I copied and pasted the following from my website, for convenience:

Why I am a gum printer:

I had a mental picture of the kind of photograph I wanted to make and set out to try to find a way to make them. I had never seen any photographs like them, but I was determined to find a way to make them, these pictures I saw in my head. Their colors were soft and relatively unsaturated, but with a kind of glow about them. I had never seen autochromes, but years later when I saw some reproductions of autochromes, I realized that the look of autochromes is probably closer to what I was imagining than anything that was ever done in gum historically. It's probably a good thing I didn't see the autochromes before I discovered gum, or I may have spent the intervening years trying to make autochromes.

At any rate I tried and discarded several other possibilities in my search for a way to make these photographs, such as Polaroid transfer, solvent transfer, lith printing, toning, before I found gum. I dabbled in digital art long before most photographers had ever heard of Photoshop, using channel operations and calculations in a very early version of Photoshop to create primitive jury-rigged filters that gave my photographs an impressionistic sort of watercolorish look. Each of these methods produced interesting results, but none of them was what I was looking for. Finally I came across Suda House's book "Artistic Photo Processes" in my local library and saw Todd Walker's dreamy images printed in gum on silk; though his images weren't quite like the ones I was thinking of, I was sure I'd found my medium. I set out first to teach myself to print in gum, using Keepers of Light and an excellent set of instructions from Photographer's Formulary (written by Steve Anchell) as guides, then adapted the method to produce the kinds of pictures I wanted to make, and have been making them ever since. That was nearly 20years ago.

I've never been interested in any other photographic printing process than gum; it's my process.
Katharine