1. Intro to 3 Alternative Photography Techniques
Platinum/Palladium
Cyanotype
Polaroid Transfer

2. Intro to 3 Alternative Photography Techniques
CYANOTYPE

3. Cyanotype | Blue Print blue· print blo͞oˌprint/
a design plan or other technical drawing
draw up (a plan or model).
"a neatly blueprinted scheme"

4. CyANotype – Sir John Herschel
Invented by British Scientist & Astronomer, Sir John Herschel
Herschel’s uses were mainly for reproducing his notes & diagrams
Published his findings in “The Royal Society”, the world’s first science Journal.
Portrait of Sir John Herschel by
Julia Margaret Cameron

5. Cyanotype One of the simplest and archival photographic processes
produces what is commonly called “Architect’s Blueprints”
Paper is made “photo-sensitive” by coating it with a solution of
ammonium iron (II)
and
potassium ferricyanide
Once exposed to sunlight, only plain tap water is required to develop image

6. CYANOTYPE – Anna Atkins 1799- 1871
Anna Atkins, English botanist is credited with publishing the first book of Cyanotypes. She realized that Herschel’s discovery could also record her plant specimen’s for others to study. Photographs of British Algae: Cyanotype Impressions

7. CYANOTYPE – Vicki Reed Photographer
Vicki Reed, of Wisconsin, uses Alt Processes in her work.
This image is from her
“ What We Leave Behind” Series, which is now on tour in Japan.
This is a “life-size” cyanotype of her father.
He is surrounded by his own tools, created using a treated bedsheet, outside, on the grass.
Handyman by Vicki Reed – courtesy of Vicki Reed

8. Intro to 3 Alternative Photography Techniques
Platinum
Palladium

9. Platinum/Palladium | Kerik Koulis
Lundy Canyon, 1993,
4x5 platinum/palladium print.
Photo courtesy of Kerik Kouklis.

10. Platinum/Palladium Lundy Canyon, 1993, 4x5 platinum/palladium print.
The Platinum Printing Process - from Tillman Crane
For people who collect photographs, platinum/palladium prints are known for their beauty, archival stability and unique, one-of-a-kind print statement. Made from the salts of platinum and palladium, these prints are also called “platinotypes” or “platinum” prints. Platinum and palladium are noble metals on the Periodic Table and are resistant to oxidation. The platinum salt emulsion is imbedded into the fiber of the paper during the printing process.
As with most historical photographic processes, a platinum print is made by placing the negative and emulsion-coated paper in direct contact. Therefore, the size of the photographic print is equal to the size of the negative.
Platinum prints have a different “look” from silver gelatin or digital prints. All platinum prints have a matte, not glossy surface, because the sensitizer is absorbed into the paper rather than sitting on the surface. A platinum print also has a more gradual tonal change from black to white. To the eye accustomed to the punch of a silver gelatin print, a platinum print will often feel “softer” or lower in contrast.
In reality there are actually more steps between pure black and pure white in platinum prints than in a silver gelatin print. This contributes to the deeper, richer feeling you experience when looking at these prints.
Lundy Canyon, 1993,
4x5 platinum/palladium print.
Photo courtesy of Kerik Kouklis.

11. Platinum/Palladium Lundy Canyon, 1993, 4x5 platinum/palladium print.
The Platinum Printing Process - patented in England, 1873 A suitable 100% cotton rag paper is hand coated with a solution containing platinum and/or palladium salts and an iron oxalate sensitizer. After drying the coated paper in heated air, it is exposed with a photographic negative to intense ultraviolet light, which causes a reduction of the platinum or palladium salts to pure metal. The light required is approximately one million times that needed for traditional black and white or color photography. This intensity of light cannot be projected through an enlarger. The negative must be placed directly on to the paper as a contact print. Therefore, the size of the printed image is determined by the size or format of the negative.
Lundy Canyon, 1993,
4x5 platinum/palladium print.
Photo courtesy of Kerik Kouklis

12. Platinum / Palladium
Preparing your Image with the Proper Contrast for Making a Negative
Since inkjet printers are not designed to make negatives,
images need to be specifically prepared,
which necessitates changing the image’s contrast before printing.
Using a Photoshop Curve is an ideal way to achieve this end. 
ROBERT HIRSCH article
DAN BURKHOLDER graph/illustration

13. PLATINUM / PALLADIUM FROM: The Platinum Print
The Process
A short word here about terminology.  So far I’ve used the term “platinum print” fairly loosely.  In fact most “platinum” prints today are made with a combination of platinum and palladium salts, or even 100% palladium.  I started with a combination of 50% platinum and 50% palladium but quickly moved to 1/3 platinum and 2/3 palladium when I realized that the tonality was exactly the same – and palladium is significantly cheaper than platinum.  Eventually I switched entirely to palladium (pt/pd).
As an interesting aside, the longest pt/pd thread I’ve seen so far on any of the discussion groups that cover “Alt.process” dealt was the ethics of using the term “platinum” to describe the print when most of the metal used was not, in fact, platinum.
In a nutshell, all you have to do is:
1.      Print a digital negative on clear film (such as Pictorico)
2.     Coat a sheet of paper with a solution that’s a combination of palladium salts, Ferric Oxalate which provides the sensitivity to the UV light and a restraining agent which helps manage the contrast.
3.     Place the negative over the paper and using a spring frame expose to ultraviolet light.
4.     Develop, rinse, clear, wash and dry.
FROM: The Platinum Print
January 13, 2009 by Michael Reichmann

14. PLATINUM / PALLADIUM FROM: The Platinum Print
January 13, 2009 by Michael Reichmann

15. Intro to 3 Alternative Photography Techniques
POLAROID
TRANSFER

16. POLAROID TRANSFER Photos courtesy of: Nan Melville .com (top) and
By using a Vivitar Lightbox with a Polaroid Film Back attached, we are going to take a Polaroid Photo of your 35mm slide ……and throw the photo away BUT Keep the Negative!
Photos courtesy of:
Nan Melville .com (top) and
Alternative Photography . com

17. POLAROID TRANSFER Photos courtesy of: Nan Melville .com (top) and
Next we will center that negative
on to a piece of damp
water color paper
Using a brayer (roller) we
will roll the negative into the paper.
After carefully drying the paper
using a hair dryer, we will
remove the negative.
Photos courtesy of:
Nan Melville .com (top) and
Alternative Photography . com

18. POLAROID TRANSFER Polaroid Transfers by: Nan Melville . com
Rumor has it, that this all started by accident back in the 60’s! Re-Purpose those Ektachrome & Kodachrome 35mm slides Info fun water-colour like prints. Each one will always be a little different, when using the same slide.
Polaroid Transfers by:
Nan Melville . com

19. Polaroid transfer Photos by: Nan Melville .com
VOILA! You now have your own piece of photographic art!
Photos by: Nan Melville .com

20. CreditS | References Cyanotype:
Freestone Print Company FreestonePrintCo.com
| Rocket Blueprint
The Book of Alternative Photographic Processed
Photographer
Platinum/Palladium Photographer

21. CreditS | References Platinum/Palladium:
Michael Reichmann - The Platinum Print, January 13, 2009
Kerik Kouklis Photography
ROBERT HIRSCH article
DAN BURKHOLDER graph/illustration

22. CREDIT | Reference POLAROID TRANSFER photos: REFERENCE BOOK:
Alternative Photography.com
Nan Melville.com
REFERENCE BOOK:
“The Photographers Guide to
POLAROID TRANSFER, Step-by-Step”
Christopher Grey /Amherst Media.com
ISBN: $29.95
gretchen dorian 2017