9 alternative photographic processes every photographer should try
Alternative photographic processes are experimental, hands-on techniques that move beyond digital photography, using light, chemistry, and physical materials to create unique images. From tintype photography to chemigrams, these alternative photography methods encourage photographers to slow down and reconnect with the roots of the medium.
In recent years, alternative processes have experienced a renaissance, with Instagram communities such as @alternativeprocesses supporting a new generation of artists inspired by historical techniques and handmade photographs.
We interviewed nine extraordinary artists about the alternative photographic processes closest to their hearts, ranging from carbon printing to chemigrams. Although we’ve only scratched the surface, here are a few techniques every photographer should try at least once, along with tips for getting started.
1. Tintype photography
What is tintype photography?
Sometimes called “ferrotypes,” tintypes first emerged in the 1850s. As you might have guessed from the name, tintype photography involves processing images on thin metal sheets, usually made of iron. Tintypes can be created using either gelatin (dry) or collodion (wet) methods.
“In an age where most photographs live on hard drives or in our phones, tintypes are physical objects that can last for generations,” the Brooklyn-based portrait photographer Josh Wool, who uses a wet plate method and a portable darkroom, explains. “The particular chemical makeup of the chemicals used in the process renders a tonality and texture that no other medium offers.”
How to do tintype photography
Tintype photography is a process that produces a direct positive image on a thin metal plate. To begin, you’ll need a prepared metal plate, a large-format camera, a lens, and access to a darkroom or controlled working space, depending on the method you choose.
There are two main approaches to tintype photography: wet plate and dry plate. In wet plate tintype photography, the metal plate is coated with a light-sensitive collodion mixture, placed into a silver nitrate bath, and then exposed in the camera while still wet. The plate must be developed and fixed immediately before it dries, which is why wet plate tintype photography typically requires a portable darkroom and careful timing.
Dry plate tintype photography uses pre-coated gelatin emulsions that are allowed to dry before exposure. This method offers longer working times and greater flexibility, as the plate does not need to be developed immediately after exposure. While dry plate tintypes are often more convenient for beginners, they can produce slightly different tonal qualities compared to the classic wet plate look.
Because tintype photography involves chemicals and specialised equipment, beginners are advised to study the process carefully and follow appropriate safety guidance before starting.
Tips for tintype photography
Josh’s number one tip for aspiring tintype photographers is simple: do your research. “It’s a very involved process and can be potentially dangerous if you don’t pay attention to how you use and store the chemicals that are used,” he tells us. “One of the most common mistakes people make in tintype photography is not keeping their chemistry and equipment clean and well-maintained. This accounts for a majority of issues that arise.
“Another major mistake is trying to rush the learning curve. Understanding the nuances of the process, especially the relationship between exposure time and development time, comes from practice. It’s not a quick learning curve, so patience and persistence are key.”
2. Photograms
What are photograms?
These “camera-less photographs” have been a favorite of artists ranging from László Moholy-Nagy to Man Ray, giving photograms a rich historical heritage. Photograms are created by placing objects directly onto light-sensitive paper and exposing it to light, producing silhouettes based on how much light is blocked.
How to make photograms
To make your own photograms, you’ll most likely need access to a darkroom enlarger to precisely control the light hitting your photo paper.
From there, simply place any objects of your choice directly on top of the paper to create your compositions, expose them to light, and develop and fix the images (as you would if you were printing from a negative). The placement of objects will result in ghostly, white silhouettes, while the area exposed to light will darken to gray once developed.
“Photograms are unique because there is no negative to replicate what you have created,” the Nottingham, UK-based artist Pauline Woolley explains. “It’s just light, paper, and alchemy. You are creating an image from a very basic apparatus, which is rooted in the history of photography.
“Photograms are abstract and experimental, but they do teach you the fundamentals of how light and exposure work. You will need to create a test strip similar to the way you would when printing negatives. Also, knowing your exposure time and knowing if you need to open up or stop down the enlarger lens will save you frustration and wasted paper.”
Tips for creating photograms
Varying materials and placement is one of the easiest ways to create more visually complex photograms. Pauline’s tips are to use a combination of transparent, semi-transparent, and opaque items when building your composition. “This will give more interesting images than just one item placed on the paper,” she says. “Compositions can be made more dynamic by placing objects close to the edge of the paper, over the edge, or over multiple sheets.”
3. Lumen prints
What are lumen prints?
Lumen prints are a camera-less photographic process that dates back to the early experiments of William Henry Fox Talbot in the 1830s. The images are created by exposing light-sensitive photographic paper directly to sunlight, producing organic color shifts and unexpected results.
How to make lumen prints
To make lumen prints, you’ll need silver gelatin photo paper, fixer, trays for your chemistry, tongs, and a contact printing frame. An old picture frame can also work well.
In the dark, place items of your choice, such as botanical specimens or paper cutouts, directly onto the paper before exposing it to available sunlight. This is where lumen prints differ from photograms: instead of using a darkroom enlarger, the sun acts as the light source. Once the exposure is complete, move the setup into a dark area or under a safelight, remove the objects, wash the paper, and fix it for a few minutes before giving it a final rinse.
Tips for making lumen prints
When making lumen prints, experimentation is key. Exposure times can range from minutes to several hours, depending on sunlight intensity, weather conditions, and the type of photographic paper used.
To achieve richer colors, try using expired silver gelatin paper and experiment with different organic materials, such as leaves or flowers. Keeping the paper slightly warm during exposure can help intensify tonal shifts, while fixing the print promptly will help preserve the final colors. Lumen prints are unpredictable by nature, so embracing variation is part of the creative process.
As with many of the alternative processes discussed here, you’ll notice some overlaps, and you can also combine techniques as you wish. “I consider my prints to be a combination of Chemigrams and Lumen Prints,” the Richmond-based artist Tom Condon explains. “I expose my paper in daylight as you would with a traditional Lumen Print but work extensively with chemicals and resists in the darkroom. At times, the development of the image can take up to two hours before washing the print.
“My favorite aspect of working in this way is the collaboration I feel between myself and my materials. Working with wet chemistry in a painterly way demands a tremendous amount of control while remaining open to the element of chance. At times, I feel like I am dancing with my art. No matter how much I learn about these processes, each print teaches me something new.
“Working in this way, combining Lumen and Chemigram techniques, also requires an incredible amount of patience. The experimental nature of the process means that there will be just as many failures as successes. I would encourage anyone interested in alternative techniques to embrace the mistakes — all of them. Each time a print doesn’t look the way you intended is an opportunity for discovery and growth.”
4. Cyanotypes
What are cyanotypes
Cyanotypes are closely related to photograms and lumen prints, but they are best known for their distinctive Prussian blue color. This alternative photographic process produces images through sunlight exposure and a simple chemical reaction, resulting in bold, graphic prints.
How to make cyanotypes
The process will feel familiar by now. Create your composition by placing objects or negatives directly onto light-sensitive paper, expose it to bright sunlight, and then soak it in water to reveal the image. Longer exposure times produce deeper blue tones, and some photographers add hydrogen peroxide to speed up the development process.
“There are many reasons why Cyanotypes are special: the deep blue color draws you in, and it is exciting to work with one of the earliest photographic processes, invented in the 1840s,” the Icelandic and British artist Inga Lisa Middleton tells us.
“It is also quite a simple and cost-effective process to master. In this age of high-tech photographic processes, it is hugely satisfying to create images using such a low-tech, hands-on technique, where natural sunlight exposes the image and water develops and fixes it. And the possibilities of papers and surfaces are endless.”
Many photographers take inspiration from early photographer and botanist Anna Atkins and use plants in their cyanotypes, but the process allows for a wide range of creative approaches. “I prefer using negatives of photographs I have either shot myself or got the license to use,” Inga says. “I mostly use 200gsm watercolor paper and a UV lamp for better control and consistency of the prints.
“The cyan blue color and the process chimes perfectly with a recent series I’ve been working on, Thoughts of Home, which features natural objects from my native Iceland. The color blue has connotations of longing, and it evokes the cool blue arctic light.”
Tips for making cyanotypes
Proper handling of chemicals and thorough rinsing are essential for achieving clean, stable cyanotype prints. Inga also advises investing in individual chemicals and coating your own paper rather than relying on pre-made kits. “Always use a mask while mixing the chemicals and when coating the paper with the solution,” she warns. “This process is very much based on trial and error, and I think people using it will figure out different ways of using it that works for them. One thing to make sure of is that you rinse the prints well after exposure to get the green tinge off and thus fix them properly.”
5. Gumoil prints
What are gumoil prints?
Gumoil printing is labor-intensive and time-consuming—but worth it. To oversimplify, the process uses a gum arabic and bichromate mixture, UV light, and oil paint to bring a positive image to life. “A gumoil print cannot be made exactly like the one before it,” the Massachusetts-based photographic artist and photo preservationist Terri Cappucci explains. “Every print has its own individual markings, making the end result a one-of-a-kind, uniquely handmade photograph.
How to make gumoil photographic prints
Gumoil photographic printing begins with creating a film positive from a photographic image, which is then used to expose sensitized paper under UV light. After exposure, the paper is developed and prepared so that oil paint can be selectively applied and removed, revealing the final image through layers of tone and texture.
“There are many steps involved in this process, starting with your photograph, to a film positive, to sensitized paper, proper UV exposure, and then the developing steps. As an artist and a photographer, I thrive on the tactile part of gumoil printing. After applying oil paint to my print, the image starts to become noticeable. But the real magic happens when the paint is gently removed, and the image reveals itself. It is simply a beautiful dance with old paint and water, culminating the revelation of the surprise being uncovered,” Terri tells us.
Tips for making gumoil prints
It’s not an easy process, so take your time practicing and studying. “It is a very unstable process, and it takes experimenting to get an image to have the look you are striving for,” Terri says. “You can’t be successful without a lot of patience and a willingness to make mistakes and start again. It’s all about trial and error for everyone. The first time I attempted this process, I gave up immediately.
“Roughly four years later, I tried again. This time, I had a notebook to write down my steps, made a lot of small prints, and tried to be consistent when I started to see progress. It really is baby steps and lots of tweaking to get there. But the thrill is real when you achieve that first gumoil print that you can recognize. Again, it boils down to patience and perseverance.”
6. Carbon printing
What is carbon printing
First introduced in the 1850s, carbon printing is a photographic process that uses paper or tissue coated with a layer of gelatin containing pigment, rather than silver or other metal salts. Known for its depth and permanence, carbon printing produces richly textured images with exceptional tonal range.
“Above all, carbon prints have a three-dimensional quality to them that no other process has,” the pro carbon printer and educator Calvin Grier tells us.
How does carbon printing work
The carbon printing process involves transferring pigmented gelatin layers onto a final support, building the image through multiple exposures and development stages. Because the image is formed from stable pigments rather than light-sensitive metals, carbon prints are considered among the most permanent photographic prints ever made.
“It’s impossible to confuse a carbon print with a cheap inkjet or c-print. The carbon transfer process is one of the most permanent ways to print a photograph, and it’s also one of the rarest. Even going back to the beginning of photographic printing, where platinum and carbon prints reigned as the peak of quality, carbon prints were more costly because they are so labor-intensive to make,” Calvin explains.
“All carbon prints are limited edition works, not because the artist has randomly assigned a number of prints to be made but because it takes an entire week to make a single print. I really enjoy watching these prints come alive.” To get the best quality, Calvin prints in layers: “First, I lay down the yellow, then iron oxide, then magenta, and by the cyan layer, the image starts to appear, and then with the black layer, it all comes together.”
Tips for carbon printing
If you can, Calvin suggests studying with a master to truly understand the process. “I recommend taking a workshop with someone who knows what they are doing,” he says. “I wish I had had that opportunity when I started, but the only three people in the world who were qualified to do so didn’t give workshops. It took me nearly two years, working twelve hours a day, six days a week before I made a good print.” Still, despite the challenges that come with carbon printing, Calvin says nothing else compares, even after nearly 200 years.
7. Chlorophyll prints
What is chlorophyll printing
Popularized by the artist Binh Danh, chlorophyll printing is exactly what it sounds like: a photographic process that uses living leaves to create images. By exposing an image directly onto leaves rich in chlorophyll, photographers create organic, ephemeral prints that exist somewhere between photography and nature.
How to make chlorophyll prints
To make chlorophyll prints, you’ll need a transparency or positive of your chosen image, a contact printing frame, and direct sunlight. The image is printed directly onto living leaves that contain high levels of chlorophyll. High-contrast transparencies, flat green leaves, and long exposure times, often lasting days or even weeks, tend to produce the best results.
Once the image has fully developed, chlorophyll prints can be preserved using a copper sulfate bath or by fixing the leaf in resin or varnish to slow deterioration.
“Chlorophyll printing is a relatively recent technique, but it reminds of images from the past,” the Chilean-based visual artist and educator Kimberly Halyburton Fuster says. “It has something magical because it is a slow process where you observe the tonal changes of the leaves as they receive the intensity of the sun.
“When I discovered it, I was in search of environmentally friendly photographic processes for the development of my work, and I was also pregnant, so I could not use developing chemicals or emulsions. Discovering a photographic process where you use only plants was very cool. I did a lot of research on my own to develop my process since nobody taught courses at the time, and now I’ve dedicated myself to teaching this technique.”
Tips for making chlorophyll prints
Like most of the processes in this article, chlorophyll printing is a game of trial and error. “You will need to try different species of plants and petals because it will not work well with all of them,” Kimberly advises. “My tip is to use something thin and flexible; there are many vegetables and wild plants that deliver good results. Depending on where you are in the world and how intense the sun is, it could take anywhere from a couple of hours to a few weeks, so you have to be constantly monitoring the subtle color changes within the leaves.”
8. Polaroid emulsion lifts
What is an emulsion lift
Emulsion lifting is the process of transferring the emulsion layer from a sheet of instant film onto another surface, most commonly paper. The result is a soft, painterly image with organic textures.
How to make emulsion lifts
To make a Polaroid emulsion lift, start with a fully developed instant photograph. Carefully remove the paper backing and soak the image in warm water until the emulsion layer begins to separate.
Once loosened, gently lift the emulsion using soft brushes and float it onto your chosen surface, such as watercolor paper. While the emulsion is still wet, you can manipulate its shape and texture before allowing it to dry naturally. Working slowly and patiently is essential, as the emulsion is fragile and easily torn.
You’ll need scissors, trays for warm and cold water, and a selection of brushes for lifting and shaping the emulsion.
“I find emulsion lifting can be a meditative, therapeutic experience and even an emotional healing ritual,” the Guatemala City-based instant photographer and artist Isabel Herrera tells us.
“From the moment I decide to lift a particular Polaroid photo that has caught my attention, I search for a time where I can be alone, undisturbed and undistracted, in complete silence. I never know what will come out as a final product, and this is what I enjoy the most.
“I imagine the emulsion lift experience as an allegory for life: I hope or expect the emulsion to come out with a certain shape, color, or texture, but as I slowly and carefully work on lifting the image, it reveals the path or result it wants to give me. Sometimes, it is gratifying; sometimes, it’s frustrating, but it never ceases to surprise and amaze me.”
Tips for creating emulsion lifts
Isabel’s advice is to jump right in. “I know many are hesitant to try emulsion lifting because of the delicate process and patience needed or the fear that they will ruin their perfectly good Polaroid images,” she admits. “But as with everything new, the only way to get the hang of it is to try and practice. I recommend using photos that you do not mind getting ruined — photos that didn’t turn out as good as you expected. Also, try using BW film before Color Film, as it is a lot easier to lift.
“Practice using different water temperatures in the pans (lukewarm works the best for me), and practice using different paintbrushes and movements while lifting. I generally have three or four brushes close by, each of different points and widths. With time, you learn to have the ‘feel” for which brush is needed. I also suggest using thicker grained watercolor paper, as it permits you to work the submerged image longer as it attaches to the paper.”
Don’t forget to be gentle. “Trying to lift the image too quickly or abruptly before it is ready can tear the image,” Isabel explains. “It is important to work slowly and carefully, letting the image detach itself as you push it softly with a brush.
“Some images detach themselves faster than others; some detach after a few minutes, while others take up to twenty minutes or more. It all depends on the film, the time that has passed since you took the photo and the temperature of the water. There are a lot of factors that you cannot control, but as Sally Mann said, ‘The angel of uncertainty’ can provide us with unexpected, wonderful results.”
9. Chemigrams
What is a chemigram
Often described as a combination of painting and photography, chemigrams are camera-less photographic images made using darkroom chemistry and light-sensitive paper. In addition to traditional photographic chemicals, household materials such as coffee or lemon juice can also be used to create abstract images. The process dates back to 1956, when the Belgian artist Pierre Cordier first experimented with photographic paper and nail polish.
How to make a chemigram
Chemigrams are made by applying chemical resists, such as developer or household substances, to photographic paper before and during exposure to light.
“It’s an easy-to-learn process that anyone can do,” the experimental photographer Mark Tamer tells us. “All you need is some old photographic paper (the kind used in a darkroom), some developer and fixer (easily bought online), and a sense of experimentation and fun.
“Once you have your photo paper, you can take it out of the bag in daylight. Normally, this would be a terrible idea as you’d ruin the paper, but for our purposes, it’s fine. The main idea is to add a substance to the paper that will ‘resist’ the developing and fixing process.
“This is the fun part. You can add anything you like. Something sticky works well, as it will take time to wash off. People have used hummus, honey, toothpaste, face cream, and lipstick in the past. The process is one of experimentation, so try whatever you can get your hands on. You can either form patterns and shapes with your resists or just let them blob onto the paper.
“All this time, the paper is being exposed to light, beginning a chemical process. The next stage is to drop the paper into either the developer or the fixer. You can alternate between the two, and this will mess with the chemical process and bring out unusual and unpredictable forms on the paper. You can sometimes even tease out some color from a black and white paper.”
Tips for making a chemigram
Because chemigrams are driven by chemical reactions rather than precise exposure, results can vary widely, and experimentation is essential.
Mark’s interest in chemigrams has only deepened over time, and it’s a process he can explore at home with limited means, including old photographic paper found online. “I think the process helps bring back a child-like wonder of the magic of photography, as things appear from nothing before our eyes,” he says.
Frequently asked questions
What are alternative photographic processes?
Alternative photographic processes are non-digital techniques that rely on light-sensitive materials, chemistry, and hands-on methods to create images. Examples include tintype photography, cyanotypes, photograms, and chemigrams.
Are alternative photographic processes suitable for beginners?
Yes, many alternative photographic processes are beginner-friendly. Techniques such as photograms, lumen prints, and cyanotypes require minimal equipment and are a great entry point for experimentation.
Do alternative photographic processes require a darkroom?
Not all alternative photographic processes require a darkroom. While tintype photography and chemigrams typically need controlled lighting, processes such as cyanotypes, lumen prints, and chlorophyll printing can be done using sunlight.
What is the most permanent alternative photographic process?
Carbon printing is considered one of the most permanent alternative photographic processes. When properly made, carbon prints can last for centuries due to their pigment-based chemistry.
Conclusion
Alternative photographic processes invite photographers to slow down, experiment, and reconnect with the physical roots of photography. Whether you’re drawn to cyanotypes, chlorophyll prints, or chemigrams, these alternative photography techniques offer endless creative possibilities beyond the digital screen. By embracing imperfection, patience, and hands-on experimentation, photographers can discover new ways of seeing and making images that feel deeply personal and uniquely their own.
About the contributor
Feature Shoot showcases the work of international emerging and established photographers who are transforming the medium through compelling, cutting-edge projects, with contributing writers from all over the world.
