In weniger als einer Minute können Sie mit dem Lesen von Jill Enfield's Guide to Photographic Alternative Processes auf Ihrem Kindle beginnen. Sie haben noch keinen Kindle? Hier kaufen oder mit einer unserer kostenlosen Kindle Lese-Apps sofort zu lesen anfangen.

An Ihren Kindle oder ein anderes Gerät senden


Kostenlos testen

Jetzt kostenlos reinlesen

An Ihren Kindle oder ein anderes Gerät senden

Der Artikel ist in folgender Variante leider nicht verfügbar
Keine Abbildung vorhanden für
Keine Abbildung vorhanden

Jill Enfield's Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques [Kindle Edition]

Jill Enfield
5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)

Kindle-Preis: EUR 29,56 Inkl. MwSt. und kostenloser drahtloser Lieferung über Amazon Whispernet

Kostenlose Kindle-Leseanwendung Jeder kann Kindle Bücher lesen  selbst ohne ein Kindle-Gerät  mit der KOSTENFREIEN Kindle App für Smartphones, Tablets und Computer.

Geben Sie Ihre E-Mail-Adresse oder Mobiltelefonnummer ein, um die kostenfreie App zu beziehen.

Weitere Ausgaben

Amazon-Preis Neu ab Gebraucht ab
Kindle Edition EUR 29,56  
Taschenbuch EUR 39,41  



As technology advances in the world of photography, a passionate crowd of professionals, students, and hobbyists is returning to the darkroom in search of a more authentic, handmade feel to their art. Jill Enfield’s Guide to Photographic Alternative Processes shows how to do just that. Packed with stunning imagery, how-to recipes, techniques, and historical information on the evolution of processes, this guide provides the instruction to emulate the ethereal, dream-like feel of alternative processing. 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.

  • Covers alternative processing from its historical roots up through digital manipulation.

  • Showcases the different styles and processing methods of various artists.

  • Includes suggestions for vegan and vegetarian-friendly alternative processing!

Über den Autor und weitere Mitwirkende

Jill Enfield, one of the most experienced and respected hand-coloring artists in the United States, is a fine art, editorial, and commercial photographer. She has taught hand-coloring and non-silver techniques at Parsons The New School for Design, Fashion Institute of Technology, New York University, Long Island University, and the International Center of Photography in New York, as well as at workshops throughout the United States and Europe.


Mehr über den Autor

Entdecken Sie Bücher, lesen Sie über Autoren und mehr


4 Sterne
3 Sterne
2 Sterne
1 Sterne
5.0 von 5 Sternen
5.0 von 5 Sternen
Die hilfreichsten Kundenrezensionen
5.0 von 5 Sternen Besser als alles auf dem deutschen Markt 12. März 2015
Format:Taschenbuch|Verifizierter Kauf
leider gibt es keine bücher zu alternativen prozessen dieses buch ist günstig und hat mir sehr geholfen vorallem da es auch eine fehlerabteilung hat
War diese Rezension für Sie hilfreich?
Die hilfreichsten Kundenrezensionen auf (beta) 4.5 von 5 Sternen  28 Rezensionen
6 von 6 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great for teachers and students of alt process 19. Juni 2013
Von Ronald Cowie - Veröffentlicht auf
Jill Enfields' new book Guide To Photographic Alternative Processes has an impressive depth of information, editorial voice, variety of processes, and excellent examples of contemporary artists using the processes.

The only complaint I would have is the type is small and the paper should be brighter. This might be a reflection of my age and the need for reading glasses. On the plus side, I like how the book is sized to fit easily in a camera bag. I predict several chemistry stains throughout the pages from repeated use.

The topics she covers are: digital negs, fugitive printing (not mug shots), cyanotypes, Salt and albumen prints, Van dyke and other "brown" prints, platinum, wet plate collodion, liquid emulsion, gum printing, transfers and ceramic printing. Lots of stuff and worth the money. As I read each chapter, I noticed she anticipates each question that would come up and provides a concise answer. A guidebook should not be complicated to read.

I need easy to read manuals, full of information and able to pique my curiosity to learn more. My go-to books are Dick Arentz's platinum printing book, the Osterman's wet plate collodion book, and now Jill's book on everything else.

As a teacher, I need an alt process manual that gives more than a thumbnail of the topics I like to cover. My students at NESOP are voracious for alt process information and their contemporary applications. Jill's book does this clearly.

If you are interested in alt processes as an artist, look no further for an easy to read and inspiring road map. If you are a teacher, this book provides a comprehensive and solid amount of information enhances any classroom demonstration while giving the student an excellent source of information outside of class. As I look to revise my syllabus for the fall, I will use the methods found in this book as a guide. I will make this my class textbook because most of the learning occurs outside the classroom when the students are practicing on their own.

An added bonus in the albumen chapter has a great recipe for cheesecake. Waste not!

So, a big thank you goes out to Jill. God bless you, wherever you are.
4 von 4 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen EXACTLY the book I was looking for on Alternative Processes 21. Juli 2013
Von Cheekius Geekus - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
Don't be put off by the choice of the cover photo (which MAY not immediately draw you to this title). This is a WONDERFUL book. In fact, this is a completely rewritten update to Ms. Enfield's earlier book entitled "Photo-Imaging: A Complete Visual Guide to Alternative Techniques and Processes". When asked to compare the two books specifically regarding which one would be best for learning about printing on tiles, Jill's words were "The new book goes further in what you can do with tiles - not just liquid emulsion but cyanotype and gum as well. So - i will leave it to you - either book will do for liquid emulsion." The new book contains much more up to date information and is highly recommended.

You or may not be familiar with Jill Enfield, but she is eminently qualified to write a volume such as this, with 35 years of experience. With all of that experience, I appreciate the balance that she strikes between giving you valuable tips and the fact that she does not generally make very *specific* recommendations - preferring instead that you discover your *own* preferences through experience and experimentation. As an example, I turned in the index directly to the subject of "paper". The subheading "Paper" (found in Chapter 2 on "A Guide to Materials and Techniques" is rather short, but complete. She gives you the basics to identifying paper characteristics and what they will mean for your prints, but does not recommend even a single paper or mill by NAME. She does name a couple of paper suppliers from which one can get catalogs, however. I am fine with this (in fact, I think it wise. An endorsement by a famous practitioner could lead to shortages or a sharp rise in prices for any paper thus specified.) One can easily get many paper recommendations simply by typing in your particular paper question into Google. Jill highlights something that this newbie was unaware of (that papers have a "right" and "wrong" side) and gives a tip on marking the "wrong" side to make identification of cut pieces easy. She also shares her personal path (and part of the "fun" of the process) when she shares: "I personally found my favorites by spending time at art-supply stores and touching everything to see which papers felt good to me. During each trip I would buy a few different kinds, making sure that I could either read the watermark put on the paper by the manufacturer or that I marked on the back of the paper before having the paper packed up for me. Once I got home I would cut the paper down and try it out with different processes." This is just an example of the helpful tone that Ms. Enfield takes as she "takes you by the hand" and gently leads you on a journey that you can take with confidence, while not robbing you of the joys of discovering your own specific path.

She wisely begins with a short (4 page) chapter on "Safety with Chemicals" in which she covers the basics (and the rationale) for such caution and includes subheadings on the subjects of proper ventilation and materials disposal.

Following those two chapters, the Table of Contents contains the following:
3. The Digital Negative Process
4. Fugitive and Not-So-Fugitive Printing (Some History, Anthotypes, Photosynthesis, Lumen Prints, Cool and Different)
5. Cyanotypes
6. Salt and Albumen Prints
7. Van Dyke Brown, Kallitype and Argyrotype Prints
8. Platinum and Palladium Prints
9. Wet Plate Collodion
10. Liquid Emulsion Prints
11. Gum Printing
12. Transfers, Multiple Printing and Other Techniques
13. Ceramics and Photography

I appreciate how each chapter on processes includes a "Troubleshooting" section that briefly lists common problems and their solutions.

Appendices include Conversion Tables, Sources and Websites (nearly a HUNDRED, by my count), a Bibliography, a List of Artists, and a pretty complete Index.

There are only two (small) quibbles that I have with this book. (1) The cover image seems a bit dour for such a wonderful book (which is anything but dour). (2) The page type is fairly small, which may bother older readers. (I'm 54 and think it is fine). Note that choice this makes the book, in reality, a much larger volume (information-wise) than you might think from the number of pages it contains. With a normal type size this would easily be a 400 page volume, and thus be required to cost a lot more. As it is, I believe it is an INCREDIBLE bargain at less than $30.

I highly recommend this volume to anyone interested in one or more of the above listed subjects. I am not familiar with Christopher James' title "The Book of Alternative Photographic Processes", which by all accounts is also excellent, but if you are wanting to start with a book that costs a fraction of that one then I certainly don't believe you can go wrong with this, Jill Enfield's most recent title.

EDIT (7/26): The Chapter on Digital Negatives is a little thin, but then people have written entire books about that subject alone. You don't have to let it intimidate you. For a nice overview of the (pretty simple) process of making a digital negative for Cyanotypes, see this video:
(QuickTime required)

and for a step-by-step breakdown of what you see in that video (along with links to related pages) see:
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Wonderful Resource Book on Non-Silver Printing 23. Oktober 2013
Von Sparky - Veröffentlicht auf
This book is a beautiful, well researched guide to non-silver printing. It
includes historical background information about the various processes. The
author's approach is very personal in that she describes her own experiences
using these techniques.
> She includes photographs from a large variety of both historical and
contemporary photographs. One unique aspect is she also talks about using some
of these processes on ceramics.
> The explanations are clear and easy to understand. She includes recipes and
instructions for each technique she describes. This is a valuable resource book
for anyone interested in non-silver process.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Jill Enfield's book is like a cookbook for photographers. 29. Oktober 2013
Von rfotofolio - Veröffentlicht auf
Jill Enfield's new book, Guide to Photographic Alternative Processes is like a cookbook for photographers.

Her book has been thoughtfully laid out. From its size to the color of the pages, you see the care that went into the making of this book. She gives us history, formulas , troubleshooting techniques, practical advice in a logical layout. This book will be helpful to photographers wanting to try a new process, and teachers and students alike.

Working through the chapter, "The Digital Negative Process" on a Sunday afternoon, I found the instructions easy to follow and was pleased with the results. Jill does not over complicate her instructions and I did not feel as if I had to be a Photoshop expert to come away with a good digital negative.

In its thirteen chapters the book explores the following topics,

Safety and Chemicals

A Guide to Materials and Techniques

The Digital Negative Process

Fugitive and Not-So-Fugitive Printing


Salt and Albumen Prints

Van Dyke Brown, Kallitype, and Argyrotype Prints

Platinum and Palladium Prints

Wet Plate Collodion

Liquid Emulsion Prints

Gum Printing

Transfers, Multiple Printing and Other Techniques

Ceramics and Photography

The book features many beautiful examples of work not only from Jill, but from many artist such as, Binah Danh, Dan Burkholder, France Scully Osterman, Kaden Kratzer, Kate Missett, Jean Miele, Martha Cassnave, Mark Osterman, Peter Liepke and many others.

Her sources and website list is very thorough and helpful. I was able to find certain supplies that I had failed to locate while doing my own research.

This book will inspire anyone who loves photography and will have you wanting to try your hand at creating something "new".
1 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Excellent book. 8. Juli 2014
Von S. Grant - Veröffentlicht auf
I've found this book an excellent guide and reference for alternative process photography. Sufficient detail, explained in a clear understandable manner. Ms. Enfield's experience as a photographer, artist, and educator all show in the book. When reading I get the feeling the I am in her class and knowing the she has heard all of the questions before and she will present the information that will allow my growth as an artist/photographer. Yes the print and a few of image are on the small side, but when you consider the amount of information in the book and it is over 270 pages with the fount and image as is you are faced with the only other option being having to carry around a much larger and heaver book. I'll go with the small print and save my arms. I put "Jill Enfield's Guide to Photographic Alternative Processes" as one of my two favorite in my collection of photography books. The other being Bruce Barnbaum's "The Art of Photography". The issue with the small print is the only reason the I don't give a full five stars, and I rarely give anything five stars anyway.
Waren diese Rezensionen hilfreich?   Wir wollen von Ihnen hören.
Kundenrezensionen suchen
Nur in den Rezensionen zu diesem Produkt suchen

Kunden diskutieren

Das Forum zu diesem Produkt
Diskussion Antworten Jüngster Beitrag
Noch keine Diskussionen

Fragen stellen, Meinungen austauschen, Einblicke gewinnen
Neue Diskussion starten
Erster Beitrag:
Eingabe des Log-ins

Kundendiskussionen durchsuchen
Alle Amazon-Diskussionen durchsuchen

Ähnliche Artikel finden