Those seeking to express themselves through art find hundreds of ways to do it. Visual art alone, for instance, boasts an abundance of approaches, from photography to graphics, and beyond. In addition to the rather popular art forms, there are also numerous unique alternatives, often less familiar to the general public, such as gum bichromate, kallitype, or chrysotype, just to name a few.
All three of the aforementioned are alternative photographic processes, examples of which can be found on a public Facebook group titled exactly that. The group consists of over 40 thousand enthusiasts of different kinds of methods, who share their beautiful artwork with the world. We have gathered some of their best examples on this list for you to marvel at, so wait no longer and scroll down to find the unique images.
#1 Mary With Radiant Leaf Halo 2022 Guyana Chestnut Leaves
Image credits: Sean Mabin
#2 Cows. Duotone Cyanotype
Image credits: Dorota Bronikowska
#3 Cyanotype Prints
Image credits: Ben Felten
#4 Leon 5x7“ Salted Paper Print Collodion Wetplate Negative
Image credits: Maximilian Zeitler
#5 Toned Cyanotype. Self Portrait
Image credits: Julia Matveeva
#6 Man In Flowers #11 - Polaroid Lift Emulsion By Ava Bob
Image credits: Ava Bob
#7 2011, Cyanotype Over Multiple Color Carbon Tissue
Image credits: 簡永彬
#8 Oil Print (Rowlins) 27 X 47 Cm. Paper For Watercolors 32 X 50 Cm. Ink For Printing In A Printing House (Offset)
Image credits: Alexandr Prymak
#9 Nepenthes. Kuching, Malaysia. Platinum Palladium Print On Vellum, Backed By 24ct Gold. 15x15cm
Image credits: Barrie Watts
#10 Environmentally Friendly Alternative To Gum Bichromate Printing. Printmaker’s Friend. Size 16x24cm. Photo By Max Lissenden
Image credits: Calvin Grier
#11 Toned Cyanotype. Self Portrait
Image credits: Julia Matveeva
#12 My First Ever Attempt At Cyanotype Printing
Image credits: Ken Cole
#13 Iron-Process Print
A year ago, I made my first iron-process print, from a digital negative of an image of especial importance for me. A year and many hundreds of prints later, I circled back and reprinted it this week. I still have work to do, but I am reaching a point where I feel as if I am reaching the process's potential. This print: Walking Piper (2021), a platinum-toned kallitype printed onto Revere Platinum paper
Image credits: Sanders McNew
#14 Waxing A Couple Of Test Salt Prints Made Directly From 8x10 Dryplate Negatives
Image credits: D Anson Brody
#15 Cyanotope , Bleached And Toned In Green Tea . Developed In A Dilute Vinegar Solution 20ml/L
Image credits: Andrew Turner
#16 Mike Jackson Creates The Illusion Of Geometric Sculptures Using Just Controlled Light
Using traditional darkroom processes with minimal equipment, British artist Mike Jackson creates the illusion of geometric sculptures using just controlled light. Often the work is revealed to the artist himself only upon its last stage of development, requiring Jackson to apply the practice of afterimage memory, relying on drawn guidelines for accurate placement. Jackson creates a distinct camera-less aesthetic by viewing silver gelatin paper as two- dimensional clay shaped by directed light or as a “bell jar ready to be filled” with emotional responses to subjects. His sculptures of light merge the real with the fantastical, pushing photography into a world of three-dimensionality
Image credits: Mike Jackson
#17 Bruyère, Cyanotype
Image credits: Yves Debruyne
#18 Street Of ... #1 - Cyanotype Toned By Ava Bob
Image credits: Ava Bob
#19 Early Morning Under Howrah Bridge. Kolkata, India. Platinum Palladium Print On Hahnemuhle Platinum Rag. 24x36cm
Image credits: Barrie Watts
#20 Some Of The First Attempts At Platinum Palladium Over Color Pigments
I Separated The Colors And Made The Negative For The Blacks. ?bostick And Sullivan Na2 Digitial ?hahnemuhle Platinum And Arches
Image credits: Manuel Castañeda
#21 Portrait Through Layered Paper (Van Dyke Brown)
Image credits: Paul Alexis
#22 Here Is A Nautical Ship Scene I Created And Then Captured In Camera Onto The Underside Of Clear Domed Glass A Few Years Ago, The Image Measuring 35mm In Diameter
Yesterday, I made the sterling silver filigree setting at my jeweler's bench and carefully set the ambrotype. Making these tiny collodion images is a labor of love. It takes a certain intensity of work in a category all it's own, which is a challenge to maintain. For me, it's a much more difficult process to capture images on small glass pieces or stone, rather than, for example, a larger 4x6" plate. Here are the reasons why for those who have an interest. First, it's a challenge to hold on to the tiny piece while pouring on the collodion and not getting my fingers on the poured substance, as many of you in this group know collodion in it's delicate form, while wet. Each finger print is much more consequential on a smaller ambrotype vs. a larger image. Secondly, focusing in camera onto such a tiny surface takes a lot of time and patience and it's a much easier task when working with a larger, regular sized image. The focus really counts on a tiny image. Thirdly, pouring developer on a small surface, many times inhibits the developer flow, as it's optimal to have the liquid flow around the plate for 9 to 12 seconds. Larger plates allow for easier movement of the larger amount of liquid. I hope this is interesting information for some of you photographer geeks like me. ? I've cut down on making these little collodion beauties, not because I don't enjoy it, but because it truly takes a lot of intense focus, time and effort.
Image credits: Angie Pember Brockey
#23 Palladium
Image credits: Gary Geboy
#24 Eco-Polymer Print. Made With Printmaker’s Friend Photo By Martin Bennie Photography
Image credits: Calvin Grier
#25 Just Playing Around With Watercolor To Some Of My Cyanotypes
Image credits: Annette Guy
#26 Anjali 5x7“ Saltprint Collodion Wetplate Negative
Image credits: Maximilian Zeitler
#27 Llandudno Pier Tiny Cyanotype
Image credits: Mary Thomas
#28 Cyanotype
Image credits: Gary Geboy
#29 1991,greece Hand Color On Gumoil Print Farbiano F5 100x70cm Image Size 60x90cm
Image credits: 簡永彬
#30 First Print I’m Happy With Salt Printing
Lots of trial and error, lots of learning, with much more to learn. 8x10 dryplate negative, gelatin sized kosher salt, gold toned, renaissance waxed.
Image credits: D Anson Brody
#31 Platinum Palladium Print On Vellum, Backed With 24ct Gold Leaf. Iceland 2022
Image credits: Barrie Watts
#32 Palladium, Gold Leaf
Image credits: Gary Geboy
#33 The Shepherd In The Carpathians. Lith Print 30 X 30 Cm. Printed On Paper Fomabrom Variant 112
Image credits: Alexandr Prymak
#34 Toned Cyanotype
Image credits: Julia Matveeva
#35 History Of Light Hanji Silver Print On Korean Paper Blad & Ilford Fp4
Image credits: David Zhornski
#36 Print Made With Printmaker’s Friend Moon- Brian Shelton Upper Right Tree- Richard Hildred Lower Left Tree- Borut Peterlin Stream- Javier Hinojosa
Image credits: Calvin Grier
#37 Adox Lupex Paper Is A Stunning And Unique Currently Available Silver Emulsion Paper
A true "contact"printing paper, it requires a lot of light for darkroom exposure. I take the lens out of my enlarger and expose through a paper negative, using daylight LED bulb x 8 minutes! Dry-exposure lumen yields these rich orange-reds. Wet-exposure gives greens!
Image credits: Tiina Kirik
#38 George School Woods: Iron Toned Silver Print
Here is iron toned Silver Print I made in the 1990s on conventional photographic paper. They are not cyanotypes, as they start out as silver black and white images and are toned afterwards. AS FOLLOWS: The process requires the silver gelatin image (on paper or film) to have a pre soak in water for several minutes. The older the sample the longer the pre soak. Mix 5 grams of potassium ferricyanide and 5 grams ferric ammonium citrate in 500 ml distilled water. Then add 10 ml glacial acetic acid and mix thoroughly. Leave the print to be toned in this solution by inspection. It will tone the lighter areas first and then finally the higher density silver. Wash for no less than 10 minutes
#39 Cyanotype, Paper Fabriano 100% Cotton
Image credits: Julia Matveeva
#40 Palladium
Image credits: Gary Geboy
#41 Cyanotype With Black Tea And Hydrogen Peroxide
Image credits: Leszek Wesołowski
#42 Lumenprint On Vintage Photographic Paper
Image credits: Lisa Bakke Art
#43 Finishing Up The Inside Of My Gold Box, Gum Bichromate And Gold Gesso On Japanese Sumi Paper.. Now The Book/Folio
Image credits: Michael Korol
#44 Cyanotype, Watercolour Paper Digital Negative From A 35mm Shot
Image credits: Maria Georgiadou
#45 I Designed And Built My Own Camera For Ancient Processes. These Are The First Results Using The Process Called Gumoil
Image credits: Walter Elsner
#46 I’ve Been Going Through My 4x5 Negs Looking For Good Candidates For Pt/Pd Printing. Crown Graphic, Hp5+, Na2 Method, Hpr
Image credits: Lillian Sly
#47 Palladium
Image credits: Gary Geboy
#48 Collotype Print, 12x18 Cm
Image credits: Taras Perun
#49 27x40cm Gum Arabic And Pigments On Watercolorpaper
Image credits: David Mulnard
#50 Palladium, Gampi Torinoko
Image credits: Gary Geboy
#51 8x10 Platinum Palladium
Image credits: Henri MoXhet
#52 Oil Print (Rowlins) 32 X 42,5 Cm. Paper For Watercolors 35 X 50 Cm. Ink For Printing In A Printing House (Offset)
Image credits: Alexandr Prymak
#53 Toned Cyanotypes, Paper Fabriano Satinata 100% Cotton. Size 30*40cm (Frame With Acrylic Glass)
Image credits: Julia Matveeva
#54 Cyanotype From Tracing Paper Negative Toned With Wine Tannin
Image credits: Wayne Harney
#55 First Full Sized Salted Paper Print
Image credits: Dan Hopkins
#56 "Girl With A Bicycle" Oil Print (Rawlins) 27 X 40 Cm. Watercolor Paper 35 X 43 Cm
Image credits: Alexandr Prymak
#57 Carpatian Mountains, June 2007, Maricheika Lake 28 X 37 Cm Gum Bichromate Print On Arches Aquarelle 300 Gsm, Cmyk
Image credits: Taras Perun
#58 I Am New To Chimigrams And I Don’t Even Know If These Are Chimigrams But I Like How They Turned Out
Image credits: Malin Czajor
#59 Oil Print (Rowlins) 31 X 46 Cm. Paper For Watercolors 35 X 50 Cm. Ink For Printing In A Printing House (Offset)
Image credits: Alexandr Prymak
#60 Mediobrome Print 18x24 Cm. Silver Gelatin On Watercolor Paper + Oil Paints
Image credits: Tatanka Yotanka
#61 'welcome' Early Morning With Gray, Smoky Skies. Gum Over Cyanotype Over Ziatype
Image credits: Lisa Brussell
#62 Experimenting With A Different Way Of Applying My Cyanotype Mix!
Image credits: Thomas Moore
#63 Cyanotype On 100% Cotton. This Is The Most Crisp Print I've Been Able To Get So Far?
Image credits: Samantha Ardaiz
#64 Turkeys On The Field. Oil Print (Rowlins) 31 X 47 Cm. Paper For Watercolors 34 X 50 Cm. Ink For Printing In A Printing House (Offset)
Image credits: Alexandr Prymak
#65 Lumenprints
Image credits: Lisa Bakke Art
#66 Wet Cyanotype
Image credits: Paulina Skonieczna
#67 New Cameraless Work Hanging Up To Dry - 20”x24” On Fomatone
Image credits: Mike Jackson
#68 Photograph Taken With Ancient Process Camera, Using Gumoil
Image credits: Walter Elsner
#69 Hand Made With Love. This Camera Is Made For Circular Plates, The Plate Size ( Collodion Or Dageurreotype ) Is 14 Cm. Diameter
Image credits: René Smets
#70 Oil Print (Rowlins) 21 X 29 Cm. Paper For Watercolors 26 X 35 Cm. Ink For Printing In A Printing House (Offset)
Image credits: Alexandr Prymak
#71 American Agave (This Is My First Tea Toned Cyanotype)
Image credits: Luke JP Guerri
#72 Bailey Ridge Trail (2022), A Platinum-Toned Kallitype Printed This Morning Onto Revere Platinum Paper
Image credits: Sanders McNew
#73 Gum Bichromate Print On Saunders Waterford 190gsm, 24x24 Cm, Cmyk
Image credits: Taras Perun
#74 Classic Cyanotype, But For Me It's The First ? (Updated With A Non-Yellow Photo)
Image credits: Gonzague Jouffroy
#75 France After A Long Day In The Studio, 1992
Came upon this black and white contact print the other day. I took it in our skylight studio that was built in a corner of the George School greenhouse, back in Pennsylvania. She didn’t want to sit for the exposure but I’m glad she did. Has never been exhibited, just a keepsake for me. The hands are bright white because the latex gloves she was wearing were light blue which photographs white in early photographic processes
Image credits: Mark Osterman
#76 Boats Of Essaouira (Collage). Gum Bichromate Cmyk 5 Layers 30 X 30 Cm. Fabriano Artistico Paper
Image credits: Alexandr Prymak
#77 Palladium
Image credits: Gary Geboy
#78 Simone Klimmeck 24x30cm Salted Paper Print Collodion Wetplate Negative
Image credits: Maximilian Zeitler
#79 Palladium
Image credits: Gary Geboy
#80 Gouville 2. Bichromated Rubber
Image credits: Michel Lersy
#81 Platinum Palladium Print
Image credits: Andreas Bekas
#82 Gouville 4. Bichromated Rubber
Image credits: Michel Lersy
#83 Cyanotype On Watercolor Paper
Image credits: Sergey Starostov
#84 Palladium, Gold Leaf
Image credits: Gary Geboy
#85 Supti, Anthotypes (And One Potassium Bichromate Print)
Top row, L-R: Blackberry, hibiscus, kale 2nd row: Chili arbol, tumeric with borax, potassium bichromate print 3rd row: Balsamic vinegar, chili guajillo, blueberry 4th row: Chili pasilla, mustard greens, cayenne pepper
Image credits: Keith Yearman with Taslima Alam
#86 My First Cyanotype, Shown By A Wonderful Teacher And Friend Wendy Using One Of My Favourite Portraits On 35mm
Image credits: Stephanie Popoola
#87 Gum Bichromate Print On Saunders Waterford 190gsm, 24x24 Cm, Cmyk
Image credits: Taras Perun
#88 2022, Student Work Color Pencil On Cyanotype Print Taiwan Taipei
Image credits: 簡永彬
#89 8x10 Platinumpalladium Print
Image credits: Henri MoXhet
#90 Silver Gelatin Print On Washi Paper (26g) Iroko Framed 180x73cm Biarritz, France
Image credits: Nicolas Lahoun
#91 Palladium, Gold Leaf
Image credits: Gary Geboy
source https://www.boredpanda.com/alternative-photographic-process/
ConversionConversion EmoticonEmoticon