Processing aberrations:

Many artists working with alternative processes strive to create as technically perfect prints as possible. It is possible to work with original large format negatives and produce exquisite sharp prints, with no blemishes and a full rich range of tones. Even copy negatives, photocopies or transparent ink jet prints can be used to make perfect prints.

However many of the processes lend themselves to exploiting imperfection as part of the process, they can have an ambiance's that references it to the antiquarian.

The end of the brush stroke can be used to good effect to accent the fact that emulsion has been painted onto the paper rather than even coated over the entire surface.
Rather than use huge computer files to make perfect transparent negatives, a reference to the digital pixel can be incorporated as a part of the work to reference the gap between the historical and the contemporary media.
Grain and scanning marks from the photocopy enlargement process can be accepted as another layer of visual syntax
Gaps in the brush marks where paper was not covered with emulsion can create another set of interesting marks
Areas of in and out of focus where there were variations in contact between the negative and the emulsion offer another alternative.
Chemical staining, fixer splashing before development can add a different colouration to areas of the print and suggest a form of aging.
Rather than coat the emulsion with even thickness, variations in thickness can offer differences in colourr.

Want to learn more? - do a workshop or one on one with Lloyd Godman