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TPS Exhibtions > Alternative Process

Alternative Process
A traveling exhibition juried by Christopher James: Author and Professor and Chair, The Art Institute of Boston.

Amateur and professional photographers were invited to submit slides of their alternative processes works to the Texas Photographic Society (TPS) for the group’s Alternative Processes Traveling Exhibition. The Exhibition will travel throughout Texas for 2 years and is available for national exhibition sites.

Christopher James juried the competition. Mr. James accepted 40 images form 40 artists from the 144 artists submitting 706 images. An exhibit catalogue was published with exhibiting photographers receiving three copies and entrants receiving one. The catalogue was sent to photography magazines, curators, museums and photography collector's.

Christopher James is an internationally known artist and photographer whose paintings and alternative process images have been exhibited in galleries and museums in this country and abroad. His work has been published and shown extensively, including shows in The Museum of Modern Art, The Metropolitan Museum of Art, Eastman House and the Witkin Gallery. His book, The Book of Alternative Photographic Processes (Delmar, 2001) has received unprecedented critical acclaim and was the winner of The Golden Light Technical Book of the Year award.

Mr. James, after 13 years at Harvard University, is currently Professor and Chair of Photography at The Art Institute of Boston at Lesley University. He is also a working graphic designer and a professional scuba diver.

The creative opportunities of alternative photographic processes have been, until recently, relatively unexplored territory for the contemporary artist. An awakening of the possibilities in this area of photography is rapidly gathering energy as visually creative folk, of all ages, and disciplinary backgrounds, are actively exploring modes of photographic expression that are not solely dependent on commercially packaged materials. These artists are formulating, and hand applying, their own sensitizers, and emulsions, and returning to the exploratory roots of “light-writing.” They are embracing, in this digital age, the inter-disciplinary potential of alternative processes photography; the marriage of nineteenth century handmade craft, science, and romanticism in concert with twenty-first century technologies and conceptual perceptions.

My university and workshop students often ask me for a definition of what exactly an “alternative process” is. For decades, these words were joined at the hip to the term “non-silver” but that description was essentially flawed as silver plays a sensitive role in a significant number of the alternative techniques. I like to define “alternative process” to mean any technique that utilizes light to express the artist’s intention, that incorporates the tools and methods from other disciplines (such as painting and printmaking), and that transports the unique qualities found in the photographic arts into new territory; including digital imaging and Piezography.

Christopher James
January 2003

Throughout the history of photography, one process has always improved, and replaced, another. From Talbots salted paper, to the latest Piezographic technology, each process has been defined by its own collection of charms, syntax, frustrations, and foibles. As our beloved wet lab process gets in line to meet its inevitable successor, be assured that it will not disappear but simply be adopted, as a personal alternative process of choice, by those artists who can think of no better way to express their vision.

This evolution within the medium was especially evident in the work that I was asked to jury for this competition, the latest in the Texas Photographic Societys great tradition of excellence in photography. Clarke sent 9 trays of slides and asked me to select 40 odd images for the TPS show. No Problem, I thought until I had completed the first tray and already had a list of 30 finalists. Five rounds of projecting, and looking at work with a loop, later I had completed the task Clarke had asked me to and could have easily constructed a great show with twice as many images. To those artists who have been included and to those who were not thank you for the delightful opportunity to acknowledge your work and your vision.

Christopher James
September 2003

The exhibition was shown in the following spaces:

Amarillo Texas Southern Light Gallery
Longview Texas Image Gallery
Odessa Texas Options Gallery
San Antonio Texas River City Silver
Gainesville Florida University of North Florida


Carol Adleman Lusk Wisconsin Cyanotype
Diana Hooper Bloomfield Raleigh North Carolina Pinhole platinum/palladium
Clint J. Blowers Philadelphia Pennsylvania Van Dyke
Rocky Boudreaux Houston Texas Platinum/Palladium
Dan Burkholder Carrollton Texas Pigment over platinum
Jill Skupin Burkholder Carrollton Texas Bromoil
Lana Z. Caplan Boston Massachusetts Tintype
Dusty Demerson Crested Butte Colorado Giclee print
Kay J. Denton Austin Texas Gold toned printing out paper
Matthew Gamber Jamaica Plain Massachusetts Gold toned printing out paper
Raymond Gendreau Bainbridge Isl Washigton Van Dyke Brown
Joy Goldkind St. James New York Bromoil
Tony Gonzalez New York New York Gum Bichromate
Carol Hayman Austin Texas Solar print
Mary Daniel Hobson Muir Beach California Kodalith & mixed media collage
Susan Huber Salt Spring Isl BC, Canada Gold toned printing out paper
John Jenkins III Seattle Washigton Tintypes
Byung Wha Lee Ft. Meyers Florida Cyanotype
Peter Liepke Warwick Rhode Island Bromoil from paper negative
Clare Loughran Kensington Maryland Salted paper process
Scott McMahon Boston Massachusetts Pinhole tintype
Eileen Brady Nelson Piermont New York Platinum/Palladium
Truong Viet Nguyen Garland Texas Platinum
David Puntel San Francisco California Wet-plate collodion
Lynn Reynolds Lake Charles Louisiana Cyanotype, with mixed media
Alyssa Salomon Richmond Virginia Daguerreotype, becquerel method
Thurman Enrique Sanabria New York New York Van Dyke
Rosira Correia Sasser Hot Springs Arkansas Polaroid emulsion peel on gold leaf
Travis LeRoy Southworth Tucson Arizona Lambda Print
Amanda Stahl Johnson City Texas Tintype
Andrew L. Strout Norman Oklahoma Palladium
Leah Stubbs Austin Texas Pinhole
Jane Taylor Huntington West Virginia Archival digital print
Rayna Manger Tedford Superior Colorado Cyanotype and Van Dyke Brown
Gary Thompson Baltimore Maryland Digitally composited silver print
Sarah Van Keuren Lansdowne Pennsylvania Cyanotype & gum bichromate
Mary Dorsey Wanles Topeka Kansas Gum bichromate over cyanotype
Dane Websters Manhattan Kansas Archival Inkjet
Barbara Yoshidas New York New York Silicone Intaglio
Jim Zeilan Garland Texas Cyaotype & water colors
Christopher James Dublin New Hampshire Piezo with carbon inks on rag



Selected accepted images:

Carol Adleman

Jill Skupin Burkholder

Peter Liepke
Bromoil from paper negative

Scott McMahon
Pinhole tintype

Rosira Correia Sasser
Polaroid emulsion peel on gold leaf

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Texas Photographic Society (TPS) publishes and exhibits members’ photographs in print, online and in photography exhibits thoughout the U.S. and Europe. TPS membership includes photographers ranging from students to dedicated professionals. Together, they share an enthusiasm and dedication to fine photography.