The Experimental Darkroom: Contemporary Uses of Traditional Black & White Photographic Materials by Christina Z. Anderson is a landmark book in the field of alternative process photography. It presents a deep dive into the creative possibilities of traditional black-and-white photographic materials, while showcasing the innovation and experimentation driving contemporary photography practices. If you’re passionate about photography, especially non-traditional methods, this book is an essential guide to understanding the vast landscape of alternative processes and techniques.
The Rise of Alternative Process Photography
Alternative process photography refers to techniques outside of mainstream digital or silver gelatin printing. Historically, these processes were the foundation of photographic art before the advent of modern technology. Processes like cyanotype, tintype, and gum printing were once central to the craft of photography, but with the rise of digital tools, many of these methods fell by the wayside. In recent years, however, there’s been a resurgence of interest in these historical techniques, with contemporary photographers using them to push creative boundaries.
The Experimental Darkroom taps into this growing trend, offering both a technical manual and a source of inspiration. Anderson guides readers through techniques ranging from photograms to mordançage, making the case that today’s photographers have an unprecedented opportunity to experiment with black-and-white materials and processes in non-traditional ways.
Introduction to the Experimental Darkroom
The book is divided into five distinct parts, each focusing on different aspects of experimentation in alternative process photography. From cameraless experiments to printing methods and advanced manipulations of finished prints, The Experimental Darkroom provides photographers with a roadmap for exploring new creative avenues.
The book opens with a reflection on the unique characteristics of the silver gelatin darkroom. Anderson stresses that while pristine black-and-white prints were once the standard, today’s darkroom is often more about experimentation than accuracy. Instead of simply documenting the world, many photographers now use these processes to create abstract, emotionally evocative images. This change in mindset reflects the broader evolution of photography—from a medium primarily for documentation to one of artistic expression.
Part One: Cameraless Experimentation
The first part of the book delves into cameraless photography, an essential area of alternative process photography. This includes methods like photograms and clichés verre, which involve placing objects directly onto photosensitive materials and exposing them to light.
Photograms and Clichés Verre
Photograms are a simple yet powerful technique where objects are placed on light-sensitive paper and exposed to light. The resulting image is a direct shadow of the objects, creating an abstract, high-contrast image. Anderson explains how photographers can manipulate exposure times, paper types, and light sources to create a variety of effects.
Cliché verre is another fascinating process that combines drawing and photography. Artists draw or etch images onto a glass plate, which is then used to make a photographic print. This method opens up a range of creative possibilities, blending the tactile qualities of drawing with the ethereal qualities of photography.
Lumen Prints
Lumen printing is a variation of the photogram technique, but instead of using standard photographic paper, it uses old, expired, or alternative papers. The images are created by exposing the paper to sunlight and then processing it in a way that fixes the colors and patterns developed by the sun’s interaction with the paper and objects placed on it. Anderson provides tips for experimenting with toning and digital negatives to enhance these prints.
The Chemigram
Chemigrams involve applying resists (like varnishes or waxes) to photosensitive paper and then developing the paper in a chemical bath. The resists protect certain parts of the paper from developing, resulting in bold, abstract images that can range from soft gradients to harsh contrasts. Anderson shares techniques for creating chemigrams, as well as ideas for combining chemigram techniques with other processes for even more unique results.
Part Two: Camera Experimentation
Moving from cameraless methods to camera-based experimentation, Anderson explores alternative uses of cameras and lenses, including pinhole and zoneplate photography, as well as the use of unconventional cameras like the Holga.
Pinhole and Zoneplate Photography
Pinhole photography is one of the oldest photographic techniques, using a tiny hole in place of a lens to create an image. The result is a dreamy, soft-focus image that often has a surreal quality. Anderson provides step-by-step instructions on how to create your own pinhole camera, calculate exposure times, and process the resulting images.
Zoneplate photography is a lesser-known technique that uses a diffraction-based optical element to create images. The effect is similar to pinhole photography, but with more pronounced halos and soft edges. This section offers valuable advice for photographers looking to experiment with the ethereal effects of zoneplate photography.
The Holga Camera
The Holga is a cheap, plastic camera that gained a cult following due to the unique images it produces. With its plastic lens, light leaks, and unpredictable focus, the Holga creates images with a lo-fi aesthetic that many photographers find appealing. Anderson discusses various techniques for working with the Holga, including how to manipulate its limitations to create striking, artistic photographs.
Part Three: Printing Experimentation
In the third part of the book, Anderson explores innovative printing techniques, offering photographers new ways to manipulate prints during the development process.
Chromo and Lith Printing
Chromo, or chromogenic prints, are full of vibrant, unexpected colors. Anderson guides readers through the chromo process using different chemicals, paper types, and exposure times. Lith printing, on the other hand, is a monochrome process that results in high-contrast prints with soft highlights. Anderson explains how to achieve the best results by carefully controlling the development process.
Liquid Emulsion and Modern Tintype
Liquid emulsion allows photographers to apply photosensitive chemicals to a variety of surfaces, from glass to metal to fabric. This opens up endless possibilities for creating one-of-a-kind images. Modern tintype, a process revived from the 19th century, is also explored in detail. Anderson provides tips on how to achieve a contemporary look using these historical methods.
Part Four: Finished Print Experimentation
The fourth part of the book is where Anderson really encourages photographers to push the boundaries of what a photograph can be. This section focuses on manipulating prints after they’ve been developed.
Mordançage
Mordançage is a French process that involves using chemicals to lift the emulsion from the surface of a print, allowing the photographer to manipulate it in various ways. The result is often an eerie, textured image that looks almost like a drawing. Anderson offers a detailed breakdown of the process, along with troubleshooting tips for common problems.
Bleaching, Toning, and Applied Color
Bleaching and toning are classic photographic techniques that can be used to alter the color and contrast of prints. Anderson covers everything from traditional sepia toning to experimental toners that use tea, walnut husks, and even household chemicals. The applied color section delves into methods for adding color to black-and-white prints, including hand-coloring and abrasion tone techniques.
Encaustic, Collage, and Photomontage
For photographers looking to combine photography with other art forms, Anderson provides an introduction to encaustic (wax-based) printing, as well as collage and photomontage. These techniques allow photographers to layer images, textures, and materials to create multimedia works of art.
Part Five: Contemporary Experimental Artists
The final section of The Experimental Darkroom is dedicated to profiles of contemporary photographers who are pushing the boundaries of alternative process photography. Artists like Patricia A. Bender, Douglas Collins, and Brittany Nelson are highlighted, with examples of their work and insights into their creative processes. This section serves as both inspiration and validation for those interested in pursuing alternative photographic techniques.
Appendices and Resources
In addition to the main content, The Experimental Darkroom includes a comprehensive appendix of formulas for alternative photographic processes, toners, mordançage solutions, and other chemicals. Anderson also provides tips for in-camera composition, as well as resources for purchasing supplies and finding inspiration.
Conclusion: A New Frontier in Alternative Process Photography
Christina Z. Anderson’s The Experimental Darkroom is more than just a manual for alternative process photography—it’s a celebration of the creative potential of the darkroom. As digital photography continues to dominate, this book reminds us of the tactile, hands-on joy of traditional photographic techniques. By blending historical processes with contemporary experimentation, Anderson shows that the darkroom can still be a place of magic and discovery.
Whether you’re a seasoned photographer or just beginning to explore the world of alternative process photography, The Experimental Darkroom offers something for everyone. It’s a book that encourages play, risk-taking, and above all, creativity. So if you’re ready to step outside the box and embrace the unexpected, this book is your perfect guide to the exciting world of alternative photography.
By engaging with these methods, you’ll not only expand your skill set but also reconnect with the roots of photographic art, ensuring that these valuable techniques continue to evolve in the digital age.