The cover, featuring one of William Henry Fox Talbot’s ‘photogenic drawings’, is screen printed using gold photochromic ink—when exposed to sunlight, the image develops on the page.
The magazine was accompanied by a notebook explaining some of the alternative historical processes that are the most accessible, as well as providing a directory of suppliers and darkrooms for hire.
The publication presents black & white photography as a way of cutting out the noise in our image saturated world. These are the only pages featuring colour: the red acetate, when placed over each page, cuts out all colours other than cyan—presenting monochrome as a ‘radical’ alternative to colour.
Throughout the magazine, different papers were used to reflect the physicality of the work featured—as they all use historical processes, they all exist as tangible artifacts rather than digital files. This was a series of extremely delicate glass plates—printing on tracing paper gives the reader an impression of the tactile nature of the plates.
The typography of the headlines also reflects the photographs featured—in this case, the photographer had produced a series of portraits using paper negatives of a man with Parkinson’s. The process meant long exposure times, so the movement of the subject is recorded, and this movement has been translated into the design of the headline.