The obvious answer here is try cyanotypes. Mix potassium ferricyanide with ferric ammonium citrate in distilled water. Coat some paper with the solution, and wait for it to dry. Get a negative the size of print you wish to make and put the negative on the paper, then place the two in the sun, or other ultraviolet light source. Depending on your negative, exposure time is 10 minutes, to three hours. Practice makes perfect. No silver involved. It's iron based. The resulting image is very stable if kept out of direct sunlight. The particles are actually called Prussian Blue. But, you do have to deal with blue images.
I mix 10 grams ferric ammonium citrate in 35ml distilled water, then 4 grams potassium ferricyanide in 35ml distilled water. Store in separate containers and keep the containers in a dark drawer. When you want to make some prints, mix equal amounts of the two solutions together. The chemicals are cheap. 100 grams of ferric ammonium citrate is around $12.00 dollars U.S. A pound of potassium ferricyanide is around $15.00 U.S. That'll make many hundreds of 8x10 inch prints.
The obvious answer is not always the best.
How about speed and spectral sensitivity.
How about a lot of other things!!!!?
What other things? He asked for processes other than silver. I gave him a suggestion.
Look it up. Not going to type five pages of information that's everywhere already typed.
Wow, those blue images are amazing, made me look up cyanotypes. But is there a process that makes red images??
Well, I have made quite a few cyanotypes which require a lot of UV radiation for exposure.
They are very nice, albeit blue, and can be toned to yield other colors.
So, on to the other things. Do you want speed? Do you want to use it in-camera? Do you want to capture the image roughly as the eye would see it? These are things that Silver Halide does for us, so we need to find another method for giving us an all round imaging material, and not just a single purpose imaging material.
The reddest images I've seen anywhere were from very lightly gold toned POP paper made by ...I can't remember the name. I think Centennial out of Chicago. But, sadly, I'm not sure they still make paper. When they did, it was only once a year, and they sold out rather quickly.
Originally Posted by ColdEye
You can get redd'ish' tones from straight gold prints, Chrysotypes they're called. But, at this time, they're extremely expensive to produce. Not exactly giving away gold at the moment. Look them up here:
If you're not familiar with at least one hand coated process, start with cyanotypes first, then move on, otherwise you'll go broke rather quickly learning with gold. The learning curve for hand coated processes is steep at the beginning.
Get a digital camera. In the original post, nothing you mention is an issue for the poster. It only seems to be an issue for you.
Originally Posted by Photo Engineer
Here is the OP. Maybe, you have reading comprehension issues?
Originally Posted by Mustafa Umut Sarac
I was answering your post #34 relating to other things involved in imaging or imaging qulaity.
I am quite aware of all of the methods of making images other than Silver Halide. More than you might imagine. I was merely pointing out that of all of these methods, Silver Halide offers the most advantages when compared to these others.
You seemed to have missed the point.
Theo OP asked about alternative EMULSIONS, and you have not addressed that point, as Cyanotype is not an emulsion. I did address it in my post about Copper imaging. It is a true photographic emulsion.
If I may interject...
Those are really beautiful cyanotypes for one. I do know however that Umut is probably looking for something more exotic and esoteric, and of a theoretical vein. Umut is rarely looking for something practicable to do; but is more interested in what's possible in theory. So I think that's the point of view that PE is coming from.
I smelled something getting a little hot and thought I should open a window...
Just my 2¢