ABSTRACT
When I was pursuing my undergraduate degree at Louisiana State University, I took the one alternative process course offered at the time and felt like this door to an entirely “other” way of doing things as a photographer was opened. After I graduated I started seeking out advice and workshops led by historic process practitioners and began to home in on the alternative imaging techniques I was most curious about. One thing that greatly appealed to me about employing historic process photography in my creative practice was the tactile nature of everything. I loved measuring my chemistry on scales, coating the paper or glass with emulsion, and exposing the materials I made with my own two hands. There is something about the personal investment in these processes that makes a successful image that much more potent and meaningful for me. And being able to share my interest in practicing these antiquated photo processes with other people, and perhaps sparking curiosity for their own pursuits, just underscores the value I hold in keeping these techniques alive.
