Processes practiced at the Studio

​

Analogue Photography with key processes including 35mm and 120mm analogue photography, chemigrams, pinhole photography, and photograms - traditional photographic techniques and darkroom practices.

​​

At Studio A 89, embracing traditional and alternative photographic processes offers a hands-on, experimental experience that bridges classic techniques with creative expression. Here’s an expanded look at some of the key processes we explore, including 35mm and 120mm analogue photography, chemigrams, pinhole photography, and photograms.

​

1. Analogue Photography (35mm and 120mm)

At Studio A 89, our practice includes shooting on both 35mm and medium format (120mm) film, which allows for varied levels of detail, resolution, and tonal range. The choice of format influences the final aesthetic, with 35mm providing a classic film look, often associated with candid and street photography, while 120mm delivers finer detail and a square or rectangular aspect ratio that’s popular in portraiture and landscapes.

​

In the Darkroom

​

Film Development: We use black-and-white and color film developers to process negatives, taking into account factors like film type, exposure time, and chemical temperature. Black-and-white films often allow more control over contrast through custom development times and chemical adjustments.

Printing: Our darkroom is equipped for enlarging negatives onto photographic paper. We experiment with contrast filters, dodging, and burning techniques to adjust the tonal range and bring out details in highlights and shadows.

Toning and Finishing: We also practice toning prints (using sepia, selenium, blue or other toners) to achieve warm, cool, or enhanced archival qualities.

Advantages in Practice: Shooting on film requires thoughtful exposure, composition, and framing, encouraging a deeper connection to each shot. The darkroom process, from developing negatives to making prints, creates a tangible, meditative experience that fosters a deeper appreciation of analogue photography.
 

2. Chemigrams
 

A chemigram is a photographic image made without a camera, combining both photographic paper and chemicals (developer and fixer) to produce unpredictable, abstract designs. Chemigrams are created under normal light, making them accessible and highly experimental.

 

Process:

 

Surface Manipulation: We apply resist materials like varnish, oil, or wax to the surface of photographic paper, which blocks certain areas from chemical reactions. Once the paper is exposed to light, it is placed in developer and fixer baths, where exposed areas develop and fix differently, depending on how the resist has interacted with the paper.
 

Chemical Interaction: Successive layers of resist and chemical applications create rich textures, colors, and patterns. By controlling the exposure time in each bath, we can guide the results, though the process always retains an element of surprise.
Studio Practice:

 

Chemigrams are ideal for exploring the boundaries between painting and photography, allowing artists to directly manipulate photographic materials to create unique, painterly abstractions.
 

3. Pinhole Photography
 

Pinhole photography is a lens-free technique that uses a tiny hole to project an image onto film or photographic paper. Pinhole cameras are often homemade, allowing for a unique experience in creating and capturing images with extreme depth of field and soft, dream-like qualities.

 

Building and Using Pinhole Cameras: Camera Construction: Our studio builds pinhole cameras from scratch using lightproof materials, with an emphasis on simple, sustainable designs. We control exposure times by varying the size of the pinhole and the distance from the film or paper.

Exposure: Since pinhole exposures require longer times (from seconds to hours), this technique allows us to explore movement, light trails, and slow changes in the environment, yielding often surreal or ethereal images.
Developing Prints: The exposed paper or film is developed in the darkroom, where we experiment with exposure and contrast to bring out the details in these soft-focused images.
 

Artistic Potential: Pinhole photography challenges traditional perspectives, encouraging a meditative approach to framing and capturing scenes. The softness and unique perspective add a timeless quality to the images.

4. Photograms
 

Photograms are camera-less photographs made by placing objects directly onto photographic paper and exposing it to light. The areas covered by objects remain white, while exposed areas darken, creating a high-contrast, shadow-like image.

 

Process in the Darkroom:

 

Object Arrangement: Objects of various opacities and textures are arranged on photographic paper under safe light conditions. The light source, whether from an enlarger or another directed light, determines the exposure.
Exposure and Development: Once the objects are arranged, we expose the paper to light, then develop it in chemical baths. Transparent or translucent objects create gradations, while opaque objects produce solid silhouettes.
Layering and Experimentation: By experimenting with multiple exposures and varying objects, we create complex, layered compositions that resemble abstract paintings or detailed collages.
 

Creative Exploration:

Photograms allow for endless experimentation with composition, light, and texture. They blend photography with collage and sculpture, emphasizing shape, form, and contrast.
 

Additional Techniques and Creative Combinations

Double Exposures and Solarization: These techniques enhance creativity in both the camera and the darkroom. Double exposures layer two images within a single frame, while solarization, achieved by partially exposing a print to light during development, creates a unique halo effect.

​​​

• Film Manipulation

  • Involves physically or chemically altering film negatives.

  • Techniques include scratching, soaking, or applying bleach to distort or enhance imagery.

  • Used to achieve surreal, expressive, or experimental visual effects.

• Push and Pull Processing

  • Push: Overdeveloping film shot at a higher ISO to increase contrast and grain.

  • Pull: Underdeveloping film shot at a lower ISO to reduce contrast and grain.

  • Both techniques allow creative control over exposure and tonal range.

• Converting Colour Negatives to B&W Negatives

  • Shooting on colour film but printing or scanning in black and white.

  • Emphasizes texture, form, and tone while offering a unique grayscale look.

  • Can be done digitally or in the darkroom.

• Reticulation

  • A technique where film emulsion cracks due to drastic temperature shifts during processing.

  • Creates web-like, organic textures for an expressive and unpredictable effect.

  • Considered a creative "error" often used for artistic experimentation.

These methods explore the boundaries of analog photography, turning technical processes into artistic tools.

In Studio A 89’s darkroom, our approach to analogue and alternative photography is rooted in discovery - By blending traditional analogue practices with experimental techniques like chemigrams, pinhole photography, and photograms, we create a studio space that supports innovation, self-expression, and a deeper understanding of photographic materials. Each technique provides a new perspective, inviting artists to break free from convention and embrace photography as a physical, tactile, and exploratory art form.

 

1. 35mm and 120mm Film Formats​

2. Darkroom Setup for Film Development and Printing​

3. Enlarging and Printing : Enlarger, Paper Selection: Choices between resin-coated (RC) and fiber-based (FB) paper, Contrast Filters

4. Print Development Process : Test Strips and Exposure Control , Chemical Baths for Prints: Developer Bath, Stop Bath, Fixer Bath | Washing and Drying

5. Toning and Alternative Processes in the Darkroom :  Toning: Techniques like selenium or sepia toning | Alternative Processes for Experimentation: Lith Printing, Split Toning

6. Specialized Techniques in a Darkroom Setting: Dodging and Burning , Multiple Exposures and Sandwich Negatives

7. Alternative Photographic Printing Practices: Contact Printing, Experimental Materials and Papers

8. Developing Film as a Creative Process : Push and Pull Processing , Cross-Processing

​

With a fully equipped darkroom, Studio A 89 provides an ideal environment for both traditional analogue and alternative photographic processes, where the hands-on experience and physical engagement with materials can yield one-of-a-kind results.

 

Silver-based alternative photography processes

​

Silver-based alternative photography processes include traditional and experimental methods that use silver salts to create images on various surfaces. Here’s an overview of popular silver-based processes in alternative photography:

​

Salt Printing

• Salt printing is one of the earliest photographic processes, pioneered by William Henry Fox Talbot in the 1830s. It involves coating paper with a salt solution, then with silver nitrate, to create light-sensitive silver chloride.

• Once the paper is sensitised, a negative is placed over it, and the paper is exposed to sunlight or UV light. The image develops upon washing, revealing rich tonal ranges.

• Produces warm, brownish tones with a soft texture and delicate tonal range.

​

Albumen Printing

• Developed in the 1850s, albumen printing was widely used for portrait photography. The process involves coating paper with egg white and salt, then applying a layer of silver nitrate.

• A contact print is made by exposing the sensitized paper to light with a negative over it. The paper is then fixed and washed.

• Yields high gloss, detailed prints with rich contrasts and warm tones.

​

Van Dyke Brown

• Named after the brown pigment Van Dyke Brown, this process, developed in the late 19th century, produces prints with a distinct brown hue.

•  Paper is coated with a mixture of silver nitrate, ferric ammonium citrate, and tartaric acid. A negative is placed over the paper and exposed to UV light, developing dark brown tones.

• Warm, earthy tones with moderate contrast, suitable for vintage and artistic effects.

​

Gelatin Silver Process 

• Known as the dominant photographic process of the 20th century, the gelatin silver process uses gelatin as a binder for silver halides, making it suitable for enlarging negatives.

• Paper is coated with a gelatin emulsion containing silver salts. After exposure and development, the silver halide crystals form an image.

• High tonal range, fine detail, and archival quality suitable for black-and-white photography.

• Reversal process also. 

​

 

Non-silver-based alternative photography processes

 

Non-silver-based alternative photography processes use materials other than silver salts to create images. These processes often involve iron salts, plant-based substances, or even unique chemical reactions, resulting in varied textures, tones, and aesthetics. Here’s an overview of some popular non-silver-based techniques:

​

Cyanotype (Traditional + New)

• The cyanotype process, invented by Sir John Herschel in 1842, uses iron salts to produce images in shades of Prussian blue.

• Paper or fabric is coated with a mixture of ferric ammonium citrate and potassium ferricyanide. A negative or object is placed on top, and the material is exposed to UV light. After exposure, the paper is washed, revealing deep blue tones.

• Bright blue images with fine detail; simple and non-toxic, making it popular for botanical and photogram applications.

• Toning options also. 

​

Cuprotype Printing with Iron Toning 

Cuprotype is a historic photographic printing process that produces warm-toned images using copper-based chemistry on sensitized paper. Known for its subtle sepia hues and matte texture, this process offers a beautiful alternative to traditional silver prints.

In this method, prints are created by contact printing digital negatives or found objects under UV light. Once developed, the image can be further transformed through Iron Toning, which deepens shadows and introduces rich, earthy tones — enhancing the print's visual depth and archival quality.

The process is hands-on and tactile, inviting creative exploration through material manipulation and offering one-of-a-kind, expressive results.

​

Anthotype

• Anthotypes, pioneered by Herschel, are a plant-based process that uses the natural pigments in fruits, flowers, and leaves.

• Plant pigments are extracted and applied to paper. A negative or object is placed on the coated paper, then exposed to sunlight for days or even weeks, depending on the light sensitivity of the pigment.

• Soft, pastel-like colors that can fade over time; unique for its environmentally friendly and organic approach.

 

 

Bromoil Process

• Popular in the early 20th century, the bromoil process uses a combination of bromide prints and oil-based pigments.

• A black-and-white silver bromide print is chemically bleached, removing the silver and leaving an image that can absorb oil-based inks. The print is then inked by hand using a brush.

• Pictorial, painterly look with unique brush textures, often used to give photographs an impressionistic quality.

​

Gum Bichromate (Single Colour)

• Gum bichromate, popular with Pictorialist photographers, uses gum arabic mixed with pigments and sensitized with potassium dichromate.

• A paper coated with the mixture is exposed under a negative, hardening the gum where light hits. The unexposed areas are washed away, creating a pigment image.

• Soft, painterly quality with customizable colors and textures; layers can be added to achieve multi-color effects.

 

​

Lumen Printing

• Lumen prints are made using black-and-white photographic paper without any developer. The paper, which can be expired, reacts to sunlight and organic materials.

• Objects, like leaves or flowers, are placed on photographic paper and exposed to sunlight. The paper undergoes color shifts depending on exposure time and object transparency.

• Soft, ethereal images with pastel tones; results are often unique and can be further fixed for longevity.

​

​

Mordançage

• Mordançage is a French technique that alters the emulsion of a print, creating a relief effect or lifting parts of the image to produce ethereal textures.

• A black-and-white silver gelatin print is treated with an acidic copper bleach, softening and lifting parts of the emulsion. Manipulations during the process create unique effects.

• Unique textures and veils, with blackened and bleached areas creating high-contrast and almost sculptural effects.

 

These non-silver-based processes are favored for their distinct aesthetic qualities and offer photographers and artists a variety of creative and expressive tools. They often require patience and experimentation, as the results can be unpredictable but highly rewarding.

 

 

 

< More info to be updated - site under construction>