Alternative Photographic Processes Reimagined: The Role of
Digital Technology in Revitalizing Classic Printing Techniques
Chinatsu Ozawa
Kenta Yamamoto

Kazuya Izumi
Yoichi Ochiai

toremolo72@digitalnature.slis.tsukuba.ac.jp
kenta.yam@digitalnature.slis.tsukuba.ac.jp
University of Tsukuba
Tsukuba, Japanizumin@digitalnature.slis.tsukuba.ac.jp
wizard@slis.tsukuba.ac.jp
University of Tsukuba
Tsukuba, Japan

ABSTRACTThe transition from film to digital has influenced photography techniques, with implications for both cultural and technical aspects.
By examining the history and concepts of classical photography
and incorporating computer intervention in revitalizing alternative
photographic processes, we aim to expand aesthetic expressions inart, computer graphics, and our understanding of photography’s
cultural significance. Integrating computer processing with techniques such as salt print, platinum print, and cyanotype, this study
seeks to create a new photographic experience that embraces thejoy of materializing scenery and highlights the interconnectednessof technology and art.

CCS CONCEPTS• Applied computing → Media arts; • Human-centered computing → Visualization toolkits.

KEYWORDS
Alternative Photographic Processes, Cyanotype, Platinum Print,
Salt Print, Data-driven Simulation, Optimization
ACM Reference Format:
Chinatsu Ozawa, Kenta Yamamoto, Kazuya Izumi, and Yoichi Ochiai. 2023.
Alternative Photographic Processes Reimagined: The Role of Digital Technology in Revitalizing Classic Printing Techniques. In SIGGRAPH Asia 2023
Art Papers (SA Art Papers ’23), December 12–15, 2023, Sydney, NSW, Australia.
ACM, New York, NY, USA, 9 pages. https://doi.org/10.1145/3610591.3616430

1

INTRODUCTION

It has been 180 years since Niepce invented photography, and photography, once a frontier that led to the co-evolution of chemistry,
optics, and art, has now moved to the intersection of computing
and art. The number of digital camera units shipped each year
is now in the billions, with about 10,000 cameras shipped eachyear compared to the 1980s when film cameras were at their peak
[HOSOYA and TANIGUCHI 2019]. Of course, it may be difficult toclaim that cameras such as surveillance cameras and smartphone
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and/or a fee. Request permissions from permissions@acm.org.
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ACM ISBN 979-8-4007-0320-1/23/12. . . $15.00
https://doi.org/10.1145/3610591.3616430

multi-eye cameras are necessary for artistic purposes. However,there are more cameras on the planet than there are eyes on allliving people, and they have become such a widespread commodity
on the planet that they can be considered one of the new environmental resources [Turner 2023]. When you eat, when you spend
an important page of your life with friends, when you check thegrowth of your pets or children, and not only in such essential
life events, but also in all your networked communication, you arealways communicating visually. As we are constantly surroundedby images in our daily lives, it is important to consider the roleof photography in both popular culture and art. So, what aboutphotographs as works of art with physical forms? This refers to ananalogue print that can be framed and displayed in a room. Aboutsuch analogue prints, we have previously conducted research ona new printing method that integrates computer processing withfull-color printing of cyanotype [Ozawa et al. 2022]. Based on thisresearch, we have also considered how computational processing
can be integrated into other printing methods, such as salt andplatinum prints, and how the use of different materials that were
not considered at the time can expand the expressive power ofthese printing methods. In this way, our case studies on alternative
process are inspired by exploring both the artistic and technologicalaspects of computer graphics research has done [Wilder 2009]. The
computer graphics community has driven this digital world as thedriving force of current photo editing and visual communication.
Now that photographic images can be obtained without a camera
through generative AI prompts [Iyenger 2020], and stock photos
are being proposed [Barnard 2017], communication through photographs is changing radically. When considering the continuationand development of the tradition of the viewing space of classicalphotographs and the preservation of exhibition spaces, one of thethings that the media art and graphics community should addressis the exploration of materialized photographic alternatives [Kelsey2015]. We believe that this alternative process should be consideredwith factors such as current environmental issues and difficulties in
obtaining film, but also with the advantages of abundant computerresources.
Contributions. In this paper, we highlight our contributions to
the field of alternative photographic processes from both technical and cultural perspectives. Technically, we present a novel tone
adjustment method that enhances image processing and optimization, enabling the creation of precise digital negatives. Culturally,
we explore the historical and artistic context of these processes,
enriching the understanding of photographic art and paving theSA Art Papers ’23, December 12–15, 2023, Sydney, NSW, Australia

way for future innovation. Combined, our contributions bridge thegap between traditional and digital techniques, fostering culturalenrichment and broadening creative possibilities.

2

ORIGINS AND EVOLUTION OF
PHOTOGRAPHY AND CAMERAS
2.1 The Origins of Alternative Processes
Alternative processes are photographic printing methods that involve exposing a negative onto a material using photosensitive
chemicals (Figure1). These processes have deep roots in the history of photography, representing early experiments in capturing
images through chemical reactions and light. The development ofalternative processes, key historical works, and recent resurgencein interest are all part of this ever-evolving field. The origins ofalternative processes go back to the 19th century (Figure2), withthe daguerreotype as the first successful method [Barger and White
2000]. It used a silver-plated copper sheet exposed to iodine vapor,
but was cumbersome, leading to a search for practical processes.
The calotype emerged in the 1840s, using a light-sensitive paper
negative, allowing multiple prints from a single negative [Greene
2013], and inspiring future techniques like the salt print and albumen print. Throughout the 19th century, photography enthusiasts
continued to develop a variety of innovative alternative processes,
some of which remain popular and relevant today. Some of themost significant processes and their associated works include:• Salt print:One of the earliest photographic processes, thesalt print was created by using a mixture of table salt andsilver nitrate to form a photosensitive layer on paper [Anderson 2017]. The process was popularized by Henry Fox
Talbot and was used for his famous work, “The Haystack”(circa 1844).
• Cyanotype:Developed by English scientist Sir John Herschel in the 1840s. One of the most famous examples of cyanotype photography is Anna Atkins’ “Photographs of British
Algae: Cyanotype Impressions” (1843), which is considered
the first book of photographs [Ware 2014].
• Platinum print:Invented in the 1870s by English chemist
William Willis, platinum prints are characterized by theirrich tonality, long-lasting image stability, and luxurious appearance. Well-known photographers such as Edward S. Curtis and Alfred Stieglitz embraced platinum prints for theirartistic expression. Stieglitz’s photograph “The Steerage”(1907) is an excellent example of the process [Ware 2017].

Ozawa et al.

of film, it became possible to capture and store a greater number ofphotographs. Then, by the end of the 20th century, digital cameras
emerged, introducing a new revolution where photographs could
be stored in electronic formats, making editing and sharing much
more convenient. In essence, the technological journey of photography and cameras has traversed four significant transitions: from thecamera obscura to alternative processes, then to film cameras, andfinally to digital cameras. In the next chapter, we will delve deeper
into how these physical image-preserving techniques merged andevolved with computational technology.

3

Photography, an art of capturing moments through light, is intrinsically tied to science. Traditionally, images were projected onto
photosensitive surfaces, then recorded and printed. This record-andprint methodology underpinned photographic technology until thedigital era. As photography evolved, it embraced technology in
two primary ways. The first is the integration of computational
technology, broadening what’s achievable through computerizedenhancements. The second is the incorporation of digital technology, blending traditional methods with modern digital approaches.
We introduce the "Computational Alternative Photographic Process," a method that synergizes these two technological advancements, paving the way for a holistic approach to contemporary
photography.

3.1

Timeline of Photographic and Camera
Evolution

Looking back at the history of photography, its origins can be traced
to very simple imaging devices like the camera obscura. This primitive method involved creating a small hole in one corner of a room
to project the external scenery or objects onto the room’s wall.
However, this technique underwent a revolutionary progression,
evolving into what is known as the daguerreotype. This marked
the first-ever technique capable of capturing and preserving instantaneous images on a physical medium. Following the era ofalternative processes, the age of film cameras dawned. With the use

Latest Digital Photographic Techniques

With the integration of computational technology, it has become
possible to control visual data precisely as one desires. The advent of digital photography can be traced back to the 1980s whentechniques to convert images into electrical signals for recording
were developed. This digitization shifted our photo viewing habits.
Instead of traditional methods like film and prints, we now use
devices like monitors. This change in photographic appreciation
has had significant impacts on both society and the arts. The rapid
advancement in imaging technology has enabled the developmentof techniques that meet societal needs. For instance, technologies
such as HDR image, panoramic photography, and computational
photography have emerged. Due to these new technologies, parameters like brightness, contrast, and depth in photographs can now
be adjusted freely both before and after taking a shot.

3.2
2.2

INTEGRATION OF COMPUTERS AND
PHOTOGRAPHY

Updating Traditional Methods with Digital
Technology

Through the integration of digital technology, we’ve made strides inrefining the photographic experience, putting control directly into
the hands of users. As photography evolved into its digital form,
digital cameras naturally became the primary means of capturing
images. In our modern era, even devices not originally intended
for photography, such as personal computers and smartphones,
frequently feature built-in cameras. Meanwhile, traditional photographic devices, such as large-format and film cameras, continue
to find relevance. Despite a decline in their popularity, a passionate community still values and uses them. An emerging approach

Alternative Photographic Processes Reimagined1

Mixing chemicals

2

Make canvas

SA Art Papers ’23, December 12–15, 2023, Sydney, NSW, Australia

3

4

Exposure

Development

5

Toning (optional)
Soak in toning solution
contrast
HSB
color temperature

Wash out with waterPrepare chemicals for the method you
want to do

Cut the paper into the size you want touse

Made by pre-dissolving chemicals in water

Coating the support with photosensitizer

Mix chemicals only as much as needed toprint one canvas

Dry the photosensitive paper

Soak in developing solution

Prepare digital negatives

Dry the photo and it's done!

soaking time

make and print
digital negative

Remove excess alkali or acidsoaking time

Set the digital negative andphotosensitive paper in the exposuremachine so that they are in close contact

Wash out with water

Expose with appropriate exposure time

Dry the photo and it's done!

Figure 1: The diagram illustrates a four-step method for the development of alternative photographic processes, including
selecting a light-sensitive material, preparing it, coating it onto a substrate, exposing it to light, and developing and fixing theimage. This method is a systematic approach to developing alternative photographic processes.
involves updating these classic cameras with contemporary technology, providing them with a new lease on life. Some remarkable efforts in this direction include the Intrepid Camera1 , Cameradactyl2 ,and I’m Back3 (Figure3). Interestingly, when users have a hand inshaping the tools they use, it greatly improves the user-friendlinessand overall experience of photography. In summation, these collective endeavors and scholarly pursuits underscore the expansive
potential emerging from the nexus of computational technology
and age-old photographic techniques, indicating promising avenues
for future research.

3.3

Application of Computational and Digital
Techniques to Traditional

Combining digital and computational technologies creates a newcontext in photographic culture. In the history of photography,
merging digital photography with old photographic tools expanded
people’s vision and improved the photographic experience. We
believe collaborating with the "Alternative Photographic Process"can enhance these effects. With digital technology, we can print
the negatives used in the Alternative Process with standard printers. This allows digital photos to be printed in traditional ways
without actual negatives. With computational technology, we provide a user interface for image editing and optimization for thealternative photographic process. This means no need for chemical
adjustments, and users can preview before printing. These twotrends in the alternative photographic process printing framework
symbolize the next phase in photographic technology. Furthermore,
new photographic tools resulting from this trend make it easierto reflect users’ creativity in photos, marking a significant artistic
advancement.

1 https://intrepidcamera.co.uk/
2 https://www.cameradactyl.com/
3 https://imback.eu/home/

4

OUR DIGITALLY INTEGRATEDALTERNATIVE PHOTOGRAPHIC PRINTINGFRAMEWORK

Based on Section 3, we constructed a contemporary alternative process printing framework by integrating digital and computational
technologies with the alternative process. Furthermore, we developed a computer system to generate positive images suitable for digital negatives, specifically tailored for our printing framework. This
computer system includes features for image editing, optimization,and post-printing color simulation (Figure4). The code and demo
can be found at https://github.com/DigitalNatureGroup/computationalalternative-photographic-process.

4.1

Application for Tri-color Cyanotype

Traditional cyanotype photography was limited in its color range,
primarily restricted to shades of blue, leading to a narrow printable color spectrum. To address this limitation, the tri-color cyanotype was developed [Golaz 2021]. This technique involves layering cyanotypes in three distinct colors—cyan, magenta, and yellow—producing photographs with a rich and varied palette. While
this method revolutionizes the color range attainable with classic
cyanotypes, it prolongs the time needed for printing a single sheet
and introduces complexity to the development process. We developed a computer system to generate positive images suitable for
digital negatives [Wilder 2009]. The key features of this approach
include:• Real-time previewing of the printed outcome through datadriven simulation.
• GUI-supported parameter adjustments on the reference image.
• The creation of negatives for improved post-print contrast,
achieved through optimization targeting the original image.

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Ozawa et al.

Ti mel ine of A lte rnative Photog raphi c Proce ss es
1825

18 35

18 4 5

185 5

1 865

1 8 7518 85

1825-1827

1839-1860

Heliography

Daguerreotype

Heliography is aphotographic
process that uses the
sun as a light source
to create aphotographic print.
The earliest form of
heliography wasinvented by
Nicéphore Niépce inthe 1820s and wascalled"heliogravure."

The daguerreotype is a photographic process that was invented by Louis Daguerre
in the early 19th century. It involves creating a highly detailed and highly polishedimage on a silver-plated copper sheet. The process was one of the ﬁrst practicalphotographic processes and was widely used in the mid-19th century.

189 5

1 905

1915

1925

1935

1945

1955

1965

1975

1985

1995

2005

2015

2025

Fu t ur e

1853-1930

TintypeTintype, also known as ferrotype, is a photographic process that was developed in the mid-19th century as an alternative to the daguerreotype
and ambrotype. The process involves creating a photograph on a thin sheet of metal, usually iron, which is then coated with a black enamel.
1852-1870

1891-1914

Ambrotype

Lipmann process

The ambrotype is a photographic process that was developed in the
mid-19th century as an alternative to the daguerreotype. The process
involves creating a photograph on a glass plate that is then backed
with a dark material, such as black paint or velvet, to create the illusionof a positive image.

The Lippmann process is a photographic process that was invented by Gabriel Lippmann in thelate 19th century. It creates a color photograph using the interference of light, rather thanpigments. The process involves exposing a light-sensitive emulsion to light, which creates aninterference pattern, and then developing the emulsion to produce a full-color image.

1850-1950

Lantern slide
Lantern slides are small, transparent photographs that were used to project images onto a screen using a slide projector. Lantern slides were popular in the late 19th and early 20th centuries for educationaland entertainment purposes, such as illustrated lectures, magic lantern shows, and home entertainment.
1930-1970

1896-1903

1834-1840

Photogenic Drawing
Photogenic Drawing is one of the earliest
photographic processes and it was invented
by William Henry Fox Talbot in the 1830s.
The process involves taking a photographusing a camera obscura, which is a device
that projects an inverted image of a scene
onto a light-sensitive surface.
1840-1860

Tricolor Lumiere transparency

Monochrome transparency

The tricolor Lumiere transparency is a photographic
process developed by the Lumière brothers in the late
19th century. It is a color photographic process thatuses three separate black-and-white images, eachtaken through a different colored ﬁlter, to create afull-color image.

Monochrome transparency refers to a photographic transparency that has only one color, such as
black and white or sepia. It is also called black and white transparency or monochrome positive.

1907-1935

1931-now

Color transparency
Color transparency refers to a photographic transparency that has more than one color, typically red, green and blue. They are also known as color positive, color slideor simply slide.

Autochrome
Autochrome is a photographic process that was developed by the Lumière brothers in the early 20th century. It is one of
the ﬁrst successful color photographic processes and it was widely used for both professional and amateur photography.
2023-now

1860-1940

Salted paper process Printing-out Papers

Digital Salted Print

Salted paper process is aphotographic process that wasinvented by William HenryFox Talbot in the mid-19th
century. It is similar to theearlier photogenic drawing
process.

Our proposed salt print integrates
digital processing.

Printing-out papers (POP) are photographic papers
that produce a print by the action of light alone,
without the need of a chemical developer. They arealso known as "light-sensitive papers" or "printing
papers". They were widely used in the 19th andearly 20th century as an alternative to the albumen,salted paper and other printing methods

1850-1900

Albumen print
Albumen print is a photographic printing process thatuses egg whites (albumen) to bind light-sensitive
silver salts to paper. The process was invented in the
1850s and it was one of the most popular printing
methods of the second half of the 19th century.
1842-1950

2022-now

Cyanotype

Digital Cyanotype

It is a photographic printing process that uses a solution of ferric ammonium citrate and potassium ferricyanide to create a blue print. The process was invented by Sir John Herschel in 1842 and was primarily used for reproducing architectural drawings and maps.

Our proposed cyanotype integrates
digital processing.

1855- 1930

Carbon printing process
The carbon printing process is a photographic printing process that uses pigmented gelatin to produce a print. It was developed in the late 19th century and it was used to
produce photogravures, photolithographs, and other forms of photographic reproductions.
2023-now

1873- 1930

Platinum & Paladium print

Digital Platinum Print

Platinum print is a photographic printing process that uses a mixture of light-sensitive platinum salts and a palladium salt to produce a print.
The process was developed in the late 19th century, it was considered one of the most stable and long-lasting photographic printing processes.

Our proposed platinum print
integrates digital processing.

1880- now

Gelatin silver print
Gelatin silver print is a photographic printing process that uses a mixture of light-sensitive silver salts and a gelatine binder to produce a print. The process was developed in the late 19th century and it quickly replaced earlier printing methods such as
albumen and salted paper.
1894- 1930

Gum bichromate process
The Gum bichromate process is a photographic printing process that uses a mixture of light-sensitive gum arabic, a bichromate, andpigments to produce a print. It was developed in the late 19th century and it was used to produce art prints and ﬁne art reproductions.
1864- 1900

Woodburytype
The Woodburytype is a photographic printing process that uses a mixture of pigmented gelatin and a photopolymer to produce a print. It wasdeveloped in the late 19th century and was used to produce ﬁne art reproductions, photogravures and other forms of photographic reproductions.
1868- 1940

1946- 1993

CollotypeDye-transfer process

Collotype is a photographic printing process that uses a light-sensitive emulsion to produce a print. It was developed in the late 19th
century and was used to produce ﬁne art reproductions, photogravures, and other forms of photographic reproductions.

Dye-transfer process is a photographic printing process that uses color dyes to produce a print. It was developed in the early 20th
century and was used to produce ﬁne art reproductions, motion picture ﬁlm prints and other forms of photographic reproductions.

1841-1860

1963- 2011

Calotype

Ilfochrome

Calotype is a photographic printing process that uses anegative to produce a positive print. It was developed
by William Henry Fox Talbot in the 1840s and it was
one of the earliest photographic printing processes.

Ilfochrome is a photographic printing process that uses dye-bleach technology to produce a print. It was developedin the late 20th century and was used to produce ﬁne art reproductions, motion picture ﬁlm prints and other formsof photographic reproductions.

1851-1885

1942-now

Collodion process

Chromogenic Color Print

The Collodion process is a photographic printing process that uses a light-sensitive collodion emulsion to produce a print. It
was developed in the 1850s and it was one of the most popular printing methods of the second half of the 19th century.

The chromogenic colot print is made up of three gelatin layers containing cyan, magenta, and yellow organic dyes. Common branded products
such as Kodacolor prints, introduced by Kodak in 1942, use the chromogenic process.

1878-1967

Silver gelatin dry plate process
The silver gelatin dry plate process is developed in 1870s, this process is far more practical than the preceding wet collodion process, and is the direct forerunner of roll ﬁlm.
1939-now

Color negative ﬁlm
Color negative ﬁlm is the kind of ﬁlm usually found in convenience stores. It uses C-41 chemicals for processing, and you get negatives and prints fromit when processed normally. Color negative ﬁlm is very much “What you see is what you get” when it comes to coloration. It yields true-to-life colors andcontrast, which is why it’ s preferred by portrait and wedding photographers.

Explanatory notes:

Figure 2: The timeline illustrates the evolution of alternative photographic processes from the early 19th century to the presentday, starting with the invention of Photogenic Drawing by William Henry Fox Talbot in 1839. It charts the development ofvarious techniques such as the Salted Paper process, Cyanotype, Albumen print, and Collodion process, along with theirapproximate date of invention and notable characteristics. The timeline highlights the significant contributions made byphotographers, scientists, and inventors in the field of alternative photographic processes and the impact they have had on
photography.

Alternative Photographic Processes Reimagined(a)Internal composition of Intrepid Camera

SA Art Papers ’23, December 12–15, 2023, Sydney, NSW, Australia(b) Cameradactyl 4×5 ﬁeld camera(c) Iʼm back 35

Figure 3: Examples of updating traditional methods with digital technology. (a) Intrepid Camera1 , a large-format camera
utilizing 3D printing and eco-friendly materials. (b) Cameradactyl2 , a large-format camera with a body manufactured using 3D
printing. (c) "I’m Back"3 gadget, allowing the attachment of digital sensors to film cameras. These images were taken from thesites mentioned in the footnote.

Figure 4: System diagram for alternative photography printing framework.

4.2

Application for Monochrome Alternative
Photography

Building on our multi-color cyanotype approach introduced in section 4.1, we further explored the potential of emphasizing the inherent monochromatic characteristics found in alternative photographic
processes. We’ve updated our software to cater to monochromatic

printing by adapting the methods from section 4.1[Ozawa et al.
2023]. The following novel features were incorporated:• Users can now select their preferred printing method before
initiating the print.
• For parameter adjustments, in addition to the intuitive GUI,a tone curve tool has been made available.

SA Art Papers ’23, December 12–15, 2023, Sydney, NSW, Australia

Ozawa et al.

• An image optimization feature tailored for monochrome
printing has been introduced.

4.3

Digital Tools

We developed software for the alternative photographic process.
This software comes with a user interface and primarily offers threemain functions: post-printing color simulation for the alternative
photographic process, image editing, and image optimization.
4.3.1 UI. Our developed software is accessible to anyone from the
web and can be used without the need for downloads. The printing
procedure using this system is as follows: First, we print patch
images using the alternative process. The printed color patches arethen photographed alongside the color checker with a camera andcalibrated on a PC. Users upload this data, along with the image you
wish to print, to the system. Subsequently, you can edit the image
using sliders and tone curves, or optimize it, and then download
the positive image for creating a digital negative. Using this image,
you produce a digital negative with a printer, which is then printed
using the alternative process. Color tone editing of images is doneusing tone curves as shown in Figure 5(a) and sliders as depicted
in Figure 5(b). By integrating the above components, our system
offers an intuitive platform for users to craft specialized negatives.
The seamless interactivity ensures that adjustments to the postprint photograph are achievable without delving into chemical ormaterial parameter modifications.
4.3.2 Prediction model. The prediction model is designed to simulate the printing results of the alternative process. Specifically,
the system utilizes a dataset of specific color patches to predict thecolor after the alternative process.
Preparing the patch. Initially, color patches corresponding to
pixel values from 0 to 255 are printed using the alternative process. These printed patches are photographed with the x-rite’sColorChecker, and color calibration is performed using the ColorChecker Camera Calibration4 . The calibrated RGB values, pairedwith the original color information, compose the dataset.
Training the model. The gathered training data is then employedwith a linear regression model to construct the prediction model.
This model, when given new color information, predicts the color
post the alternative process. The predicted color value 𝑐ˆ can be
determined using the equation:𝑐ˆ = 𝑤 0 + 𝑤 1𝑟,(1)

where 𝑟 represents the grayscale value of the image, and 𝑤 1 denotes
the coefficient for color value prediction. For a linear regression
model, the coefficient 𝑤 1 must be optimized. The optimal coefficients 𝑤 ∗ are derived by solving the following optimization problem:w∗ = arg min ∥Xw − ĉ∥ 22 ,(2)w

where 𝑋 represents the original patch values, 𝑐ˆ are the measured
patch values, and 𝑤 are the coefficients for color value prediction.

This predictive model was developed using the linear regression
model provided in scikit-learn6 .
4.3.3 Optimization towards target image. While users can edit images via our UI, we also offer an image optimization feature to makeachieving the best printing results more straightforward. In thisoptimization process, we aimed to get the printing result as close
to the target image as possible within the printable color gamut ofeach alternative process.
Retrieving Image Color Information. The RGB values of each pixel
are extracted from the provided input image.
Predicting the Color. Using the predictive model, the system predicts the color of each pixel based on patch printed by alternative
photographic process.
Calculating the Loss. The difference between the predicted colors
and the original colors is computed, with the smallest difference
signifying the most accurate replication. To derive the optimal input
values 𝑐 ∗ for the negative used in the actual printing process, thefollowing optimization problem was solved:2c∗ = arg min ĉ(r, g, b) − cimg 2 ,cwhere 𝑐 denotes the RGB values of the image in each iteration and𝑐𝑖𝑚𝑔 represents the RGB values of the target image. The optimization process was conducted using TensorFlow7 , employing Adamfor optimization.
Adjusting Color Information. Based on the computed loss, theoriginal RGB values are adjusted. This adjustment is iteratively
applied to each pixel of the image. Ultimately, the image obtained
from this optimization process will most accurately replicate theresults after the alternative process.

5

CASE STUDY AND RESULTS

We present results for our framework tailored for tri-color Cyanotype. Figure 6(a) demonstrates that our design can adapt to various
images and patches, enabling diverse three-color prints. Figure 6(b)displays our color prediction based on patch measurement data.
While the actual print isn’t perfect, especially in the blue shades, itlargely aligns with our predictions. The optimization further refines
the outcome, enhancing the contrast in the final image.
In this case study, we will be exploring the use of computational
processing to adjust tones in three different types of prints: cyanotype, platinum print, and salt print. These alternative printing
processes have a rich history and offer unique aesthetic qualities
that set them apart from traditional photography. By using computational processing to adjust tones, we can expand the range of
expression and create distinct and visually striking images. The
results of this case study will be useful for photographers and artists
looking to explore new possibilities in their work and for anyone
interested in the potential of computational processing in the fieldof alternative printing. In our system, we use prediction and optimization as core technologies to perform tonal adjustment printing.
6 https://scikit-learn.org/stable/modules/generated/sklearn.linear_model.

LinearRegression.html
7 https://www.tensorflow.org/

4 https://calibrite.com/us/software-downloads/(3)

4 https://p5js.org

Alternative Photographic Processes Reimagined

SA Art Papers ’23, December 12–15, 2023, Sydney, NSW, Australia(a) Tone curve(b) Slide bar

Figure 5: The UI of the software based p5.js 4 we developed. (a) Shows the screen where images are edited using a tone curve. (b)Displays the screen where images are adjusted using sliders(a) Design sessions with our proposed framework (printed results)(b) Comparison of the predicted images with the actual prints (top row is linear, bottom row is optimized)
Predicted image

Original image

Printed image

LinearPatch

Optimize

Figure 6: Results of printing the Tri-color cyanotype using the printing framework we constructed. (a) Examples of prints
accommodating various edits. (b) A comparison between the post-printed image and the simulation image.
As shown in Figure 7(a) (d), we demonstrated tone adjustments
and optimizations. In both of tone adjustments and optimizations,our prediction model is useful based on the measurement data. Additionally, as shown in Figure 7(e), comparing the predicted datawith the actual printed results, we observe that they appear almost
identical visually.

SA Art Papers ’23, December 12–15, 2023, Sydney, NSW, Australia

Ozawa et al.
(c) Salt print after optimization(a) Cyanotype print(orinigal)(b) Cyanotype after optimization(d) Platinum print after optimization(e) Comparison of the predicted images with the actual prints (top row is linear, bottom row is optimized)
Predicted image

Original image

Printed image

LinearPatch

Optimize

Figure 7: Before and after demonstration of cyanotype: (a) cyanotype print before computational tone adjustment, and (b)cyanotype print after employing our prediction and optimization model to adjust the tones, showcasing a visually striking anddistinct outcome. (c) Salt print and (d) platinum print demonstrations employing computational tone adjustment: salt print
and platinum print after implementing our computational model to refine image tones and achieve unique aesthetic results.

6

DISCUSSION

The integration of digital and material techniques unlocks a treasure trove of creative possibilities for photographers and artists,
while also enabling valuable insights into the production processes,
experimental approaches, and legacies of historical artists. By digitizing and analyzing older artworks, researchers can reinterpret pastartists’ creative intentions, examine their distinct techniques, andunearth previously unknown aspects of photographic history. Simultaneously, the fusion of computational and alternative processes
serves as a wellspring of inspiration for contemporary artists, fostering a rich dialogue across different periods and artistic movements. The digitalization of historical alternative processes empowers modern photographers and artists to re-contextualize themethods and aesthetics of the past, stimulating reinvention andinnovation while preserving the unique artistic heritage embodied in these techniques. By exploring the fertile ground between
analog and digital realms through the utilization of methods suchas digital negatives and the incorporation of modern technologies

like artificial intelligence and virtual reality, photographers andartists can expand their creative repertoire and push the boundaries
of photographic expression. This merging of computational andalternative processes fosters a dynamic, evolving framework thatempowers artists to continually redefine photographic possibilities
and push their creative limits. The fusion of digital and material
techniques in photography enables the medium to be approached
as not only a means of expression but also as a continually evolving
art form that transcends time and technological boundaries.

7

CONCLUSION

Our technical contribution in image editing with UI and optimization for alternative photographic processes enables the creation of
precise and accurate digital negatives. By fusing computer graphics
with traditional art techniques, photographers and artists can generate distinctive and expressive works that surpass conventional

Alternative Photographic Processes Reimagined

photographic limits. Through a mindful approach to materials, techniques, and processes, our method enhances the creative possibilities for photographers and artists, enabling unique visual outcomes.
Ultimately, our image optimization technique in alternative processes not only broadens the artistic scope but also fosters culturalenrichment within our society.

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