Those seeking to express themselves through art find hundreds of ways to do it. Visual art alone, for instance, boasts an abundance of approaches, from photography to graphics, and beyond. In addition to the rather popular art forms, there are also numerous unique alternatives, often less familiar to the general public, such as gum bichromate, kallitype, or chrysotype, just to name a few.

All three of the aforementioned are alternative photographic processes, examples of which can be found on a public Facebook group titled exactly that. The group consists of over 40 thousand enthusiasts of different kinds of methods, who share their beautiful artwork with the world. We have gathered some of their best examples on this list for you to marvel at, so wait no longer and scroll down to find the unique images.

#1 Cows. Duotone Cyanotype

Image credits: Dorota Bronikowska

#2 Mary With Radiant Leaf Halo 2022 Guyana Chestnut Leaves

Image credits: Sean Mabin

#3 Cyanotype Prints

Image credits: Ben Felten

#4 Leon 5x7“ Salted Paper Print Collodion Wetplate Negative

Image credits: Maximilian Zeitler

#5 Toned Cyanotype. Self Portrait

Image credits: Julia Matveeva

#6 Man In Flowers #11 - Polaroid Lift Emulsion By Ava Bob

Image credits: Ava Bob

#7 2011, Cyanotype Over Multiple Color Carbon Tissue

Image credits: 簡永彬

#8 Environmentally Friendly Alternative To Gum Bichromate Printing. Printmaker’s Friend. Size 16x24cm. Photo By Max Lissenden

Image credits: Calvin Grier

#9 Oil Print (Rowlins) 27 X 47 Cm. Paper For Watercolors 32 X 50 Cm. Ink For Printing In A Printing House (Offset)

Image credits: Alexandr Prymak

#10 Toned Cyanotype. Self Portrait

Image credits: Julia Matveeva

#11 My First Ever Attempt At Cyanotype Printing

Image credits: Ken Cole

#12 Nepenthes. Kuching, Malaysia. Platinum Palladium Print On Vellum, Backed By 24ct Gold. 15x15cm

Image credits: Barrie Watts

#13 Iron-Process Print

A year ago, I made my first iron-process Print, from a digital negative of an image of especial importance for me. A year and many hundreds of prints later, I circled back and reprinted it this week. I still have work to do, but I am reaching a point where I feel as if I am reaching the process's potential. This print: Walking Piper (2021), a platinum-toned kallitype printed onto Revere Platinum paper

Image credits: Sanders McNew

#14 Portrait Through Layered Paper (Van Dyke Brown)

Image credits: Paul Alexis

#15 Cyanotope , Bleached And Toned In Green Tea . Developed In A Dilute Vinegar Solution 20ml/L

Image credits: Andrew Turner

#16 Waxing A Couple Of Test Salt Prints Made Directly From 8x10 Dryplate Negatives

Image credits: D Anson Brody

#17 Palladium, Gold Leaf

Image credits: Gary Geboy

#18 Cyanotype, Paper Fabriano 100% Cotton

Image credits: Julia Matveeva

#19 Some Of The First Attempts At Platinum Palladium Over Color Pigments

I Separated The Colors And Made The Negative For The Blacks. ?bostick And Sullivan Na2 Digitial ?hahnemuhle Platinum And Arches

Image credits: Manuel Castañeda

#20 Here Is A Nautical Ship Scene I Created And Then Captured In Camera Onto The Underside Of Clear Domed Glass A Few Years Ago, The Image Measuring 35mm In Diameter

Yesterday, I made the sterling silver filigree setting at my jeweler's bench and carefully set the ambrotype. Making these tiny collodion images is a labor of love. It takes a certain intensity of work in a category all it's own, which is a challenge to maintain. For me, it's a much more difficult process to capture images on small glass pieces or stone, rather than, for example, a larger 4x6" plate. Here are the reasons why for those who have an interest. First, it's a challenge to hold on to the tiny piece while pouring on the collodion and not getting my fingers on the poured substance, as many of you in this group know collodion in it's delicate form, while wet. Each finger print is much more consequential on a smaller ambrotype vs. a larger image. Secondly, focusing in camera onto such a tiny surface takes a lot of time and patience and it's a much easier task when working with a larger, regular sized image. The focus really counts on a tiny image. Thirdly, pouring developer on a small surface, many times inhibits the developer flow, as it's optimal to have the liquid flow around the plate for 9 to 12 seconds. Larger plates allow for easier movement of the larger amount of liquid. I hope this is interesting information for some of you photographer geeks like me. ? I've cut down on making these little collodion beauties, not because I don't enjoy it, but because it truly takes a lot of intense focus, time and effort.

Image credits: Angie Pember Brockey

#21 Just Playing Around With Watercolor To Some Of My Cyanotypes

Image credits: Annette Guy

#22 Street Of ... #1 - Cyanotype Toned By Ava Bob

Image credits: Ava Bob

#23 Llandudno Pier Tiny Cyanotype

Image credits: Mary Thomas

#24 Palladium

Image credits: Gary Geboy

#25 Bruyère, Cyanotype

Image credits: Yves Debruyne

#26 Anjali 5x7“ Saltprint Collodion Wetplate Negative

Image credits: Maximilian Zeitler

#27 George School Woods: Iron Toned Silver Print

Here is iron toned Silver Print I made in the 1990s on conventional photographic paper. They are not cyanotypes, as they start out as silver black and white images and are toned afterwards. AS FOLLOWS: The process requires the silver gelatin image (on paper or film) to have a pre soak in water for several minutes. The older the sample the longer the pre soak. Mix 5 grams of potassium ferricyanide and 5 grams ferric ammonium citrate in 500 ml distilled water. Then add 10 ml glacial acetic acid and mix thoroughly. Leave the print to be toned in this solution by inspection. It will tone the lighter areas first and then finally the higher density silver. Wash for no less than 10 minutes

#28 History Of Light Hanji Silver Print On Korean Paper Blad & Ilford Fp4

Image credits: David Zhornski

#29 First Print I’m Happy With Salt Printing

Lots of trial and error, lots of learning, with much more to learn. 8x10 dryplate negative, gelatin sized kosher salt, gold toned, renaissance waxed.

Image credits: D Anson Brody

#30 Early Morning Under Howrah Bridge. Kolkata, India. Platinum Palladium Print On Hahnemuhle Platinum Rag. 24x36cm

Image credits: Barrie Watts

#31 Mike Jackson Creates The Illusion Of Geometric Sculptures Using Just Controlled Light

Using traditional darkroom processes with minimal equipment, British artist Mike Jackson creates the illusion of geometric sculptures using just controlled light. Often the work is revealed to the artist himself only upon its last stage of development, requiring Jackson to apply the practice of afterimage memory, relying on drawn guidelines for accurate placement. Jackson creates a distinct camera-less aesthetic by viewing silver gelatin paper as two- dimensional clay shaped by directed light or as a “bell jar ready to be filled” with emotional responses to subjects. His sculptures of light merge the real with the fantastical, pushing photography into a world of three-dimensionality

Image credits: Mike Jackson

#32 Lumenprint On Vintage Photographic Paper

Image credits: Lisa Bakke Art

#33 "Girl With A Bicycle" Oil Print (Rawlins) 27 X 40 Cm. Watercolor Paper 35 X 43 Cm

Image credits: Alexandr Prymak

#34 Toned Cyanotype

Image credits: Julia Matveeva

#35 The Shepherd In The Carpathians. Lith Print 30 X 30 Cm. Printed On Paper Fomabrom Variant 112

Image credits: Alexandr Prymak

#36 Platinum Palladium Print On Vellum, Backed With 24ct Gold Leaf. Iceland 2022

Image credits: Barrie Watts

#37 Supti, Anthotypes (And One Potassium Bichromate Print)

Top row, L-R: Blackberry, hibiscus, kale 2nd row: Chili arbol, tumeric with borax, potassium bichromate print 3rd row: Balsamic vinegar, chili guajillo, blueberry 4th row: Chili pasilla, mustard greens, cayenne pepper

Image credits: Keith Yearman with Taslima Alam

#38 Palladium, Gold Leaf

Image credits: Gary Geboy

#39 Palladium

Image credits: Gary Geboy

#40 Cyanotype

Image credits: Gary Geboy

#41 Cyanotype With Black Tea And Hydrogen Peroxide

Image credits: Leszek Wesołowski

#42 Adox Lupex Paper Is A Stunning And Unique Currently Available Silver Emulsion Paper

A true "contact"printing paper, it requires a lot of light for darkroom exposure. I take the lens out of my enlarger and expose through a paper negative, using daylight LED bulb x 8 minutes! Dry-exposure lumen yields these rich orange-reds. Wet-exposure gives greens!

Image credits: Tiina Kirik

#43 Palladium

Image credits: Gary Geboy

#44 Print Made With Printmaker’s Friend Moon- Brian Shelton Upper Right Tree- Richard Hildred Lower Left Tree- Borut Peterlin Stream- Javier Hinojosa

Image credits: Calvin Grier

#45 Wet Cyanotype

Image credits: Paulina Skonieczna

#46 1991,greece Hand Color On Gumoil Print Farbiano F5 100x70cm Image Size 60x90cm

Image credits: 簡永彬

#47 Eco-Polymer Print. Made With Printmaker’s Friend Photo By Martin Bennie Photography

Image credits: Calvin Grier

#48 Turkeys On The Field. Oil Print (Rowlins) 31 X 47 Cm. Paper For Watercolors 34 X 50 Cm. Ink For Printing In A Printing House (Offset)

Image credits: Alexandr Prymak

#49 I’ve Been Going Through My 4x5 Negs Looking For Good Candidates For Pt/Pd Printing. Crown Graphic, Hp5+, Na2 Method, Hpr

Image credits: Lillian Sly

#50 Cyanotype, Watercolour Paper Digital Negative From A 35mm Shot

Image credits: Maria Georgiadou

#51 American Agave (This Is My First Tea Toned Cyanotype)

Image credits: Luke JP Guerri

#52 Mediobrome Print 18x24 Cm. Silver Gelatin On Watercolor Paper + Oil Paints

Image credits: Tatanka Yotanka

#53 Finishing Up The Inside Of My Gold Box, Gum Bichromate And Gold Gesso On Japanese Sumi Paper.. Now The Book/Folio

Image credits: Michael Korol

#54 Photograph Taken With Ancient Process Camera, Using Gumoil

Image credits: Walter Elsner

#55 'welcome' Early Morning With Gray, Smoky Skies. Gum Over Cyanotype Over Ziatype

Image credits: Lisa Brussell

#56 My First Cyanotype, Shown By A Wonderful Teacher And Friend Wendy Using One Of My Favourite Portraits On 35mm

Image credits: Stephanie Popoola

#57 Experimenting With A Different Way Of Applying My Cyanotype Mix!

Image credits: Thomas Moore

#58 Collotype Print, 12x18 Cm

Image credits: Taras Perun

#59 I Designed And Built My Own Camera For Ancient Processes. These Are The First Results Using The Process Called Gumoil

Image credits: Walter Elsner

#60 Palladium, Gampi Torinoko

Image credits: Gary Geboy

#61 Cyanotype From Tracing Paper Negative Toned With Wine Tannin

Image credits: Wayne Harney

#62 Gum Bichromate Print On Saunders Waterford 190gsm, 24x24 Cm, Cmyk

Image credits: Taras Perun

#63 Oil Print (Rowlins) 32 X 42,5 Cm. Paper For Watercolors 35 X 50 Cm. Ink For Printing In A Printing House (Offset)

Image credits: Alexandr Prymak

#64 New Cameraless Work Hanging Up To Dry - 20”x24” On Fomatone

Image credits: Mike Jackson

#65 Toned Cyanotypes, Paper Fabriano Satinata 100% Cotton. Size 30*40cm (Frame With Acrylic Glass)

Image credits: Julia Matveeva

#66 Palladium, Gold Leaf

Image credits: Gary Geboy

#67 Carpatian Mountains, June 2007, Maricheika Lake 28 X 37 Cm Gum Bichromate Print On Arches Aquarelle 300 Gsm, Cmyk

Image credits: Taras Perun

#68 I Am New To Chimigrams And I Don’t Even Know If These Are Chimigrams But I Like How They Turned Out

Image credits: Malin Czajor

#69 Oil Print (Rowlins) 31 X 46 Cm. Paper For Watercolors 35 X 50 Cm. Ink For Printing In A Printing House (Offset)

Image credits: Alexandr Prymak

#70 Cyanotype On 100% Cotton. This Is The Most Crisp Print I've Been Able To Get So Far?

Image credits: Samantha Ardaiz

#71 Lumenprints

Image credits: Lisa Bakke Art

#72 Gum Bichromate Print On Saunders Waterford 190gsm, 24x24 Cm, Cmyk

Image credits: Taras Perun

#73 Gouville 4. Bichromated Rubber

Image credits: Michel Lersy

#74 Platinum Palladium Print

Image credits: Andreas Bekas

#75 Cyanotype On Watercolor Paper

Image credits: Sergey Starostov

#76 Simone Klimmeck 24x30cm Salted Paper Print Collodion Wetplate Negative

Image credits: Maximilian Zeitler

#77 Palladium

Image credits: Gary Geboy

#78 Bailey Ridge Trail (2022), A Platinum-Toned Kallitype Printed This Morning Onto Revere Platinum Paper

Image credits: Sanders McNew

#79 Hand Made With Love. This Camera Is Made For Circular Plates, The Plate Size ( Collodion Or Dageurreotype ) Is 14 Cm. Diameter

Image credits: René Smets

#80 Oil Print (Rowlins) 21 X 29 Cm. Paper For Watercolors 26 X 35 Cm. Ink For Printing In A Printing House (Offset)

Image credits: Alexandr Prymak

#81 2022, Student Work Color Pencil On Cyanotype Print Taiwan Taipei

Image credits: 簡永彬

#82 27x40cm Gum Arabic And Pigments On Watercolorpaper

Image credits: David Mulnard

#83 Classic Cyanotype, But For Me It's The First ? (Updated With A Non-Yellow Photo)

Image credits: Gonzague Jouffroy

#84 France After A Long Day In The Studio, 1992

Came upon this black and white contact print the other day. I took it in our skylight studio that was built in a corner of the George School greenhouse, back in Pennsylvania. She didn’t want to sit for the exposure but I’m glad she did. Has never been exhibited, just a keepsake for me. The hands are bright white because the latex gloves she was wearing were light blue which photographs white in early photographic processes

Image credits: Mark Osterman

#85 Boats Of Essaouira (Collage). Gum Bichromate Cmyk 5 Layers 30 X 30 Cm. Fabriano Artistico Paper

Image credits: Alexandr Prymak

#86 8x10 Platinumpalladium Print

Image credits: Henri MoXhet

#87 Gouville 2. Bichromated Rubber

Image credits: Michel Lersy

#88 First Full Sized Salted Paper Print

Image credits: Dan Hopkins

#89 8x10 Platinum Palladium

Image credits: Henri MoXhet

#90 Silver Gelatin Print On Washi Paper (26g) Iroko Framed 180x73cm Biarritz, France

Image credits: Nicolas Lahoun

#91 Palladium

Image credits: Gary Geboy