Laura Blacklow - New Dimensions in Photo Processes: A Step by Step Manual

The writing of this book was undertaken almost by accident. While I was freelancing as an illustrator, I showed my portfolio of photo images to Lista Duren, an editor at Curtin & London Publishing Company. Ms. Duren brought the portfolio to Dennis Curtin, who, on the spot, asked me to write a book about the techniques represented. Curtin & London subsequently ceased publishing photography books, and so Focal Press picked up the manuscript.

I wish to acknowledge the work of the staffs at Curtin & London and Focal Press, as well as the enormous contribution of Virginia Holmes, who helped research and write the first draft. Gene Laughter, who was recommended to me by Karl Koenig, wrote the thorough Bromoil Printing section in and was a delightful collaborator, even under pressure. I was fortunate that Gene could secure the photographic expertise of Wayne Firth, who took the step-by-step illustrations for that chapter. I appreciate being educated about chromoskedasic painting by Birgit Blyth, who, fortunately, did not make up that word. Elaine ONeil assisted in organizing and refining the manuscript and helped write the section on toning.

Other people provided useful information: Seymour Rottenberg, vice-president of Kwik Proof; Robert Cone, manager of the Rockland Colloid Corporation; Bart DeVito at Luminos; Melody Bostick at Bostick & Sullivan; digital artist extraordinaire Carl Sesto; pinhole and collage artist Jesseca Ferguson; fabric artist Susan Podshadley; Robert Fairchild, electrician; Martyn Greenhalgh, who provided me with information on U.K. suppliers; and Neil Gordon, president of E.J. Ardons (one of six graphic arts stores in the United States that are older than 50 years). S.B.I. Sales in Boston, Massachusetts, loaned me photo materials, the E. Philip Levine Company of Boston loaned photo equipment, and Agfa Corporation gave me photographs.

Thanks go to photographer David du Busc, whose patience and perfectionism helped produce clear step-by-step photographs; to Helen Snively, a most careful and accommodating typist who worked on the first edition; and to Sal Salerno, who tested my instructions. Barbara Hewitt and John Basye of Blueprints/Printables reviewed the cyanotype chapter and generously added information. Vicki Lewis thoroughly proofread the manuscript.

Gratitude is due the artists whose artwork enlivens these pages. I would like to acknowledge the many students in my classes, whose ideas and enthusiasm added immeasurably to the book.

I dedicate this book to my husband, Peter Fougere, whose support and feedback have proved invaluable, and to my son, Noah Fougere, who never put up too big a fight giving up the computer to accommodate his mother.