Curated Photos | November 9, 2015 | Amy Jasek

I have heard many photographers say that a part of what attracts them to film is the process, specifically the tactile element.  This is certainly the case for me, combined with my total fascination with the chemistry that makes all the "magic" possible.  Something Real happens when a sensitive emulsion comes into contact with light.  Changes occur.  An image is born.  

Long before film, however, photographers had other methods of harnessing light, and these take the idea of Process to another level.  I had heard about them before, but never had the chance to try any of the "alternative" processes out before this year.  They are fun, fascinating, addictive, and often a lot more accessible than you might think.  They also can yield incredibly beautiful, interesting results.  It only took one member mentioning wet plate, and then the glimmer of a response from other members, for me to decide we needed to showcase this type of photographic art here.

What I present to you is a selection of the past week's call for Alternative Process entries. This ran parallel with Alternative Process Week on our Instagram account, so please have a look there for more beautiful work.

Next week, we will have a new theme, curated by the One and Only Ruby Falls.  The theme is Serenity: shots that bring you peace, in colour, composition, or subject.  We look forward to your submissions!

Amy Jasek

Photography is a family tradition. I was raised in the darkroom, and on the fine art work of photographers like Edward Weston, Diane Arbus, and Ansel Adams. My father took me photographing with him regularly and taught me how to look at light. He gave me my first camera (an Olympus RC); I made my first black and white print (standing on a stool!) at the age of 7. There are some gaps in the timeline of my photographic journey, enforced upon it by life in general, but film and cameras are one of the few things that have remained constant every step of the way. For me, photography is all about moments and truth. I like to work in black and white so that I can highlight those two things. The truth, form, and simplicity of the moment is presented; I feel that removing the color from the scene brings these things out. I believe street photography is a little window into the heart and soul of a place, a time, and the people in it. These days I tend more toward street portraits and interaction with my subjects, but my drive for capturing the candid moment remains the same.