253, 260

Berg Bath™, 63, 330

Berg Brilliant Blue toner, 68

Berg Color Toning System, 69, 320

Berg Copper Brown toner, 68–9, 178

Bergger Cotton paper, 208, 224, 237

Bergger Prestige, 62, 71

Berg Protective Gold Toner, 68

bichromated gelatin, xi

bichromate solution

for casein printing, 225–6

disposal of, 202–3, 222

for gum bichromate printing, 210–11

bichromates, see also casein printing; gum bichromate printing

binary, definition, 343

bit-depth, 125–7, 141

black acrylic paint, 105, 112, 118

black-and-white negatives, 42

for bromoil prints, 255

and casein prints, 224

as color printing masks, 99

creating from color scan, 138

and enlargement emulsions, 271

labs producing, 107

and posterization, 347

black-and-white photographic paper, for chromoskedasic painting, 306–8

black focusing cloth, 289

Blacklow, Laura, 8, 54, 76, 120, 184, 229, 248

Black Magic, 268–9, 271–3, 278, 335

black photo tape, 112–15, 118

black spray paint, 111

black tape, 207, 225

Blanchard brush, 91, 173, 204, 238

bleach

and gum bichromate printing, 205

household, 96, 168–9, 205, 269

laundry, 156, 205

bleaching and tanning chemicals, 253

blender pens, 5, 8

blotter

for bromoil prints, 253

for hand coloring, 45

for making negatives, 103

for photo-printmaking studio, 93

for salt prints, 192, 194, 196

for transfers and lifts, 24, 26

blueprints, see cyanotypes

blue toners, 63, 68, 72

Blyth, Birgit, 306

board

book, 115

chip, 5

common pine, 82

mat, 111, 118, 289

smooth, 191

for transfers and lifts, 20

bowls

for gelatin prints, 36, 39

glass, 191, 196, 206, 225

for gum prints, 211

for hand coloring, 46–7

for salt prints, 191–3

of water, 15

bracketing, 122, 343

brayer

for bromoil prints, 253, 257–8, 260

for gelatin prints, 36–7

for inkjet transfers, 11

for lifts, 24

for photolithography, 32–4

Bresler, Edie, 107

Breuer, Marco, 109

bright light, 238, 288–9

bristle brushes, 16, 91, 167, 204, 222–3, 268

bromoil brushes, 252, 260

care of, 264

bromoil printing

annotated bibliography, 323

brush actions, 261–2

inking mistakes, 262

making, 254–8

materials, 252–4

print finishing and enhancements, 263

safety, 251–2

tips, 258–60

Brown, Kira, 50

brown bottles

for bichromate solution, 204, 223, 225

for bromoil prints, 253

for cyanotype solutions, 158–60

and gold chloride, 191

with medicine droppers, 238

for photo-printmaking, 93

for platinum and palladium printing, 241

for toning, 70

and Van Dyke brown prints, 179–80

brush actions for bromoil inking

hopping, 262

pouncing, 261–2

sweeping, 262

walking and dragging, 261

brushes

for cyanotypes, 155

for photo-printmaking, 91–2

see also paint brush

Burchfield, Jerry, 308

burning, 109, 136–8, 255, 286, 343

burnishing, 8, 10–12, 16–17, 24–5, 113

burnt umber, 44, 204, 222

cadmium pigments, 31, 34, 44, 54, 204, 207, 215, 222

Calotype, 170–2, 185, 189, 197

camera lucida, 286, 296n4, 343

camera obscura, 278, 286, 296n5, 343–4

candle wax, 253, 260

canned air, 51, 112, 128

canvas stretchers, 44, 49, 81, 156, 166, 175, 237

Caplan, Lana Z, 107, 271, 279

Carbona™, 5, 9

carbon arc lamps, 93, 96

carbon black, 31, 204

casein, masking, 86

casein printing

materials, 222–5

method, 226–8

safety for, 221–2

tips, 228–9

cast shadows, using, 104

ceramics, enlargement emulsions onto, 269, 272

CFL (compact fluorescent), 210

Chamberlain, Mark, 278

chamois, 55, 166, 290

cheesecloth, 205, 218, 223, 226

chemicals

ammonium bichromate, see dichromate

ammonium citrate, 154–5, 159, 162, 173–4, 179, 233, 235, 238

ammonium dichromate, see dichromate

ammonium hydroxide, 168, 223

chlorine bleach, see household bleach

copper sulfate, 251, 256

dichromate, 202, 205, 207, 210, 223, 225

disposal of, xiv–xv

EDTA, 233, 235, 239, 243, 245, 247–8

ferric ammonium citrate, 154–5, 159, 162, 173–4, 179

ferric oxalate, 232–3, 235–6, 238, 241, 246

gold chloride, 190–1, 195, 233, 288, 291–2

for platinum and palladium printing, 241, 247

gum arabic solution, 204, 223

household ammonia, 46, 154, 168, 191, 198, 223

household bleach, 96, 168–9, 205, 269

hydrolized PVA, 205

iodine vapors, 287, 290–1

mercury vapors, 287

methyl salicylate, 12

mixing, xiv–xv, 9

naphtha, 252, 264

oxalic acid, 162, 164, 232, 235–6, 241, 246

palladium chloride, 233, 236, 241

platinum chloride, 233

potassium bichromate, 174, 184, 201–2, 205, 222–3, 225, 233, 252, 256

potassium bromide, 251, 256, 278

potassium chlorate, 232, 235–6, 241

potassium chloroplatinate, 236, 241

potassium dichromate, see potassium bichromate

potassium ferricyanide, 154–6, 159–60, 162, 164

potassium metabisulphite, 205

potassium oxalate, 233, 235–6, 241

pure crystal iodine, 291

selenium, 60–4, 67, 69, 71, 171, 178

silver nitrate crystal, 174

sodium bisulfite, 202, 205

sodium citrate, 235

sodium sulfite, 115, 174, 178, 191, 194–6, 202, 233, 239

sodium thiosulfate

and daguerreotypes, 287–8, 291, 295–6

and lumen prints, 308–9

sulfides, 31, 61, 190, 196

chloride papers, 62

chlorobromide papers, 59–60

chlorophyll prints, 106

chrome yellow, 31, 44, 204, 224

chromoskedasic painting, 306–8, 323

CitraSolv, 5, 31, 49–50

citric acid, 174, 235

cleaners, 62, 69

clear acetate

attaching masking sheets to, 102

attaching negatives to, 86

for lifts, 20, 25

for light boxes, 78

clearing agent, 69, 195–6, 233, 235, 245, 247

clearing baths

for platinum and palladium printing, 233–5, 238–9, 245, 248

for salt printing, 196

for toning, 62

for Van Dyke brown prints, 174

cliché-verre process, 105

clock, see timer

Close, Chuck, 284

clothesline and pins, 93–5, 156, 162–3, 175, 180, 182, 184, 191, 240, 245

coated emulsion, 95

coating rod, 92, 155, 174, 238, 268, 277–8, 281

cobalt, 31, 54

cobalt violet, 44, 204, 222

coffee, for tinting, 45, 71, 253, 263

coffee filter, 156, 178, 239, 247

Coleman, A. D., 39n3, 316

Collins, James R, 208, 224

collodion era, 189

color corrections, in scanning, 126–7, 129, 300

color coupler toners, 60, 69

Berg color toning system, 69

Edwal color toners, 69

Rockland polytoner, 69

colored pencils, 45, 50, 71, 229, 253, 263

color film, 20, 42, 302–5

color layers, 7, 50

color management, 144, 344

color negatives, 99, 123, 125, 308

color printing masks, from black-and-white negatives, 99

color separations, 86, 206, 214, 344

CMYK negatives, 149, 214–15

color spotting pens, 45

color stabilizer, 306–7

contact paper, 24–5, 275

contact print, definition, 344

contact printing

from digital negatives, 139

negatives on glass, 106

and semitransparent objects, 101

Contact printing frame

for casein printing, 224

and cyanotypes, 157

for daguerreotypes, 289

for enlargement emulsions, 271

and gum bichromate printing, 205

for lumen prints, 310

making, 80

for platinum and palladium printing, 238

and salt prints, 194

use of, 87, 93

and Van Dyke brown prints, 176, 184

contact-size, 107, 122, 217, 276, 289

contact-speed, 85

containers

for chemicals, 177, 182, 195, 222

for disposal, xiv, 173

film, 210

for fuming, 289–90

making cameras out of, 111

for mixing, 238

for paper, 247

solvent, 4

for water, 158, 175, 239

see also brown bottles

contemporary daguerreotypes, see daguerreotypes

continuous-tone film, 115

continuous-tone images, 86

contrast

definition, 344

for salt prints, 191, 197–8

in scanning, 126

for Van Dyke brown prints, 184

contrast control, in Photoshop, 136

contrast control chart, 238, 242

converted enlarger-to-copy camera, 100

copper brown toners, 68

copper plates, 286, 288, 290

copper sulfate, 251, 256

copy, sending out, 107

cosmetic brush, 252, 260

cosmetic sponge, 46

cosmetic wedge, 253, 259, 263

cottage cheese, 223, 226–7

cotton, Mercerized, 89

cotton balls

for bromoil prints, 253, 259–60

and hand coloring, 46–7, 50, 52

and salt printing, 192–3

and toning, 71

cotton print cloth, 166

cotton swabs, 46–7, 50, 52, 70–1, 164, 205, 212, 228, 253

Crayola Craft™, 45

crayon black, 253

cross processing, 303–5

Crump, Walter, 102, 110–11, 116, 118

Cunningham, Imogen, 232

cursor

definition, 344

for scanning and Photoshop 125–6, 129, 133–6, 142, 234, 300

Curves Adjustments, 120, 135–8, 206

cyanide, 154

cyanotypes

annotated bibliography, 322

continuous tone blueprints, 154

from digital negatives

first, 139–40

second, 146–7

on fabric, 166–8

gum printing over, 217

life-sized body, 3

making, 155, 160–5

materials for, 155–8

origins of, xi, 153–4

safety with, 154–5

toning, 168–9

Van Dyke brown printing over, 182

cyanotype solutions

disposing of, xiv

making, 156, 159–60

Daborn, Erica, 43

Daguerre, Louis-Jacques Mandé, 172, 285–7, 296n5

daguerreotypes

annotated bibliography, 323

hand-coloring of, 41

history of, 285–7

making contemporary, 293–5

materials, 288–91

safety with, 287–8

tips, 292–3, 295–6

traditional, xiii, 287

darkroom

for bromoil prints, 255

definition, 344

for enlargement emulsions, 268, 270–3, 278

health and safety in, xiv–xv, 222, 268, 287, 306

making analogue negatives with, 100–1

for pinhole photography, 111, 114

for salt prints, 193

for tintypes, 280–1

for visual hybrids, 299, 303, 306–8

da Vinci, Leonardo, 286

Davy, Sir Humphrey, 286

daylight

color imagery shot in, 302

exposing Van Dyke prints, 171

for hand coloring, 44, 49, 51

indirect, 41

for bromoil inking, 258

methods appropriate for, xii–xiii

and salt prints, 193

subdued, 77

for transfers and lifts, 5

daylight-balanced lights, 281

daylight film, 304

Degas, Edgar, 56

Demachy, Robert, 202

density, definition, 344

desiccants, 293

desk lamp, 48, 70, 78, 290

De-Solv-it, 31, 49–50

developer

for bromoil printing, 256

for chromoskedasic painting, 306–8

definition, 344

and enlargement emulsions, 267, 269–71, 273–4, 277, 279

making negatives with, 100

for platinum and palladium prints, 241, 245–8

developer tray

for gum printing, 217

for platinum and palladium prints, 239, 245, 247

for tintypes, 281

DeVito, Bart, 277

diazo prints, 154

dichromate, see gum bichromate printing

digital cameras

bracketing exposure with, 122

multiple exposures on, 300–1

digital imaging, xii, 42, 172, 344

digital negatives

13-step grayscale, 141–3, 156

annotated bibliography, 321–2

from appropriated images, 133

capturing images for, 122–33

see also scanning

creating in Photoshop, 133–8

from digital camera, 123

making a print from, 138–41, 146–9

printing out, 144–5

for salt prints, 197

from scanner, 123–8

from smart phone, 123

test file creation, 140

dimensional stability, 344

directorial mode, 20, 39n1

distilled water

for bichromate solutions, 205, 210, 223–5

for bromoil printing, 256

for cyanotype solutions, 156, 158–9

for daguerreotypes, 290, 292, 295

for platinum and palladium printing, 236, 238–9, 241

for salt prints, 190–1, 194

for sizing, 94

and Van Dyke brown prints, 174–5, 179–80

DIY prints, 3, 71

DMax, 139–40, 156, 180, 190, 211

dodging, 87, 102, 136–8, 255, 274–5, 344

double exposures, 20, 23, 95, 99; see also multiple exposure

drafting tape, see masking tape

drill, 82, 84, 112–13, 177, 239, 309

dry-mount press, 95

dry transfer type, 107

duct tape, 79, 158, 239, 276, 289

Durant, Mark Alice, 109

Durer, Albrecht, 286

Durgin, Bill, 182

dust mask, xiii, 55, 251–3

dye diffusion transfers, 19

dye toners, 60, 69

easel, 271, 274, 277, 344

Eastman, George, xii

EDTA clearing agent, 233, 235, 239, 243, 245, 247–8

Edwal color toners, 69

electrical work, 82

emerald green, 44, 204, 222

Emery sandpaper, 111, 113

emulsion

coating tissue paper with, 103

definition, 344

wet, 95, 156, 163, 175, 182–3, 223, 247, 275

see also enlargement emulsions

emulsion lifts, see Impossible Project image lifts

Enfield, Jill, 157–8, 217

enlarged negatives, 62, 107

enlargement emulsions

annotated bibliography, 323

bubbleless coating method, 277–8

on fabric, 89

making print, 273–5

materials, 268–73

safety, 268

tips, 275–9

toning, 62–4

enlarger

conversion to copy camera, 100

filters in, 44, 126

making negatives with, 100, 102

use of, 71, 268, 271, 274–5, 280–1

Epson

printers, 140

scanners and software, 124–5, 127–30

equipment

for bichromate solution, 210, 225

contact printing frame, 79–80

exposure unit, 82–3

for light box, 78

for stock solutions, 159, 179

erasers, kneaded, 50–2, 55, 206, 212

etching press, 12, 24–5

Evans, Frederick, 232

exposure

artificial ultra-violet light, 67, 81, 105, 158, 217, 242, 308, 310–11

for cyanotypes, 81, 163

definition, 344

with digital cameras, 122

for gum bichromate printing, 213–14

with pinhole camera, 114

sunlight, 81, 95, 162

exposure meters, 95, 290

exposure times, 148

for casein printing, 228

for cast shadows, 104

for cyanotypes, 140

in exposure units, 81–2

for gum printing, 216–17

for lumen prints, 310, 312

multiple exposures, 300

for photo-printmaking, 95

for pinhole photography, 116–17

for platinum and palladium prints, 242, 246–7

for salt prints, 189–90, 194

for Van Dyke brown prints, 175

exposure unit, 345

making of, 81–5

ultraviolet, 77, 162, 175, 310

Fabbri, Malin, 116

fabric

cotton, 10, 13, 20, 89, 168, 196

cyanotype on, 166–8

enlargement emulsion on, 276

for gum bichromate printing, 209

lifts onto, 26

for photo-printmaking, 89

for platinum and palladium printing, 237

printing frame for, 81

silk, 12–13, 20, 23, 89, 168, 267

suppliers, 339–40

transfers onto, 5, 13, 16

Van Dyke brown prints on, 176–7, 185–6

Fabricfun™, 45

fabric paints, 218

facial tissues, 46, 51–2

fan, 57, 82, 84, 94–5, 156, 162, 167, 175, 180, 240, 245, 275

Farber, Richard, 167

Fels, Tom, 104

Ferguson, Jesseca, 110, 115, 117, 165, 174, 240, 242, 321

ferric oxalate, 232–3, 235–6, 238, 241, 246

ferric salts, 155, 173

ferro prussiate, 153

ferrotype, 280; see also tintypes

ferrous ferrocyanide, white, 168

ferrous oxalate, 233

fiber photographic papers

for bromoil prints, 254–5

cyanotypes on, 157

and hand-coloring, 44, 49

and photo paper negatives, 103

and pinhole photography, 118

and toning, 62

Fichter, Robert W., 316

file cards, see index cards

file format, 123, 128, 345

film, definition, 345

film swatko, see Swatko, Juliana

finger cots, 55

first negative, 144

Firth, Wayne, 250, 251

fixatives, 23, 51, 53, 55–7

fixer

and cyanotypes, 164

definition, 345

disposal of, xiv, 173

exhausted, 281–2

for lumen prints, 309

and toning, 63, 68

and Van Dyke brown prints, 181–2, 184, 186

fixer remover, 63, 71, 114, 182, 184, 271, 273–4, 309

fixing, for salt prints, 195

fixing baths, 63, 68, 194, 271, 273

flake white, 31, 44, 204, 222

flannel

for bromoil prints, 253, 263

buffing with, 197

cyanotype on, 166

making Blanchard brush, 91

flashlight, 101, 271

flatbed scanners, 345

fluorescent light

and casein printing, 227

and chromoskedasic painting, 306–7

and color film, 304

and gum printing, 212

and lumen printing, 312

in photo-printmaking studio, 81–5

fluorescent strip fixtures, 83

fluorescent tubes, 81–2, 84, 209, 227, 312, 331

foam brush, 81, 149, 155, 166–7, 216, 227, 272, 306

foam core

for pinhole cameras, 111, 113

and printing frames, 176, 205, 224, 238

foam rollers, 91, 204, 216, 223, 250, 252–3, 257–60

foam rubber, 79, 157, 238

focal length, in pinhole photography, 116–18

foil, transparent, 105

food coloring, 45–6, 51, 70, 253, 263

formaldehyde, 91, 203, 237, 269, 306

Formica™, 20, 207–8

Formulary Gold Toners, 68

found imagery, 106, 133

freezer paper, 29

frisket, 46, 51, 62, 68, 70, 93

liquid, 51, 279, 307, 338

frosted acetate, 4, 8, 20

fume hood, 232, 287–8

fuming

for daguerreotypes, 286–7, 289–91, 293, 295

for salt prints, 198

funnel, xv, 156, 159–60, 178–9, 193, 204–5, 239–40, 247, 291

garden gloves, 291

gelatin

in bromoil printing, 256, 258–63

definition, 345

for sizing, 90–1, 177, 190–2, 209, 213, 237, 272

gelatin acrylic process, 229

gelatin and hardener, 90

gelatin prints, 35–9

gelatin-silver emulsions, 267

gesso, 91, 271, 276

GFIC (ground fault interrupt circuit), 84

gilding, see gold toning

Gilpin, Laura, 232

glass

dipping in emulsion, 275

and Filmoplast p-90 tape, 291

ground, 197, 289, 294

images on, 105

negatives on, 106

glass rod, see coating rod

gloss, clear acrylic polymer, 24

gloves, see protective gloves

goggles, xiv, 13, 61, 68, 70; see also ultraviolet-protective goggles

gold chloride

and daguerreotypes, 288, 291–2

for platinum and palladium printing, 241, 247

safety with, 233, 288

and salt prints, 190–1, 195

gold toning

and daguerreotypes, 292

and salt prints, 195

and Van Dyke brown prints, 174, 178, 181

Golemboski, Carol, 102, 271

gouache

and casein printing, 224

and gum bichromate printing, 201, 206–7, 209

and hand coloring, 45

Gowin, Emmet, 61

grain

on bromoil prints, 258–60

definition, 345

on film, 234

of paper, 23

of wood, 16–17, 82

Grain magnifier gram scales, 155, 174, 191, 239–41, 338, 340

graphic arts film, xii–xiii, 345

grayscale and tape, 156

grayscale images, 126, 128–9, 130

grease pencils, 105

gum, masking, 86

gum arabic

and gum printing, xi, 204–5

in hand coloring, 296

and photolithography, 32–4

safety with, 204

gum arabic solution, 204, 223

gum bichromate, Breuer’s use of, 109

gum bichromate printing, xi

annotated bibliography, 322

combining cyanotype and, 164

combining platinum or palladium printing, 237

development of, 201–2

full-color, 214–15

materials, 204–10

method, 211–13

over enlargement emulsions, 275

papers for, 87–8

safety for, 202–4

and sizing, 91

tips, 213–14, 216–18

and Van Dyke brown printing, 182

hair dryer

for casein printing, 224, 227

for cyanotypes, 156–7, 160, 162, 167

for daguerreotypes, 291, 293

for enlargement emulsions, 270, 272, 275, 277

for gum bichromate printing, 205, 208, 212–13, 216

for photo-printmaking techniques, 94–5

for platinum and palladium prints, 240, 247

for salt printing, 190–2, 194

for transfers and lifts, 25–6

for Van Dyke brown prints, 175–6, 180

Hake brush, 155, 173, 204, 237–8

Halamka, Kathy, 15

halftone images, 24, 106, 172

halftone negatives, 107, 213

hand coloring, 41–3

chalk-based, 54–7

and chromoskedasic painting, 308

daguerreotypes, 296

of Lazertran lifts, 31

materials, 44–6, 49–51, 54–6

oil-based, 48–54

water-based, 44–8

hand tinting, 42

hand towel, 95

hardener

non-toxic, 269

and toning, 63–4

Hattersley, Ralph, 45

HDR (high dynamic range), 122

health and safety resources, 327–9

health habits, xiv

heat transfers, 15

heavy paper, 90, 92

Heico Perma-wash™, 71, 178, 235

Heinecken, Robert, 103

Helene, Gretjen, 276

heliography, 153, 345

hemp fabric, 89, 158, 166, 177

Henneman, Nicolaas, 170

Herschel, John, xi, 152–3, 171–2, 231, 287

Hewitt, Barbara, 158, 169

high contrast, definition, 345

high-contrast filter, 271

high-contrast images, creating, 126, 131

high-contrast negatives, 62, 107, 206, 234–5

high-contrast photocopy, 32

high-contrast sensitizer, 241

high key, definition, 345

hi-key image, 131

Hilferty, Patrick, 157

histogram, and digital images, 122, 125–30, 135, 345

Hock, Rick, 19

hole punch, 79–80, 86, 207

Holga camera, 302–3

hopping, 260, 262–3

hot press paper, 11, 87

hot water

for casein solutions, 226

for cleaning surfaces, 272

for dichromate solutions, 174, 210

for heating developer, 239

for heating distilled water, 158, 175

for melting emulsion, 270–1, 273

for opening paint tubes, 216

for preshrinking, 89, 208–9, 211

removing sizing with, 158, 177

for sizing mixes, 91

for soaking prints, 163, 217, 229

transfers and lifts, 19–21, 28, 36, 39

for warming metal, 281

for warming paper, 277

for washing skin, 268–9

for washing utensils, 159–60

humidifier, 191, 193, 240

Hutníková, Katarína, 105

hydrochloric acid, 233

hydrogen peroxide, 156, 161, 164, 238, 246

hypo, see fixers; sodium thiosulfate

Hypochek™, 278, 282

hypo clear

and chromoskedasic painting, 306

for enlargement emulsions, 274

for lumen prints, 309, 311–12

for platinum and palladium printing, 235, 239

and toning, 63

and Van Dyke brown prints, 174, 178, 184, 186

hyposulfate, 254

Ibn Sahl, 286

ICC (International Color Consortium) profiles, 347

Ilford Ilfotol, 46

image correction, adjustment layer, 134–7, 147, 300, 347

images

capturing, 122, 130–1, 234

on clear acetate, 25, 105

continuous-tone, 86

halftone, 24, 106, 172

high-contrast, 126, 131

Imagire, Dorothy, 12, 28

Impossible Project image lifts, 19–23, 28, 89, 103

incandescent light, 44, 48–9, 209–10; see also tungsten bulb

index cards, 270, 274

index card stock or scrap sheet film, 80

ink, water-based, 35–6

inking

for bromoil prints, 252–5, 257–62

for gelatin prints, 36

for photo-lithography, 32–3

inking support, 253, 259

inking tiles, 253, 257, 260

inkjet printer, 345

digital negatives from, 49, 122, 140, 206

and Lazertrans, 29

inkjet transfers, 3, 9–11, 29

ink modifiers, 253

ink retarder, 36

interpolation, see resampling

iodine crystals, 288, 291–3

iodine vapors, 287, 290–1

Isenburg, Matthew, 57n1

ISO number, 117–18, 290, 301, 346

Japanese papers, 36

Johnston, Frances Benjamin, 232

JPEG format, 123, 128, 132–3

kallitype, 317–18, 323, 331

kaolin, 4, 24

Käsebier, Gertrude, 202, 232

Kennedy, Robert, 275

Kenny, Kay, 247

ketene dimer emulsion, 89, 157

kneaded eraser, 50–2, 55, 206, 212

knife

mat, 111, 113

palette, 27, 32, 253, 257, 260

stencil, 5, 13, 78, 87, 102, 207, 225, 254

Knox™ gelatin, 36, 276

Kodak camera, xii

Kodak Dektol, 256, 273, 277, 307

Kodak PhotoFlo™, 45–7, 268

Kodak poly-toner, 66–7

Kühn, Heinrich, 202

lab coat, xiv, 222, 291

lace, 36, 206, 224

Lacock Abbey, 170, 172, 296n5

Lam, Dominic Man-Kit, 306

lamp black, 31, 44, 204, 222

large format camera, 20, 170, 280, 288–9

laser printers, 9–10, 27, 176, 338, 346

Laughter, Gene, 251, 252, 254, 264

laundry bleach, 156, 205

lavender oil, 34, 191, 196–7, 286

Lawless, Liam, 174

layered imagery, 299–305

layer masks, 137

Lazertran™ inkjet decal paper, 9, 28–31, 335

Lazy Susan, 192

lead, 54

leather, 53, 89, 171, 272, 286

LEDs (Light Emitting Diodes), 210, 276

lemon juice, 174, 223, 226

LeSecq, Henry, 153

Levels Adjustment window, 134–5

lifts

Lazertran™ inkjet, 9, 28–31, 335

magazine, 24–7, 89

Polaroid emulsion, see Impossible Project

light boxes, 77–8, 276

light-insensitive methods

hand-coloring, 41–3

toning, 59–63

transfers and lifts, 3

light meter apps, 117

light-sensitive methods

alternative color photography, 303–5

bromoil printing, 251

casein pigment prints, 221

cyanotypes, 153

daguerreotypes, 285

enlargement emulsions, 267

gum bichromate prints, 201

platinum and palladium printing, 231

preparation for, 77

salted paper, 188

Van Dyke brown prints, 171

light sources

for alternative color photography, 302, 304

for casein printing, 227–8

for contact printing, 62

distance from, xiii

in exposure units, 81

for gum bichromate printing, 210, 212, 216–17

for lumen printing, 308, 312

and making pinhole camera, 113, 118

in photo-printmaking studio, 93

light table, 5–6, 79, 85–7, 102, 192–3, 207, 214, 308

lightweight sheet metal, 111–12

linseed oil, 253, 260

liquid dish soap, 46

liquid enlargement emulsions, 217, 289, 308

Liquid Light emulsion, 269

and bromoil prints, 254

lithographic ink, xi, 252–3, 257

lithographic stones, 4, 9

Lizardo, Carmen, 174, 178

low-key image, 131

lumen printing, 308–12

lumen prints 308–12

Lyons, Joan, 316

MacNeil, Wendy Snyder, 232

Madden, Peter, 16, 35

magazine and copier lifts, 24–7, 89

MagicTouch, 9

Magic Transfer Kits, 9

Magnani Prescia, 88, 157, 224

magnifying glass, 112

manganese, 31, 44, 54, 204, 222

Mapplethorpe, Robert, 232, 237

Marclay, Christian, 98, 101, 206

marker pens, 4, 70

Mars brown, 44, 204, 222

Marshall’s

hand coloring supplies, 42, 45–6, 48–51, 53, 263

Oil Pencils, 263

Pre-Color Spray, 49–50, 52–3

mask, definition, 346

Maskell, Alfred, 202

masking, for toning, 70, 73–4

masking sheets, 78–80, 86–7, 102, 207, 225

masking tape

and bromoil printing, 258

and casein printing, 225

and cyanotypes, 158, 166

and gum bichromate printing, 207

and hand coloring, 46, 51

and lumen prints, 308

and salt printing, 191

and transfers, 5–6, 20

see also wash-out tape

maskoid, 279, 307

masks, for chromoskedasic painting, 306

Masonite

and chromoskedasic painting, 307

in printing frames, 79–81, 157, 176, 205, 224, 238, 310

Material Safety Data Sheets (MSDS), xiv, 9, 32, 44, 92, 296, 306, 327

mat knives, 111, 113

matrices

in bromoil printing, 253–62

for transfers and lifts, 39

matte black ink, 140–1

matte gel painting medium, 16–17

measurement, imperial/metric conversion, 341

measuring cups

for casein prints, 224

for chromoskedasic painting, 307

for cyanotypes, 157

for enlargement emulsions, 269

for gum bichromate prints, 206

for mixing emulsion, 227

for mixing solutions, 46–7, 210, 225–6

for platinum and palladium prints, 239

for Van Dyke brown prints, 178

measuring spoons, 157, 206, 224

medicine droppers, 46–7, 238

medium format photography, 20, 300–3, 305

mercury, 287

Merrit, Francis, 35

mesh food strainer, 223, 226

metal spoons, 5, 10, 12, 24

methyl salicylate, 12

middle tones, definition, 346

milk protein, 56, 220–1, 223, 226–7

mineral spirits, 31–2, 34, 272

Moccia, Joseph, 81, 308

moisture stains, lavender/purple, 163, 165, 168

Morrisoe, Mark, 48

Mo-Tin, 286

mulberry bark paper, 176, 236

multiple exposure, 89, 206, 224, 299–301, 305

Muñoz, Oscar, 292

muscle rub transfers, 3–4, 12–14

Museum School, xv, 48, 54, 71, 94, 157, 165, 208, 271, 327

Mylar, 20, 22, 102, 105

nails, 83–4

naphtha, 252, 264

natural fabrics, 3, 45, 89, 176, 209, 225

natural fibers, for transfers and lifts, 13, 25

negatives

analogue method, 99, 299

CMYK, 149, 214–15

color, 99, 123, 125, 308

color-separated, 149

density of, 139, 344

digital method, 121

distressing, 102

enlarged, 62, 107

first, 144

as found images, 106

for gum bichromate printing, 206

halftone, 107, 213

high-contrast, 62, 107, 206, 234–5

inkjet, 156, 175

photo paper, 102–3

in pinhole photography, 118

posterized, 86, 224

push processing, 304

registering and masking, 86–7, 206, 208, 214

second, 146

stripping of, 86–7, 348

troubleshooting, 118

neoprene gloves, see protective gloves

Nettles, Bea, xii, 177, 317–18

Neumyer, Tricia, 25

New 55, see Polaroid 55 film and equivalents

newspaper/oil cloth, 157, 176, 273

Newton rings, 128

Nicholson’s Peerless Water Colors, 45, 253, 263

Nielsen, Eric, 246

Niépce, J. Nicéphore, 286, 296n6

noble metals, 232–3, 236–9, 241

nonrepro blue, 346

notebook and pen, 112, 291

nylon screening, 94, 156, 165, 175, 236

oil cloth, 94, 157, 176, 273

oil-painting method, of hand-coloring, 48–54

Olio, Graciela

O’Neil, Elaine, 65–7

opaque (black) bag, 177, 289, 294, 309

opaque (grey) cardboard, 161, 248, 310

opaque 35 mm film canister, 204

optical resolution, 127

orange oil, 31, 49–50

orange zest solvents, 31–2, 34

ortho(chromatic) film, 346

for bromoil prints, 254

lifts onto, 24

making negatives with, 100–1

and pinhole cameras, 111, 114, 118

for platinum and palladium printing, 234

and tintypes, 280

Osterman, France Scully, 188, 315

Osterman, Mark, 198, 280

out-of-date materials, 109

output resolution, 145

oxalic acid, 162, 164, 232, 235–6, 241, 246

Ox Gall, 45–6

paint brush

for bromoil prints, 259

for casein printing, 222

for enlargement emulsions, 276

for gelatin prints, 36

for gum printing, 204

for hand-coloring, 55

for transfers and lifts, 24

Paint Brush (Adobe Photoshop), 132, 138

paints, toxicity of, 31–2, 204

palette, 32–3, 36–7, 47, 50, 52–3, 225

palette knife, 27, 32, 253, 257, 260

palladium chloride, 233, 236, 241

palladium prints

annotated bibliography, 322–3

contrast control chart, 242

cyanotype onto, 86, 164

development of, 231–2

from digital negative, 148

exposure times for, 81

making, 243–4

materials, 234–40

safety, 232–3

tips, 246–8

panchromatic film, 111, 234, 308, 346

Pantone and Admarker, 5

paper cups, 46

paper-making, 89

papers

Aquarelle, 20, 88, 208, 224

Arches Platine, 88, 140, 176, 224, 236

Bergger Cotton, 208, 224, 237

chloride, 62

chlorobromide, 59–60

contact, 24–5, 275

freezer, 29

heavy, 90, 92

hot press, 11, 87

Japanese, 36

Lazertran™ inkjet decal, 9, 28–31, 335

Magnani Prescia, 88, 157, 224

mulberry bark, 176, 236

for photo-printmaking, 87–9

physical alteration of, 109

platine, 55, 88, 140, 175, 208–9, 237

for platinum and palladium printing, 236–7

Rising Stonehenge paper, 176, 208

for visual hybrids, 303, 306–9

see also photographic papers

paper towels

for blotting, 70, 193, 238

for bromoil printing, 253, 257, 259, 263

for ferric oxalate, 232

for gum prints, 206, 211, 214

and hand coloring, 51, 53

for transparentizing photocopies, 106

paper towels/sponge, 157, 176

paraffin wax, 106

pastel pencils, 55

pastels

for bromoil prints, 253

hand-coloring with, 42, 53–5

pencils (see also colored pencils; grease pencils; pastel pencils), 20, 42, 53, 55, 63, 70, 82, 84, 94–5, 103, 105, 112–13, 157, 175, 177, 192, 206, 208, 213, 224, 228, 240, 243, 254, 272

Penn, Irving, 232

permanent markers

for cyanotype on fabric, 166

for hand coloring, 45

for pinhole cameras, 112

Perma-wash, see Heico Perma-wash™

petroleum jelly, 216

phone camera, 122–3, 131

photo blotter, 253

photo chemicals

activator, 60, 69, 306–7

clearing agent, 69, 195–6, 233, 235, 245, 247

fixer, 306–9

fixer remover, 63, 71, 114, 182, 184, 271, 273–4, 309

stabilizer, 306–7

stop bath, 63, 68–9, 73, 100, 114, 154, 165, 178, 223, 256, 273, 282, 306, 348

wetting agent, 44–7, 274, 348

photocopiers

color, 53

transparentizing using, 106

photo etching 296n6

photogenic drawings, xi, 172

photograms, 62

definition, 346

with film, 118

with hand-coated emulsions, 100–3, 286, 300

Talbot creating, xi

Photographers’ Formulary toner, 67–8, 178, 270

photographic darkroom, see darkroom

photographic darkroom method of making negatives, see analogue methods of making negatives, with a darkroom

photographic papers

for chromoskedasic painting, 306–8

fiber and RC substrates, 44

gelatin silver, 59–60

for toning, 62

see also fiber photographic papers

photographic thermometer, see thermometer

photography

multiple negatives, 299–300

projected light, 105

versus human eye, 116, 286

photography easel, see easel

photo imaging, use of term, xii

photolithography, 31, 34, 172

photo loupe, see magnifying glass

Photo Maskoid Liquid Frisket™, 51, 279, 307, 338

photo paper negatives, 102–3

photo-printmaking studio

contact printing frame, 80

equipment for, 77–85

exposure unit, 81–5

light box, 77–8

materials for, 85–94

safety in, 95–6

tips for, 94–5

photorealism, definition, 346

photo tape, 290, 293

Pictorialists, 232, 347

Pictorico OHP film, 120, 139–40, 145, 161, 234, 308

pigments

for bromoil printing, 252–3, 260

casein, 77, 222–4, 226–9; see also casein printing

for color separations, 86

for cyanotypes, 165, 182

for daguerreotypes, 296

for gum printing, 201, 203–9, 211–18

for hand-coloring, 41–2, 47–8, 52

health hazards, 31, 44, 48, 204, 222, 251

for transfers and lifts, 20

pill canisters, 204, 210

pinhole cameras

artists using, 242

for casein prints, 224

for cyanotypes, 156

for daguerreotypes, 289

for gum printing, 206

making, 113–14

photomerging, 103

for Van Dyke brown prints, 175

pinhole photography, websites, 327

pixelization, 347

plants

cyanotype, 163

sweating moisture, 95, 101, 157, 175, 238, 310

plastic bags, xiv, 5, 196, 277, 289, 291–2

plate glass

for coating rod, 92

for contact printing frame, 79, 157, 176, 205, 224, 238, 310

for cyanotypes, 167

as inking support, 253, 257

for photograms, 101

plate holder, antique, 289

plate makers, 81

plate oil, 253, 260

plates

china, 50, 225

for daguerreotypes, 284–96

dry, 267

gelatin, 35–7, 39, 197

hot, 190–1, 196, 239

lithographic, 4, 9, 172

for photo-lithography, 32–3

for tintypes, 279–82

platine paper, 55, 88, 140, 175, 208–9, 237

platinotype, see platinum prints

platinum chloride, 233

platinum printing, annotated bibliography, 322–3

platinum prints

contrast control chart, 242

development of, 231–2

making, 243–4

materials, 234–40

safety, 232–3

tips, 246–8

Plexiglas™

and chromoskedasic painting, 307

and contact frames, 79

and cyanotype, 158, 161

and emulsion lifts, 20, 22

and hand coloring with pastels, 55–7

and photolithography, 32–4

for photo-printmaking, 94

for platinum and palladium printing, 239, 245

and Van Dyke brown prints, 177

plywood, doorskin, 157

Poitevin, Alphonse Louis, 201

Polaroid 55 film and equivalents, 100, 108, 115, 118

Polaroid emulsion lifts, see Impossible Project

polyethylene, 104

polymer medium

as fixative, 56

for sizing, 91, 216

for transfers, 10–11, 24–6

polymer transfers, 16–18

polysulfide, 64, 67

polyurethane, 18, 269–72, 276

polyurethane foam, 79

Porcelain Blue toner, 68

positive, to negative, 122, 139, 285, 300

positive process, direct, 172

positive-to-positive, 344

posterization, 86, 347

potassium alum, 205

potassium bichromate, see potassium dichromate

potassium bromide, 251, 256, 278

potassium carbonate, 203

potassium chlorate, 232, 235–6, 241

potassium chloroplatinite, 236, 241

potassium dichromate, 174, 184, 201–2, 205, 222–3, 225, 233, 252, 256

potassium ferricyanide, 154–6, 159–60, 162, 164

potassium metabisulphite, 205

potassium oxalate, 233, 235–6, 241

potential camera, 111–12

pouncing, 260–2

Pouncy, John, 201

precipitation wash, 194–5

precoat, clear semi-gloss, 149

preshrinking, 89

for casein printing, 222, 224–5

for gum bichromate printing, 211

with hot water, 177

and sizing, 90, 208

presoaking, 64, 70, 72–3, 168

pressed wood, 79

print film, see negatives

print finishing and enhancement, bromoil prints, 263

printing frame, see contact printing frame

printing press, 9, 13, 319

print-receiver unit, 17–18

print tongs, see tongs

process camera, 100, 348

procion dyes, 95

Proctor, Eliza, 167

projected light, behavior of, 126–7, 129

protective gloves, 19–20, 31–2, 44, 48–9, 56, 90, 96, 154, 169, 173, 189, 202, 209, 221, 224, 232–3, 268, 279, 291

neoprene, xiii, 62, 157, 176, 184, 207, 210, 240

Prussian Blue, 68, 154, 165, 168

pure crystal iodine, 291

pushpins, 113, 178, 207, 214, 225, 240

push processing, 304

PVA, 205, 220

Pyrex™, 190–2, 239

and daguerreotypes, 289–90, 293

Quinlan, Eileen, 108

Quinnell, Justin, 116

radioactivity, 154

rag papers

for cyanotypes, 157, 163

for gum bichromate prints, 208, 213

photographic prints on, 44

and photo-printmaking, 87–9

for platinum and palladium printing, 236–7

and Van Dyke brown prints, 176–7

Rauschenberg, Robert, xii, 3, 11

RAW format, 123, 130

raw umber, 44, 204, 222

rayon, 15, 166

RC (resin-coated) photographs

and hand coloring, 42, 44

and photo-printmaking, 93

separating image from backing, 103

and toning, 62

receiver

for casein prints, 224, 238

in contact printing frame, 80

for cyanotypes, 155, 157

for enlargement emulsions, 271–2, 275–9

for gum prints, 208, 211, 217

for platinum and palladium prints, 236, 238, 240

for transfers and lifts, 4–7, 10–17, 20, 22–4, 26, 28–30, 32, 34–6

for Van Dyke brown prints, 176

registration, 86, 89, 194, 207, 214, 345, 347

registration board, 79, 86

registration hole punch, 79

registration pins, 79–80, 85, 86–7, 207, 225

registration system, 78–9, 207

Rembrandt van Rijn, 182

Renner, Eric, 116–17

repeatable photographs, 170

resampling, 127, 347

resolution, of scanned images, 127, 132

respirator, xiii–xiv

respirator mask, xiv, 46, 54–5, 96, 207, 210

retouch colors, 45, 51

rice paper, 164

Rickart, Eric, 288

Riepenhoff, Meghann, 165–6

Rising Stonehenge paper, 176, 208

Roberts, Holly, 40

Robinson, Mike, 288, 290

rock, enlargement emulsions on, 272, 275

Rockland Halo Chrome, 269

Rockland Polytoner, 69

Rockland’s Liquid Light, 267–8

Román, Gabriel Garcia, 57

Rosen, Ann, 266, 277

Rossol, Monona, 251, 287, 327

Rouille-Ladeveze, A., 202

rubber brayer, see brayer

rubber cement, 46–7, 51, 68, 70, 73, 156, 307, 310

Rubylith, 347

and daguerreotyping, 288, 290–1

for salt prints, 190, 192

Rubylith masking sheets, 85, 87, 102

ruler, 141, 206–7, 213, 225, 272, 289

sable water color brushes, 46

safelight, xiii

definition, 347

and ortho film, 111, 118

red, 100, 280–1, 287

safe light conditions, xiii, 193

salicylate, 12

Salniker, Steve, 223

Salomon, Alyssa, 287, 290, 292

salt prints

annotated bibliography, 323–4

contrast and negative manipulation, 197–8

method, 190–7

safety with, 189–90

and silver nitrate, xii

toning, 63

and Van Dyke brown prints, 171–2

Samour, Michelle, 157

sandpaper, 111

saturated solution, 347

scanners

cleaning glass of, 132

making photograms with, 101

operation of, 123–8

scanning

from black-and-white originals, 130–1

from color film, 128–30, 300, 303–4

scan-o-grams, 132–3

Schneider, William, 236

School of the (Boston) Museum of Fine Arts, see Museum School

Schramm, Bob, 287, 290

Schulze, Johann H., 286

scissors, 5, 13, 20–1, 24–5, 29, 36, 111, 207, 225, 252, 272, 289

scrap paper, 5–6, 13–14, 16–17, 55, 81, 166, 180, 311

screws, 292

second negative, 146

Seigel, Judy, xv, 82, 168, 216

selenium, toxicity of, 60–1

selenium toners, 61–4, 69, 71, 73, 171, 185

semi-matte papers, 10, 44, 254

semitransparent materials, 101, 154, 175, 310

sending out copy, 107

sensitizer

for cyanotypes, 158

for daguerreotypes, 295

for gum printing, 201, 206

for platinum and palladium printing, 232–3, 236, 239, 241, 243–4, 246

for Van Dyke brown prints, 174

sepia redevelopment toner, 65–6

sewing needles, 113, 117

shadow detail, 146–7, 234, 248

shallow glass bowl, 191, 196, 206

shaving brushes, 252, 260

Shaw, Susan, 251, 287, 296, 327

sheet metal, 111

Shefts, Joelle, 276

Sherman, Cindy, 20

Shlaer, Bob, 288

Sider, Sandra, 167

silk charmeuse, 166

silver

metallic, 60, 64, 173, 190, 196–7

reclaiming from silver, 173

Silver, Michael, 92

silver-based images, 59

silver bromide emulsions, 61, 267, 269–70

silver bromide papers, 59–60

silver chloride, 59–60, 172, 190, 194–5, 197, 234, 286

silver-converting toners, 64, 69

silver halide, 309

silver iodide, 286–8, 296

Silverman, Lynn, 183

silver nitrate, xii

and salt prints, 189–90, 193

and Van Dyke brown prints, 63, 172, 174, 179, 182, 286

silver nitrate crystal, 174

silver particles, 196, 306

silver recovery center, 309

Simms, Jeannie, 165

siphon washer, 347

for bromoil printing, 256

for cyanotype, 158

for daguerreotypes, 291

for lumen prints, 309

for photo-printmaking, 94

for platinum and palladium prints, 239

for Van Dyke brown prints, 177

sizing, 45, 89–91

for casein printing, 225

for cyanotype, 158

for enlargement emulsions, 272, 275

for gum bichromate printing, 208–9, 214

for platinum and palladium printing, 236–7

types of, 90

for Van Dyke brown prints, 177

slide film, 303–4

slide projectors, 271

SLR (Single Lens Reflex) camera, 117

Smyth, George, 254, 264

Snyder, Laurie S., 105, 163

sodium benzoate, 223

sodium bicarbonate, see baking soda

sodium bisulfite, 202, 205

sodium bromide, 278

sodium carbonate, 203, 272

sodium chloride, 190, 194, 236, 241

sodium citrate, 235

sodium dichromate, 202, 222

sodium hydroxide, and bichromates, 203

sodium sulfite

and bichromates, 202

for platinum and palladium printing, 233, 235, 243

and Polaroid film, 115

and salt printing, 191, 194–6

and Van Dyke brown prints, 174, 178

sodium thiosulfate, 63

and bichromates, 202

and daguerreotypes, 287–8, 291, 295–6

Herschel’s development of, 153, 172

safety with, 173, 288, 309

and salt prints, 190–1, 194

and Van Dyke brown prints, 174

soft cloth, 24

solar enlargements, over-painted, 189

solarization, 95, 246, 295

Solomon, Alyssa C. 296n2

solvents, xiii, 4–6, 9, 12, 31–2, 44, 49–50, 96

solvent transfers, 3–9, 8

soy-based dyes, 3

Spagnoli, Jerry, 41, 284, 289, 295, 296, 317

special effects screens, 107

spectral density, 197

Speedibrew’s (powder) Copper toner, 68

spirit lamp, 292

sponge brushes, 90, 176, 209, 222–3, 268, 276

spoon

for mixing gelatin, 36–7

for stirring, 190

for transfers and lifts, 7, 11, 19, 25, 27

see also measuring spoons; metal spoons

spotting fluids, 51

spotting pens, 45, 51

spray nozzle, 225

spray paints, 105, 111, 113

spray starch, 10, 53, 90, 158, 208–9

Sprint Print ™, 306

squeegee, 29–30, 70, 72, 90

stabilizer, for chromoskedasic painting, 306–7

Standard Palladium Kit, 235

Standard Platinum Kit, 235

Starn, Doug and Mike, 58

stat camera, see process camera

steel wool, 233, 253, 263

Steichen, Edward, 200, 202, 232

Steiglitz, Alfred, 202, 232

stencil knife, 5, 13, 78, 102, 207, 225, 254

stencils, 36, 100, 102, 206, 224, 286

stirring rods, 157, 178–9, 190, 206, 210, 224–5

stock sensitizers, mixing, 241–2

stock solutions, 348

for cyanotype, 156, 158–9, 162–3

gold chloride, 191, 195

high-contrast film developer, 241

for photo-printmaking, 92

for platinum and palladium printing, 234, 238, 240–1

for Van Dyke brown prints, 174–5, 179–82

stop bath, 348

and cyanotypes, 165

and enlargement emulsion, 271, 273, 278

and pinhole photography, 114

safety with, 154

and toning, 60, 63, 68–9, 73

and Van Dyke brown prints, 178

see also acetic acid

storage bottles, 177, 291; see also brown bottles

Strand, Paul, 232

stripping of negatives, 86–7, 348

strong tape, 80, 289

Sturm, J. C., 286

Styrofoam™, 4, 9

subdued light, use of term, xiii

Suh, Young, 122, 130–2, 139, 140, 143, 146–9, 215

sulfides, 31, 61, 190, 196

Sullivan, Richard, 79, 82, 207–8, 233, 323

sunlight

and cyanotypes, 158

exposure with, 81, 95, 162

indirect, 48, 209, 225

and Van Dyke brown prints, 175

super-coated papers, 254, 256

surface preparation, 50, 269, 275

SVHC (substance of very high concern), 202, 222

Swatko, Juliana, 298, 300–5

sweep, 262

synthetic fabrics, 9, 25, 53–4, 89, 177, 218, 225

Talbot, William Henry Fox, 170

and cliché-verre method, 105

photogenic drawings, xi, 286, 296n5

and Van Dyke brown prints, 172

waxing of prints, 176

Talbotype, see calotype

tannic acid, 168

tape, lumen, 310

tape method for lifts, 25, 282

tap water, and precipitation wash, 194

tartaric acid, 173–4, 179

tea, for tinting, 45, 71, 263

teaspoon, metric equivalent of, 341

test prints, 161, 255, 273–4

test strips, 348

for bromoil prints, 255

for casein printing, 228

for cyanotypes, 160

for daguerreotypes, 288–9

for enlargement emulsion, 274

for gum printing, 216

for lumen printing, 309–10, 312

for pH, 191, 195, 244, 248

for platinum and palladium printing, 243

for tintypes, 281–2

Tetenal Blue toner, 68

Tetenal Copper toner, 68

thalo blue, 207, 215

thermometer, 20–1, 28–9, 178–9, 291

thin papers, 23, 53, 92–3, 334

three-color gum print, 149

Thumbnail Scan, 129

TIFF format, 123, 128, 132–3, 138

timer, 83, 85, 102, 191, 206, 225, 281, 289, 291

Tinsley, Christine, 9, 31

tinting, 42, 45, 71, 263

tintypes

hand coloring of, 41–2

making, 281

materials, 280

tips, 282

tissue overlays, 197

tissues, 5, 13, 29, 36, 47, 51–2, 103, 191, 216, 290

tonal correction techniques, 134

tonal range

and Atomic-X film, 118

in daguerreotypes, 290–1

for digital negatives, 126, 136, 139–40

in enlargement emulsions, 277

and New 55 film, 100

and toning, 62

tonal separation, 24, 89, 146, 158, 215, 234

toners, 64–9

groups of, 60

tongs, 70, 209, 224, 239, 271, 309, 311

toning, 59–63

color coupler toners, 60, 69

cyanotypes, 168–9

dye toners, 60, 69

the entire print, 72

method overview, 62

other equipment, 70

for salt prints, 195

selective toning, 62, 69, 73–4

silver conversion in, 64, 69

split toning, 60, 72–3, 164

tips for, 70–1

for Van Dyke brown prints, 178, 185

see also toners

tools

in Adobe Photoshop, 134–5, 137, 142

for cyanotypes, 173

for hand coloring, 47, 51, 55

for photo-printmaking studio, 82

for pinhole photography, 112

reacting with silver, 268

for scanners, 125–6, 130

toothpicks, 46–8, 50, 52–3, 191, 193, 260

topping off, 235, 239, 245

touch-ups, hand-colored, 42

traditional daguerreotypes, xiii, 287

traditional marking materials, 20

transfers

heat, 15

muscle rub, 3–4, 12–14

Polaroid image, see Impossible Project image lifts

solvent, 3–7, 8, 9

transfers and lifts, 3

annotated bibliography, 319–20

transfer sheets, 9–10

translucency, 54, 88, 170, 215, 221

transparencies, 348

negative, 85, 99, 156, 175, 234, 310

photographic creation of, 85

from transfers, 8

using photographs as, 103

transparentizing office copies, 106, 176

transparent tape, 24, 214

trays

for cyanotype, 158

for daguerreotypes, 290

for emulsion, 93

for gum bichromate prints, 209

labeled, 175, 254, 309

for platinum and palladium prints, 239

for salt prints, 191–3, 195

for Van Dyke brown prints, 175, 178

Treadwell, Tyler, 285

trichlorethylene, 49

tripod, 112, 289–90, 294

trisodium phosphate, 169

trivalent chromium, 202

troubleshooting negatives, 118

true Naples yellow, 44, 204, 222

tub method, 162, 245

tubs, 24, 158, 209, 225, 239, 307, 309

drilling holes in, 94, 158, 177

for mixing solutions, 159, 225

for processing, 93

for storage, 163

of water, 26, 156, 175, 205, 210

tungsten film, 304

tungsten lightbulb, xiii, 175, 193, 209, 239, 281, 294

turpentine, 3, 31, 34, 48–53

Tween, 92

two-bath toners, 61

type, transferring, 7, 9

typing paper, 27, 240

Tyvek™, 89, 176, 208

ultramarine, 54, 182, 207, 215, 220

ultraviolet (UV) light

and casein printings, 221, 225, 227

clear media blocking, 101, 105

and cyanotype, 158, 161, 165

definition, 348

and emulsion, 92

exposure times with, 95

and gum bichromate printing, 204, 209, 212

for lumen prints, 308–12

for platinum and palladium printing, 237, 239, 244

and printer ink, 141

print sensitivity to, 23, 96

and salt prints, 191, 194

and toning, 62

and Van Dyke brown prints, 180

ultraviolet-protective goggles, 84, 96, 237, 309, 312

ultraviolet unit, see exposure unit, ultraviolet

vacuum cleaner, 79, 290

Van Dyke brown prints, 171

annotated bibliography, 322

from digital negative, 148

exposure for, 81

on fabric, 176–7, 185–6

history of, xi–xii

making, 180–2

materials for, 173–8

safety, 172–3

solution for, 179–82

tips for, 182–6

toning, 63–4, 67–8

vapor mask, 4–5, 32, 34

varnish, 29, 196, 232, 269–70, 272, 279, 296

Vaseline, 156, 306

vellum

drafting, 8, 20, 78

synthetic, 54

velvet, 91, 133, 238, 290, 292

ventilation, xv, 31–2, 44, 53, 71, 204, 222, 287

vermillion, 44, 204, 222

Verona brown, 222

vinegar, 156, 165, 223, 263, 272

visual hybrids, 298, 323

chromoskedasic, 306–8

color manipulation, 301

lumen, 308

Walker, Melanie, 203

Walker, Todd, 90, 203, 225

walking and dragging, 260–1

Wall, E. J., 316, 321

Ware, Mike, 88, 154–5

wash-out tape, 93

washer, 70, 94, 158, 254, 256, 347

watch, see timer

water

acidified, 61, 96, 178, 233, 306

alkaline, 165

chlorinated, 190

room temperature, 72, 191, 228, 258

see also distilled water; hot water

watercolor brushes, traditional, 68, 204

watercolors

for bromoil prints, 253, 263

for casein printing, 224, 227

for gum printing, 201, 206–7

hand coloring with, 43, 45

watercolor wash-out tape, 68, 93

waterwax, modifying ink, 253, 260

waxed paper, 10, 29, 32, 37, 157, 163, 189

waxing prints, 176, 191, 196–7

Webril Wipes, 23, 205

Wedgwood, Thomas, 286

Weese, Carl, 82, 233

wetting agent, 44–7, 273–4, 348

Whipple, John A., 189

White, Clarence, 154, 202

white bowl, 46, 239

Whitefield, Bob, 229

white gloves, 291

white scrap paper, 5, 13–14

Whittlesey, Manon, 157

Willis, William, 231, 237

window glass, 79–81

Winkler, Bill, 237

with a darkroom, 100–1

without a darkroom

cast shadows, 104–5

clear acetate images, 105

photograms, 100–1

photo paper negative, 102–3

sending out copy, 107

special effects screens, 107

stencils, 102

transparentizing office copies, 106

Wollaston, William, 286

women’s history, xii

wood

in contact printing frame, 78–9, 82, 84

cyanotype on, 157

emulsion enlargement onto, 269

plat, 238

platinum printing on, 237

transfers onto, 4–5, 9–12, 15–17, 24, 29, 36, 38

Wood, John C., 102, 164

Woolite, 156, 165, 168, 186

ZAcryl D-Solv, 31, 49–50

ziatype, 235, 240