This document provides instructions for replicating the styles of several historical photographic processes from the 19th century. It includes step-by-step guides for creating daguerreotypes, ambrotypes, tintypes, calotypes, cyanotypes, carte de visites, and adding borders. Additional tips encourage experimenting with different textures and effects to mimic the look of older papers and surfaces. The final section presents a case study challenge to analyze an provided image and deduce the steps taken to create it.

2. “The Daguerreotype”
1. NEW  8” x 10” 200 PPI
2. Gradient Tool  Click on the “mini-gradient” in
the status bar and from the gradient selections
choose COPPER  then change each of the
browns to grays of similar SHADE/TINT
3. Draw a gradient from left side to right side
4. DUPLICATE LAYER
5. FILTER  RENDER  FIBERS  VARIANCE and
levels to taste
6. FILTER  BLUR  MOTION BLUR  VERTICAL 
90 (or to max)
7. FLATTEN IMAGE  DUPLICATE LAYER
8. FILTER  RENDER  TEXTURE  GRAIN 55 35
Vertical
9. FILTER  BLUR  MOTION BLUR  HORIZONTAL
60
10. DUPLICATE BACKGROUND LAYER and DRAG TO
TOP
11. FILTER  BLUR  GAUSSIAN BLUR 15 then SET
LAYER to SCREEN
12. FLATTEN IMAGE  IMAGE  ADJUSTMENTS 
CHANNEL MIXER  CHECK MONOCHROME 
OUTPUT CHANNEL GRAY  decrease RED,
increase GREEN & BLUE, and play with CONSTANT
to taste
13. Open a COLOR PHOTO of a PERSON, then copy
and paste to your original “metallic design”
14. IMAGE  ADJUST  CHANNEL MIXER  check
MONOCHROME, and then adjust colors/levels to
taste
15. LAYER MODE  DIFFERENCE | LAYER OPACITY 
65%
16. On a NEW BLANK LAYER, draw an oval with the
CIRCULAR MARQUEE TOOL around your subject
matter. Then go SELECT  SELECT INVERSE. Then
FILL BUCKET BLACK. Then FILTER  BLUR 
GAUSSIAN BLUR  75 or to taste (this will create
a vignette).
17. FLATTEN and edit with LEVELS/CURVES (also crop
if needs be).
For all alternative/antique
processes instead of just starting
with a daguerreotype or silver
gradient, try also using some of
the “newspaper”-like tutorials
from the zine project.

3. “The Ambrotype”
1. Open a photo
2. IMAGE  ADJUSTMENTS  BLACK & WHITE 
edit to create a dramatic image with many
different gray tones
3. DUPLICATE LAYER
4. IMAGE  ADJUSTMENTS  INVERT
5. IMAGE  ADJUSTMENTS  LEVELS  edit to
create high contrast
6. LAYER BLENDING MODE  OVERLAY
7. FILTER  BLUR  GAUSSIAN BLUR (edit so that
the grays come back, on a 72 DPI photo I used 35)
8. NEW BLANK LAYER  fill with gradient  click on
the MINI GRADIENT and choose the COPPER
GRADIENT
9. Change each of the copper colors to yellows and
oranges which are directly in line with the original
browns (same shade, different hue)
10. FILTER  DISTORT  POLAR COORDINATES 
Polar to Rectangle
11. FILTER  BLUR  GAUSSIAN BLUR  again, I
used 20
12. LAYER BLENDING MODE  COLOR
13. LAYER  FLATTEN IMAGE
14. DUPLICATE BACKGROUND  IMAGE 
ADJUSTMENTS  INVERT
15. REPEAT STEPS 9 – 13
16. Then MERGE GRADIENT LAYER with INVERTED
LAYER
17. Change LAYER BLENDING MODE to OVERLAY
18. FILTER  BLUR  GAUSSIAN BLUR  MAX (250)
19. FLATTEN IMAGE
20. IMAGE  ADJUSTMENTS  LEVELS  edit to
create high contrast
21. IMAGE  ADJUSTMENTS  HUE/SATURATION 
LOWER SAT
22. Create a vignette (see Daguerreotype Tutorial
STEP 16)
For all alternative/antique
processes instead of just starting
with a daguerreotype or silver
gradient, try also using some of
the “newspaper”-like tutorials
from the zine project.

4. “The Ferrotype/Tintype”
1. Open a photo
2. IMAGE  ADJUSTMENTS  BLACK & WHITE 
edit to create a dramatic image with many
different gray tones
3. IMAGE  ADJUSTMENTS  LEVELS  edit to
create high contrast
4. NEW LAYER  FILL BUCKET  change setting
from FOREGROUND COLOR to PATTER  then
choose a pattern
5. FILTER  BLUR  GAUSSIAN BLUR 15
6. FILTER  SKETCH  CHROME 10 | 10
7. FILTER  BLUR  MOTION BLUR 15
8. IMAGE  ADJUSTMENTS  BLACK & WHITE 
edit to create a dramatic image with many
different gray tones
9. LAYER BLENDING MODE  OVERLAY
10. DUPLICATE LAYER x2
11. TOP LAYER  IMAGE  ADJUST  INVERT 
LAYER BLENDING MODE  COLOR DODGE 
FILTER  BLUR  GAUSSIAN BLUR 75
12. MERGE TOP LAYER with DUPLICATE LAYER
13. FILTER  BLUR  GAUSSIAN BLUR 2.5  LAYER
BLENDING MODE  SCREEN  OPACITY 75%
14. DUPLICATE LAYER  LAYER BLENDING MODE 
MULTIPLY
15. IMAGE  ADJUSTMENTS  SHADOW/HIGHLIGHT
to taste
16. LAYER  FLATTEN IMAGE
17. IMAGE  HUE/SAT Check COLORIZE and adjust
color to create a SEPIA TONE
18. DUPLICATE LAYER  LAYER BLENDING MODE 
MULTIPLY
19. DUPLICATE LAYER AGAIN
20. LAYER  FLATTEN IMAGE
21. IMAGE  ADJUSTMENTS  LEVELS to taste
For all alternative/antique
processes instead of just starting
with a daguerreotype or silver
gradient, try also using some of
the “newspaper”-like tutorials
from the zine project.

5. “Calotype, Cyanotype & Chrysotype”
1. NEW  8” x 10” 200 PPI
2. Press “D” to set colors BLACK & WHITE as
foreground/background
3. FILTER  RENDER  CLOUDS
4. FILTER  RENDER  DIFFERENCE CLOUDS
5. IMAGE  ADJUST  LEVELS 10 1.00 150
6. FILTER  STYLIZE  EMBOSS 135° 3 126
7. IMAGE  ADJUST  HUE/SAT 30 20 +20 Check
COLORIZE
8. COPY a BLACK & WHITE PORTRAIT photo onto this
“parchment-like paper” image you’ve just created
9. DRAG the PARCHMENT LAYER to the TOP (if you
cannot do this, copy this layer and then paste it)
then change the PARCHMENT LAYER to OVERLAY
10. Click on the PHOTO LAYER then click on the NEW
ADJUSTMNET LAYER (looks like a half white half
black circle) and choose SOLID COLOR
ADJUSTMENT LAYER (make this WHITE)
11. NEW TRICK!  Choose this brush: OIL HEAVY
FLOW DRY EDGES (should be in ASSORTED
brushes)
12. Paint with black over the ADJUSTMENT LAYER and
your image should begin showing through (do this
so you have a scratchy, incomplete image)
13. You can also use various wet media brushes to get
different effects
14. LAYER  FLATTEN IMAGE
15. IMAGE  HUE/SAT Check COLORIZE and adjust
colors:
• calotypes have a brownish/orange tint,
cyanotypes have a blue tint and
chrysotypes have a red tint For all alternative/antique
processes instead of just starting
with a daguerreotype or silver
gradient, try also using some of
the “newspaper”-like tutorials
from the zine project.

6. “Vandyke & Kallitype Prints”
1. Open a photo
2. IMAGE  ADJUSTMENTS  BLACK & WHITE  edit to create a
dramatic image with many different gray tones
3. IMAGE  ADJUSTMENTS  LEVELS  edit to create high contrast
4. IMAGE  HUE/SAT Check COLORIZE and adjust color to create a
SEPIA TONE
5. IMAGE  ADJUSTMENTS  LEVELS  edit to create high contrast
6. NEW BLANK LAYER  FILL BUCKET with PATTERN (artist surfaces)
7. LAYER BLENDING MODE  OVERLAY | OPACITY 40%
8. REPEAT STEPS 6 & 7 with a different artist surface PATTERN
9. REPEAT STEP 8
10. LAYER  FLATTEN IMAGE
11. NEW LAYER  FILL BUCKET WHITE  draw a THICK black border
around this LAYER using TOOLS of choice
12. FILTER  DISTORT  OCEAN RIPPLE to taste, REPEAT
13. FILTER  DISTORT  LENS DISTORTION -25
14. DUPLICATE LAYER  FILTER  SKETCH  FIND EDGES
15. EDIT  TRANSFORM  SCALE 90%, then MERGE border LAYERS
16. SELECT ALL  EDIT  CUT
17. ENTER QUICK MASK  EDIT  PASTE  EXIT QUICK MASK  SELECT
INVERSE  FILL BUCKET BLACK on BLANK LAYER
18. Using the RECTANGULAR MARQUEE draw a square so that some of the
“scratchy edges” of the border will be erased (see image to the right to
line up the MARQUEE border)  then hit DELETE and then DESELECT
19. Using a THICK HEAVY BRUSH as an ERASER, erase the outside edge of
the border  DO NOT be neat or accurate, just click a bunch of times
and drag to create another “scratchy edge”
20. DUPLIACTE your BORDER LAYER and EDIT  TRANSFORM  SCALE
90%, then FLIP VERTICAL
21. Using the same ERASER, erase some of this new BORDER LAYER
22. MERGE the BORDER LAYERS together
23. Create a NEW LAYER between the BORDER and the IMAGE
24. Using a THICK HEAVY BRUSH paint the edges of the photograph so that
it is white
25. MERGE the BORDER LAYER with the WHITE PAINTED LAYER
26. Using the RECTANGULAR MARQUEE draw another INNER BORDER and
erase a clean square edge around the photo by hitting DELETE
27. Use the SMUDGE TOOL to smear some of the BORDER
28. Increase the CANVAS SIZE so that there is more WHITE around the
IMAGE
For all alternative/antique
processes instead of just starting
with a daguerreotype or silver
gradient, try also using some of
the “newspaper”-like tutorials
from the zine project.

7. “Carte de Visite ”
1. Open a PORTRAIT PHOTO
2. IMAGE  ADJUSTMENTS  BLACK & WHITE  edit to create a
dramatic image with many different gray tones
3. IMAGE  ADJUSTMENTS  LEVELS  edit to create high contrast
4. DUPLICATE LAYER  IMAGE  ADJUSTMENTS  INVERT  LAYER
BLENDING MODE  COLOR DODGE  FILTER  BLUR  GAUSSIAN
BLUR 15 or to taste (try to make it look like the image is a drawing)
5. MERGE LAYERS
6. SELECT ALL  EDIT  CUT  EDIT  PASTE
7. If not already, FILL BUCKET BACKGROUND LAYER WHITE
8. On your IMAGE LAYER  EDIT  TRANSFORM  SCALE 75%
9. Using a THICK HEAVY BRUSH as an ERASER erase all parts of the photo
that are not part of the person  if your image is cut off, scratch up
the sides of the photo that are flat or clean edged
10. Using the same kind of brush, on a NEW BLANK LAYER paint over your
entire image with a gray color, then FILTER  NOISE  ADD NOISE
165
11. IMAGE  ADJUSTMENTS  BLACK & WHITE
12. LAYER OPACITY 20%
13. FILTER  BLUR  GAUSSIAN BLUR 3 (very low so you can still some
noise)
14. NEW LAYER  CUSTOM SHAPE TOOL  OLD FASHION FRAME drawn
in gray
15. FILTER  STYLIZE  FIND EDGES
16. FILTER  BLUR  GAUSSIAN BLUR 10
17. LAYER  FLATTEN IMAGE
18. FILTER  NOISE  ADD NOISE 165
19. BURN & DODGE to bring back white areas and create shadows
20. SEPIA TONE to taste
“Borders”
1. Scan or take pictures of things like: coffee stains, rust, negative strips,
old picture frames, pieces of tape, hair, or other textures
2. IMAGE  ADJUSTMENTS  THRESHOLD
3. Using the POLYGONAL LASSO cut pieces of the original image and
paste them into a shape that could be used as a frame
4. Continue to set your LAYERS to MULTIPLY to avoid having to be
accurate in your clipping
5. Use the RECTANGULAR MARQUEE to cut out an INNER BORDER
6. COPY & PASTE over an IMAGE and set LAYER to MULTIPLY
For all alternative/antique
processes instead of just starting
with a daguerreotype or silver
gradient, try also using some of
the “newspaper”-like tutorials
from the zine project.

8. Case Study
Unlike a tutorial or step-by-step walk through, a
Case Study presents a different sort of challenge to
the student-artist. You are given the final outcome
and asked to develop steps in order to recreate that
outcome. For instance, you are given an image and
you will have to try and figure out how you can make
a copy or mimic this image. This is a great way to
challenge your skills and force you to think about
steps and procedures (instead of just winging it!).
Good luck!
Complete 10 Image of Your Choice
• Going along with our theme of unity and variety, try to
create a collection of photos that demonstrates just that
• Try to limit yourself – see if you can take images that do
not showcase on objects, subjects or backgrounds
which would not have existed in the late 1800s and early
1900s
Create these images:
1. Narrow down your images to the top 5
2. Choose an “old-fashioned” process and use this for
each of the images or choose different processes
(remember to create unity!)
3. Experiment with style and look