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Contemporary Noble processes 
  

Since the 1970s there has been a growth of interest in what are called Alternative processes meaning that they reside outside the mainstream of the processes of the time. Frequently older techniques were used to learn more about how historical processes actually worked and this still continues but there has been a noticable shift over the last ten years for the products of these endeavors to be increasingly accepted with Fine Art galleries and museum collections.
 
This online exhibition has been created to coincide with the "Noble Processes, in a Digital Age: New Works in Hand-Crafted Rare Media" show at the John Stevenson Gallery (N.Y., May 3 - June 24, 2006) where works by Linda Broadfoot, Lana Caplan, Brigitte Carnochan, David Croland, Cy DeCosse, Joy Goldkind, Claudia Kunin, Koichiro Kurita, Michal Macku, Beth Moon, Michael OíNeill, Hugh Shurley, Sarah Van Keuren, John Yang, and ZoŽ Zimmerman were included. These artists use a wide range of techniques from tintypes through to hand colored gelatin silver prints.
 
Exhibitions such as "The Image Wrought: Historical Photographic Approaches in the Digital Age" at the Harry Ransom Humanities Research Center at the University of Texas at Austin (January 31 - August 6, 2006) have brought together a range of works that show the acceptance of historical diversity. But this is only the tip of a large community of photographers supported by the

www.alternativephotography.com

website that are now enriching the photographic tradition by using the techniques of the tradition.
 
To name all of those involved for each of the different processes would be next to impossible but here are a few names to look out for:
  • Daguerreotypes: Irving Pobboravsky, Mike Robinson, Robert Shlaer, Jerry Spagnoli
  • Ambrotypes: Luther Gerlach
  • Cyanotypes: John Dugdale
  • Tintypes: Robb Kendrick
  • Bromoil: Joy Goldkind
  • Photographic collage: Hugh Shurley
Finally it would be gross ingratitude if we did not acknowledge the long term efforts by practioners in different countries who have done so much to keep alive older techniques and to bring back those long forgotten. So special thanks go to Malin Fabbri, who created the www.alternativephotography.com website, France Scully Osterman and Mark Osterman (www.collodion.org) who have trained so many contemporary practitioners, and to Terry King and Michael Ware in the UK 
  

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