Alternative photographic processes : evidence of the photographer's hand / by Brady Wilks.

Enhanced descriptions from Syndetics:

Alternative Photographic Processes teaches techniques, both analog & digital, allowing artists to bring a personal touch through manipulation of a photograph, the negative, and the print. This book stands apart from recent publications on alternative processes by presenting a range of new approaches and methods to achieve popular techniques, as well as providing step-by-step guidance for an array of unique techniques meant to inspire artists working in various mediums. Through detailed guidance, working artist examples, and info about the contemporary use of these processes, this book will provide instruction for students, educators, and artists to expand their creative toolbox.

Table of contents provided by Syndetics

• Dedication (p. v)
• Introduction (p. xi)
• About This Book (p. xiii)
• Acknowledgements (p. xv)
• Chapter 1 Capture Techniques (p. 3)
• 1.1 Introduction (p. 3)
• 1.2 Glass Manipulation (p. 4)
• 1.3 Veils and Obscuring (p. 8)
• 1.4 Lens and Camera Modifications (p. 11)
• 1.5 Scanner-Based Image-Making (p. 16)
• Chapter 2 Film and Transparency Manipulation for Wet Lab Processes and Scanning (p. 25)
• 2.1 Film and Transparency Manipulation (p. 25)
• 2.2 Scanning (p. 34)
• 2.3 Inkjet Transparency Film and Processes (p. 35)
• 2.4 Alternative Enlargements (p. 45)
• Chapter 3 Substrate Acquisition and Considerations (p. 51)
• 3.1 Aged Books and Paper (p. 51)
• 3.2 Reclaimed and Scrap Wood (p. 53)
• 3.3 Found Objects (p. 55)
• 3.4 Sheet Metal (p. 58)
• 3.5 Stone and Tile (p. 60)
• Chapter 4 Substrate Manipulation (p. 65)
• 4.1 Metal (p. 65)
• 4.2 Wood (p. 69)
• 4.3 Glass and Mirrors (p. 71)
• 4.4 Paper (p. 72)
• 4.5 Fabrics, Ceramics, and Other Materials (p. 75)
• Chapter 5 Transfers and Lifts (p. 81)
• 5.1 Acrylic Gel Lifts/Transfers (p. 82)
• 5.2 Wet Inkjet Transfers (p. 98)
• 5.3 Contact Paper and Tape Adhesive Transfers (p. 102)
• 5.4 Other Wet Material Transfers and Lifts (p. 104)
• Chapter 6 Print and Image Manipulation (p. 115)
• 6.1 Folded Prints (p. 115)
• 6.2 Assemblages, Fractured Composites, and Irregular Borders (p. 116)
• 6.3 Sewing, Threading, and Embroidery (p. 119)
• 6.4 Staining (p. 120)
• 6.5 Solvent Blotting (p. 120)
• 6.6 Hand-Coloring, Tinting, and Burnishing (p. 121)
• 6.7 Distressing (p. 123)
• Chapter 7 Appropriated Art, Collage, and Cameraless Imagining (p. 129)
• 7.1 Photo Collage (p. 129)
• 7.2 Finding and Manipulating Old Photos (p. 132)
• 7.3 Incorporating Photographs into Collage (p. 135)
• 7.4 Chemigrams (p. 136)
• Chapter 8 Waxing, Encaustic, and Resins (p. 149)
• 8.1 Waxing for Paper Negatives (p. 149)
• 8.2 Encaustics (p. 149)
• 8.3 Entombing (p. 153)
• 8.4 Resin for Preservation and Presentation (p. 153)
• Chapter 9 Installation, 3D Object Photography, and the Performance (p. 161)
• 9.1 3D Paper-Print-Based Sculptures (p. 161)
• 9.2 Photographs and Found Objects (p. 163)
• 9.3 Photographs and Installations (p. 167)
• 9.4 Integrating Images into 3D Objects and Sculptures (p. 168)
• 9.5 Performance Photography (p. 170)
• Chapter 10 Alternatives to Finishing and Presentation (p. 175)
• 10.1 Print Finishing and Coatings (p. 175)
• 10.2 Framing (p. 180)
• 10.3 Handmade Portfolios and Presentation Boxes (p. 185)
• 10.4 Projection and Displays (p. 190)
• 10.5 Alternatives to Signatures (p. 190)
• Resources (p. 193)
• Process List and Practicing Artists (p. 197)
• Index (p. 205)

Author notes provided by Syndetics