ANALOG TECHNIQUE GALLERIES

Images made with the Wet Plate Collodion process (ambrotype, tintype, and negative) are known for their exquisite detail, rich tonal range, and distinctive, almost ethereal aesthetic. Each plate is a one-of-a-kind artifact, often bearing marks of its handmade origin, such as uneven coatings or chemical fingerprints. I continue to use the wet plate process for its tactile, intimate, and "magical" character, which stands in stark contrast to the ease and reproducibility of digital photography. Its labor-intensive nature and the unpredictability of the results contribute to its allure as an expressive, artistic medium.

The wet plate process remains celebrated for both its historical significance in advancing photographic technology and its enduring artistic appeal, offering images with a unique beauty and a tangible connection to the craft of photography.

I love working with wet plate collodion tabletop photography because it is a deeply immersive and hands-on process that connects me to the roots of photography. This 19th-century process itself is like a ritual, where every step, from pouring the collodion to developing the image, demands attention and craftsmanship, making each photograph unique and full of character.
The most exciting is the distinctive aesthetic quality of wet plate images. They capture light and detail with a beautiful, timeless look and subtle imperfections that tell a story of the moment and the maker's hand. Seeing the image emerge in a fixer during development is always magical and deeply rewarding, often evoking strong emotions.
Despite the technical challenges, the process feels spiritual and artistic. It's not just about taking a photo but creating a piece of art that preserves history and craftsmanship.

Kallitype has its specificities and is one of the most stable types of negative printing. It is so rich in tones and halftones that it is difficult to distinguish it from Platinotype. For a while, Kallitype was called Platinotype for the poor. The demanding processing of positives, due to the numerous baths, ultimately yields a reward worth every effort. It can be made from original glass negatives or, more often today, digital negatives. When using digital negatives, we can get a "flawless" positive that will delight us at first sight.
One of the nice features is that various paper surfaces can be used, depending on the motif or wishes, thus enhancing the impression of the final print. We can also use a toner, which, in addition to its aesthetic benefits, also provides durability that surpasses that of paper.

The Van Dyke brown process is an alternative photographic technique characterized by a warm, brown tone, similar to the colors found in Van Dyke's paintings. The process allows great creative freedom, as the emulsion can be applied to various substrates, such as watercolor paper, canvas, or fabric, resulting in different textures and visual effects. Due to its textural depth and retro aesthetic, it is a popular medium for exploring historical techniques. 

This technique enables experimentation with exposure, type of negative (classic or digital), layering of color, and combination with other techniques (e.g., toning or hand-painting). We can use Van Dyke brown to create limited-edition prints, portraits, landscapes, or abstract compositions that highlight the handcrafted quality and individuality of each piece. Although not widely used, this technique attracts contemporary artists eager to explore historical processes and create unique photographic works.

Cyanotype on glass is a unique adaptation of the traditional cyanotype photographic printing process, which was invented in 1842 by John Frederick William Herschel. Unlike the classic method that uses paper or fabric, this technique applies a light-sensitive emulsion onto glass surfaces to create striking blue-toned images.

Cyanotype on glass offers high resolution and a distinctive aesthetic, with the glass substrate adding depth and luminosity to the prints. However, it requires careful preparation, including thorough cleaning of the glass to avoid imperfections and handling with care to prevent damage to the emulsion. Newer methods also explore polymer coatings as alternatives to gelatin, simplifying the process and enhancing durability.
This technique is popular among alternative photography artists and experimental printmakers who seek to combine historical photographic methods with modern materials for creative expression.

Traditional cyanotype on paper is a historic photographic printing process invented in 1842 by Sir John Herschel. It involves coating paper with a light-sensitive solution made from ferric ammonium citrate and potassium ferricyanide. After drying in the dark, objects or negatives are placed on the paper and exposed to ultraviolet light 

The exposed paper is then rinsed with water. The process is simple and accessible, popular among artists for its striking blue tones and ability to capture fine details from botanical specimens or photograms.

Cyanotype prints on paper are valued for their archival stability, ease of use, and aesthetic appeal, making them a favored technique in alternative photography and historical photographic reproduction.

Today, salt printing is used for its tactility, inimitable beauty, and the possibility of experimentation. We chose it to create works with a strong character that digital technology cannot replicate. Salt printing is the perfect choice for those who appreciate handwork and the history of photography and want unique, lasting prints
Salt printing remains popular in fine art photography today for its unique aesthetic and expressive qualities. This technique enables prints with warm, soft tones and a matte finish, imparting photographs a painterly, handcrafted look that is challenging to achieve with digital methods. Each print is unique, with subtle variations and textures that occur during the hand-making process, so artists value the uniqueness and authenticity of the results.
Salt printing also allows artists to experiment with various papers and chemicals, further expanding their creative possibilities. This technique bridges contemporary authors with the history of photography, highlighting the importance of handwork and artisanal approaches in the digital age. For all this, salt printing remains a relevant choice for fine art photography today.

Gum oil print remains popular in contemporary art photography due to its unique blend of photographic and painterly qualities. Developed by Karl Koenig in the 1990s, this technique involves coating paper with a light-sensitive mixture of gum arabic and potassium bichromate, exposing it to positive transparency under UV light, and then applying and manipulating oil paint to reveal the image. The process produces richly textured, atmospheric prints that combine the expressiveness of painting with photographic detail.
Artists value gum oil prints for their tactile surface and the ability to create multi-layered, hand-crafted images that feel both historic and fresh. The technique's meticulous, hands-on nature contrasts with digital photography's immediacy, offering a meditative, artisanal approach. Today, we often use digital negatives, blending traditional chemistry with contemporary tools to expand creative possibilities. This fusion of old and new sustains the appeal of gum oil printing as a versatile and expressive medium in contemporary fine art photography.

Collodion chloride paper prints uniquely blend art and photography by combining a photographic printing-out process with a specialized collodion binder that creates a smooth, sealed surface on paper. This technique involves coating rag paper with a baryta layer and a thin collodion film containing light-sensitive silver salts. When exposed to light in contact with a negative, the image appears directly on paper, allowing us precise control over exposure. There is no need for chemical development; simply wash the silver out with water. After exposure, prints are toned with gold or platinum to enhance image stability and enrich the tonal range, resulting in matte or glossy finishes with subtle color variations.
The collodion layer’s thinness and plasticizers provide flexibility and resistance to fading. At the same time, its smooth surface obscures paper fibers, giving prints a refined, painterly quality. This combination of photographic precision and tactile, handcrafted texture creates images that feel both scientifically exact and artistically expressive.