Celebrates the new creative processes of the

modern photographic era, in which early analogue

processes such as collodion and salt printing are
undergoing a widespread revival, and new ones are
evolving in combination with digital technology.

Experimental Photography
A Handbook of Techniques
Marco Antonini, Sergio Minniti,
Francisco Gmez, Gabriele Lungarella
and Luca Bendandi
Edited by Luca Bendandi

620 illustrations,
506 in colour
23.0 x 17.7cm
240pp
ISBN 978 0 500 544372
PLC
A4
Book
19.95
March 2015

Introduction:
The Paradox of Photography
Chapter 1: Cameraless
Camera Obscura with instructions
Profile
Abelardo Morell by M. Antonini
Darkroom with instructions
Exposure Test Strip with instructions
Photograms with instructions
Interview
Ruth Erdt by M. Antonini
Clich-Verre with instructions
Lumen Prints with instructions
Multiple Exposures with instructions
Chapter 2: Handmade, Toy
and Disposable Cameras
Making a Pinhole Camera with
instructions by Alan E. Cooper
ContentS
Interview
Paolo Capponi by Sergio Minniti
Interview
Kwanghun Hyun by Sergio Minniti
Solargraphy with instructions
by Diego Lpez Calvn
Interview
Wayne Martin Belger by
Sergio Minniti
Legotron Cary Norton
Multicell Genesis II James Guerin
Interview
Taiyo Onorato & Nico Krebs
by M. Antonini
Lomography
Disposable Cameras
Interview
Jno Cook by Beth Horning
Chapter 3: Operative Hacks
Distressing Negatives and Film
with instructions
Slit-Scan Cameras with instructions
by Tony Kemplen and James Guerin
Interview
Paolo Gioli by A. Kossmann
Interview
Cesare Fabbri by L. Brembo
Interview
Chris McCaw by M. Antonini
Interview
douard Decam by L. Brembo
Interview
Brana Vojnovic by Sergio Minniti
Polaroid for Wet-Plate Collodion
with instructions
35 mm SLR for Wet-Plate Collodion
Microtype with instructions
Interview
Trevor Paglen by M. Antonini
Experimental Photography
Chapter 4: Print
Experimentation
and Techniques
Caffenol with instructions
Large-Format Negatives for
Contact Printing with instructions
Contact-Printing Frame
with instructions
Cyanotype with instructions
Cyanotype on Fabric with instructions
Vandyke with instructions
Argyrotype with instructions
Salt Prints with instructions
Albumen Print with instructions
Gum Bichromate with instructions
Anthotype with instructions
Anthotype Colour Recipes with
instructions by John Dearing
Chlorophyll Prints with instructions
Profile
Binh Danh by Laura A. Guth
Interview Appendix
Ackroyd & Harvey by M. Antonini
Chemical Safety Information
Bromoil with instructions Further Reading
Wet-Plate Collodion with instructions Sources of Quotations
Acknowledgments
Interview
Photo Credits
Joni Sternbach by A. Kossmann Index
Chapter 5: Post-Printing
Experimentation
Alternative Cyanotype Toning
with instruction
Bleaching with instructions
Mordanage with instructions
Transaquatype with instructions
Interview
Matthew Brandt by M. Antonini
Experimental Photography
Cameraless

A camera can be optional in photography.

These techniques bridge the divide
between photography and painting,
expanding on the basic concept
of light sensitivity.

Experimental Photography
16 C Am er Al e s s A bel A rd o m o rel l 17

Abelardo Morell has established himself on the international

art scene as a photographer who understands the creative
AbelArdo
morell potential of his medium, adapting traditional tools and
Profile by techniques such as camera obscura in unconventional ways
M. Antonini
to produce amazingly immersive visual experiences.

Cuban-born artist Abelardo Morell, who moved to the United States in 1962, has
been active as a photographer for more than 30 years. Grounding his formative
work in domestic experiences and observations, Morell first experimented with
large-format photos of household objects and scenes of childhood. Inspired by
classroom demonstrations he conducted while teaching at the Massachusetts
College of Art, he then grew increasingly fond of camera obscura. He now uses
large-scale camera obscura installations to create temporary sets, which he
then photographs. Physical details of the room, such as the furniture and
personal objects left in place, create an unexpected overlap of indoor and
outdoor elements that the artist describes on his website as a weird yet natural
marriage. After working in all sorts of domestic interiors, including his own
home, Morell extended his practice to include a wider range of settings, using
larger, custom-built portable camera obscura devices. These tent-like structures
(see illustration on p. 22) allow him to project images of a landscape onto other
parts of the same landscape, creating compositions that emphasize the harmony

right
Abelardo morell
View of Landscape Outside Florence
in Room With Bookcase, camera
obscura, 2009

opposite
Abelardo morell
View of Landscape Outside
Florence Looking East toward
where Galileo Died in Exile, camera
obscura, 2009

overleaf
Abelardo morell
View of Central Park Looking
North, Spring, Fall, Winter,
Summer, camera obscura,
200813

Experimental Photography
80 H an d m ade , T oy and d is pos ab le Came ras lo m o gra p Hy 81
this page this page

From top to bottom: Diana Mini; From top to bottom: Konstruktor;

Fisheye No. 2; Fisheye One. Horizon Kompakt; SuperSampler.

Experimental Photography
94 O per aTIv e HackS S L IT- S ca n ca m era S 95

Through a simple modification of a camera, this hack results in warped

images and a psychedelic array of colours and shapes. 'Slit-scan,' or
'linear strip' photography is a technique in which an image is created
SLIT-Scan
while the film moves past a narrow slit in the back of the camera.
cameraS
Consequently, a slit-scan image is made up of many narrow slices,
assembled side by side, rather than a single exposure. The image does not
record a single instant in time, as in conventional photography; instead, it
creates a timeline of events occurring in the same position over a slightly
longer period of time.

medium-format slit-camera hack by Tony Kemplen

1 2 3 4

Select the camera Using the camera

What you need
medium-format
1 The ideal camera for this hack is one
camera that takes medium-format roll film (120 or
black card 220 format). Look for a model that allows
black tape you to easily make multiple exposures and
has a B (Bulb) setting so you can hold the
shutter open indefinitely; many vintage box-
style cameras are ideal for this.
Hacking for slit-scan
23 Open the camera and tape two pieces
of black card inside the back to create a
5 mm slit at the center of the frame.
mark the winder
4 Applying marks to the winder can be
helpful if you want to prevent your images
from overlapping (see Multiple Exposures
on pp. 4041) or keep the different
exposure strips as close together as
possible for a more homogenous result.
The camera can now be used to make
multiple thin exposures on a single roll
of film. A disjointed and abstract-looking
panorama can be achieved by winding
the film, making an exposure, panning
the camera slightly (to adjust the area of
the scene being photographed), and then
making another exposure. Repeating this
process will allow you to photograph as
broad or as narrow a view as you choose,
creating a final image that is made up of
multiple 'slit shots' (as shown opposite
above). Note that the direction you pan the
camera is very important: if the winding
knob is on the left of the camera, then you
should pan from right to left; otherwise
your slices will appear in
reverse order.
above
Tony kemplen
Sliced Sycamore, slit-scan
negative, 24 x 36 mm, 2013
right
Tony kemplen
London Eye, polar slit-camera
photograph, 20 x 20 cm, 2013
The film was advanced by 1/8th
of a turn after each exposure,
producing minor slit overlap at
the beginning of the film and no
overlap at the end. The final result
was processed using the polar
coordinates filter in Photoshop.

Experimental Photography
136 Pr in t ExPE rimE ntat ion and t E chniquEs c Ya no tYP E 137

The cyanotype printing process relies on the light sensitivity of iron salts,
creating blue-tinted images. It was developed by the pioneering English
chemist and photographer John Herschel in 183942, and became
cYanotYPE popular as a simple and cheap process for creating large-scale copies
of engineering plans (hence blueprints), but it can also be used for
photographic subjects. Although the technique has some disadvantages
(primarily long exposure times and a short chemical shelf life), it is a
great process for beginners due to its relative simplicity and low cost. You
can buy ready-made cyanotype solutions, but it is not too difficult to mix
your own.

the cyanotype process

1 2 3 4

make up the two solutions

What you need: 1 For solution A, mix 10 g potassium
25 g ferric ammonium
citrate ferricyanide with 100 ml distilled water.
10 g potassium
ferricyanide 2 For solution B, mix 25 g ferric ammonium
hydrogen peroxide citrate with 100 ml distilled water.
distilled water
beaker (500 ml)
3 Store each solution in a labelled brown
gloves
bottle. The uncombined solutions have
scales
2 brown bottles a shelf life of several months if you keep
non-metallic brush or them in a cool, dark place.
glass rod (for coating)
contact-printing combine the two solutions
frame
large-format negative
4 In subdued lighting, mix equal parts of
watercolour paper solutions A and B. The resulting cyanotype
uV lamp (optional) solution is light-sensitive and will be an
trays for processing intense yellow colour.

right
light
sensitive Barbara Ghidini
step Dancer., cyanotype, 21 x 27 cm,
PaGE xx 2013

Experimental Photography
178 Pr in t ExPE rimE ntat ion and t E chniquEs antho tyP E co l o u r rEciP Es 179

Anthotypes may not deliver a wide tonal range, but the individual colours
that can be achieved are as varied as natures palette. The swatches and
anthotyPE
colour recipes here are mainly for inspiration: the precise amounts
colour
of ingredients needed to produce each anthotype colour can only be
rEciPEs
determined by trial and error, and even then the resulting shade will vary
by John Dearing
significantly between batches. Different types and weights of paper stock
will also affect the end result.

Paprika paste, alcohol Madder root powder, alcohol Alkanet powder, baking soda Alkanet powder, alcohol Turmeric, sandal wood, Red cabbage puree (filtered), Raspberry puree (filtered) Pinot noir, from the bottle.
alcohol baking soda, alcohol

Sandalwood, turmeric, Madder root powder, alum, Boiled blackberry puree Blueberry puree (filtered) Turmeric, alcohol Boiled red cabbage, Boiled red beetroot puree Boiled raspberry puree
alcohol alcohol (filtered) baking soda (filtered) (filtered), alcohol

Canned beets Spirulina powder, alcohol 1:2 Blackberry puree (filtered) Raspberry puree (filtered), Paprika (filtered), alcohol Chard puree (filtered), water Red wine Boiled chard (filtered), water
alcohol

Experimental Photography
Experimental Photography
ISBN 978 0 500 544372
19.95 PLC