842 CONTEMPORARY BIBLIOGRAPHY Stephen Anchell, The Darkroom Cookbook (Boston: Focal Press, 1994). Jan Arnow, Handbook of Alternative Photographic Processes (New York: Van Nostrand Reinholt Co., 1982). Dick Arentz, Platinum & Palladium Printing, 2nd ed. (Focal Press, 2005). Dick Arentz, Outline for Platinum/Palladium Printing, 3rd ed. (Self-published, 1998). Janet Ashford and John Odam, Start With a Scan (Berkely, CA: Peachpit Press, 1996). Geoffrey Batchen, Burning With Desire (Cambridge, MA: MIT Press, 1999). B Selected Bibliography: Alternative Processes John Barnier, ed., Coming Into Focus (San Francisco, CA: Chronicle Books, 2000). Faber Birren and M.E. Chevreul, The Principles of Harmony and Contrast of Colors and Their Applications to the Arts, rev. ed. (Schiffer, 2007). Bill Bryson, A Short History of Nearly Everything (New York: Broadway Books, 2003). Buckland, Gail, Fox Talbot and the Invention of Photography (Boston: Godine, 1980). Peter C. Bunnell, ed., Non-silver Printing Processes (New York: Arno Press, 1973). Peter Bunnell, ed., A Photographic Vision: Pictorial Photography, 1889–1923 (Salt Lake City: Peregrine Smith, 1980). Dan Burkholder, Making Digital Negatives for Contact Printing (San Antonio, TX: Bladed Iris Press, 1998). Vannevar Bush, “As We May Think,” The Atlantic, 1945. Max Byrd, Shooting the Sun (Bantam/Random House, 2004). Charles Caffin, Photography as a Fine Art, the Achievement and Possibilities of Photographic Art in America (1901; repr., Dobbs Ferry, NY: Morgan & Morgan, 1971). Introduction by Thomas F. Barrow. John Paul Caponigro, Adobe Photoshop Master Class (San Jose, CA: Adobe Press, 2000). John Paul Caponigro, Adobe Photoshop Master Class: John Paul Caponigro, 2nd ed. (Adobe Press, 2003). Nancy Clark, Ventilation (New York: Lyons & Burford, 1990). Brian Coe and Mark Haworth-Booth, A Guide to Early Photographic Processes (London, England: Victoria & Albert Museum, 1983). APP–2 Jill Skupin Burkholder, Man with Baseballs, 2001 (bromoil) This image, from the State Fair of Texas in Dallas, is made with the bromoil process. Jill writes, “I have a strange reaction to this image. Maybe because it’s just the torso, it makes me think of the statue David which throws me into an antiquity state of mind. The carnival barker seems more like a Greek hero to me, ready to battle the dark forces.” (Courtesy of the Artist) ZE_C8815_AppB_ptg01_hr_842-848.indd 842 12/19/14 4:11 PM
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842
C O N T E M P O R A RY B I B L I O G R A P H YStephen Anchell, The Darkroom Cookbook (Boston:
Focal Press, 1994).
Jan Arnow, Handbook of Alternative Photographic
Processes (New York: Van Nostrand Reinholt Co.,
1982).
Dick Arentz, Platinum & Palladium Printing, 2nd ed.
(Focal Press, 2005).
Dick Arentz, Outline for Platinum/Palladium Printing,
3rd ed. (Self-published, 1998).
Janet Ashford and John Odam, Start With a Scan
(Berkely, CA: Peachpit Press, 1996).
Geoffrey Batchen, Burning With Desire (Cambridge,
MA: MIT Press, 1999).
B
Selected Bibliography: Alternative Processes
John Barnier, ed., Coming Into Focus (San Francisco,
CA: Chronicle Books, 2000).
Faber Birren and M.E. Chevreul, The Principles of
Harmony and Contrast of Colors and Their
Applications to the Arts, rev. ed. (Schiffer, 2007).
Bill Bryson, A Short History of Nearly Everything
(New York: Broadway Books, 2003).
Buckland, Gail, Fox Talbot and the Invention of
Photography (Boston: Godine, 1980).
Peter C. Bunnell, ed., Non-silver Printing Processes
(New York: Arno Press, 1973).
Peter Bunnell, ed., A Photographic Vision: Pictorial
Photography, 1889–1923 (Salt Lake City: Peregrine
Smith, 1980).
Dan Burkholder, Making Digital Negatives for Contact
Printing (San Antonio, TX: Bladed Iris Press, 1998).
Vannevar Bush, “As We May Think,” The Atlantic, 1945.
Max Byrd, Shooting the Sun (Bantam/Random House,
2004).
Charles Caffin, Photography as a Fine Art, the
Achievement and Possibilities of Photographic Art
in America (1901; repr., Dobbs Ferry, NY: Morgan &
Morgan, 1971). Introduction by Thomas F. Barrow.
John Paul Caponigro, Adobe Photoshop Master Class
(San Jose, CA: Adobe Press, 2000).
John Paul Caponigro, Adobe Photoshop Master Class:
John Paul Caponigro, 2nd ed. (Adobe Press, 2003).
Nancy Clark, Ventilation (New York: Lyons & Burford,
1990).
Brian Coe and Mark Haworth-Booth, A Guide to Early
Photographic Processes (London, England: Victoria
& Albert Museum, 1983).
APP–2 Jill Skupin Burkholder, Man with Baseballs, 2001 (bromoil) This image, from the State Fair of Texas in Dallas, is made with the bromoil process. Jill writes, “I have a strange reaction to this image. Maybe because it’s just the torso, it makes me think of the statue David which throws me into an antiquity state of mind. The carnival barker seems more like a Greek hero to me, ready to battle the dark forces.” (Courtesy of the Artist)
Henry Snelling, The History and Practice of the Art
of Photography (New York: G. P. Putnam, 1849).
Note: The chapter on the Calotype and Chrysotype,
Chapter IX, is particularly informative.
Mary Somerville, “On the Action of Rays of the Spectrum
on Vegetable Juices,” Philosophical Transactions of
the Royal Society 136 (1846).
Thomas Sutton (editor of Photographic Notes)
A Dictionary of Photography (London: Sampson,
Low, Son and Co., 1858).
Thomas Sutton, The Calotype Process. A Hand Book to
Photography on Paper, 1st ed. (1854). Frontispiece
with two mounted specimens of unwashed and
washed iodized paper, twelve pages of advertise-
ments at end, publisher’s orange flexible cloth, front
endpapers dampstained.
Thomas Sutton, A New Method of Printing
Photographs, by Which Per manent and Artistic
Results May Be Uniformily Obtained (St. Brelade’s
Bay, Jersey: Self-published, 1855).
Thomas Sutton, “On Printing by Development,”
Photographic Notes 1(1): vii-viii.
William Henry Fox Talbot, “Calotype Photogenic
Drawing,” (communique to the Royal Society,
London, June 10, 1841).
William Henry Fox Talbot, The Pencil of Nature (London:
Longman, Brown Green & Longmans, 1844).
William Henry Fox Talbot, Letter sent to the Royal
Society on February 20, 1839, clarifying the specifics
in the production of photogenic drawings.
William Henry Fox Talbot, Photogenic Drawing Details,
Literary Gazette, February 22, 1839.
William Henry Fox Talbot, “Patents by William Henry
Fox Talbot for Improvements in Photography,
June 1843,” Chemical Gazette, Volume II, 1844.
Norman Tiphaigne de la Roche, Giphantie (Paris: 1760).
John Tennant, The Photo-Miniature, #10 (London:
Dawbarn and Ward, January 1900).
John Tennant, The Photo-Miniature #47 (London:
Dawbarn and Ward, 1903).
John Tennant, The Photo-Miniature, #69 (London:
Dawbarn and Ward, December 1904).
John Towler, The Silver Sunbeam, rev. ed. (1864; repr.,
Morgan & Morgan, 1974).
E. J. Wall and Franklin I. Jordan, Photographic Facts
and Formulas (Boston: American Photographic
Publishing Co., 1947).
H. Snowden Ward, Figures, Facts and Formulae of
Photography (London: Dawbarn and Ward, 1903).
W. A. Watts, The Photographic Reference Book
(London: Iliffe and Son, 1896).
Wedgewood and Davy, An Account of a method of
Copying paintings Upon Glass and Making Profiles
by the Agency of Light Upon Nitrate of Silver
(1802).
Hans Thøger Winther, Anviisning til paa Trende
Forskjellige Veie at fembringe of fastholde
Lysbilleder paa papir (Self-published, 1845).
APP–3 Etienne Carjat (1828–1906) Portrait of Charles Baudelaire, c. 1863 (woodburytype plate from Galerie Contemporaine, Paris, 1878)Charles Baudelaire (1821–1867) the subject of this image, was a man of deep moods and un-relenting despair whose poetry centered upon the inseparable connection between beauty and the inevitable corruption of that beauty. Baudelaire wrote about his first impressions of photography in less than glowing terms, implying that society was squalid and narcissistic in its rush to gaze upon trivial images of itself rendered on scraps of metal. He also wrote, in a critique of an exhibition in 1859, “If photography is allowed to supplement art in some of its functions, it will soon have supplanted or corrupted it altogether. . . .” And that, my friends, is about as positive a statement as Baudelaire ever made. (Courtesy of George Eastman House, International Museum of Photography and Film)