I’ve been busy recently.
Among several other large projects, I am still working on my textbook for Oxford University Press. I hope to have a completed draft manuscript submitted by April or May.
I’ve posted information about this book elsewhere on these pages.
I’ve spent a lot time recently finding pictures to illustrate the text. I’ve spent several days in the last months at the George Eastman House in Rochester, selecting pictures from that collection (all historical examples are coming from this collection).
And then I’ve been contacting people for more contemporary examples of the different processes detailed in my text.
I am extremely thrilled with the photographers I’ve gotten to contribute to this book!
Thus far, everyone I’ve contacted has been so supportive, and more than willing to contribute.
So, above, in order, I’ve collected images from William Henry Fox Talbot (one of many pictures coming from the Eastman House collection), Brian Arnold (I have to include some of my own pictures!), John Coffer, Accra Shepp, Clarissa Sligh, Dan Estabrook, and Emmet Gowin.
I’ve collected cyanotypes, wet plate collodion, platinum, gum bichromate, liquid light, van dyke browns, salted paper prints, and a number of other processes.
I am getting quite excited by how this book just might turn out!
And it’s an honor to have these pictures with my text and along side my own photographs.
I won’t go too far into the photographs I’ve collected from the Eastman House just now, but perhaps I’ll post some of those later.
The pictures posted here aren’t always the exact images I’ve gathered from the different contributors, but each of these photographers will be included in my book.
The next images, again in descending order, are by Andrea Modica, Tanya Marcuse, Tony Gonzalez, Bea Nettles, David Prifti, and then a gum print I made 20 years ago. This certainly isn’t one of the better images posted here, but it is one of the first photographs I ever printed, and one really at the heart of this book.
Some processes are harder to illustrate than others (wet plate is so prevalent these days!), but I keep working to find some good contemporary examples of each of the processes detailed in my book.
There will also be a few photographs by my students, but again perhaps I’ll post those later.
There is so much to choose from, and I am trying to find not only examples from great photographers, but also to find photographs that promote philosophies of photography akin to my own.
And it’s quite likely I’m forgetting somebody else I’ve contacted now.
These last few images are by Tom Delooza (a former student of mine), John Wood, Brenton Hamilton, Lois Conner, and Joni Sternbach. Then below is a picture by Mark Osterman.
Once again, the support I’ve received from all of these artists has been truly remarkable, and I know offer a thanks to each of them.
The title of the book is still being discussed with my editor, but what I want is Photographic Visions, Photographic Possibilities: A Manual of Alternate Processes in Photography. And I want this picture of mine – an illustration of an eye ball in an old medical textbook – on the cover of the book.
Also at the heart of this book is Frank Gohlke, whom I met many years ago. Meeting Frank started my life-long interest in photographic printmaking, and he deserves some thanks here as well.