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File consists of image transfer prints on a variety of materials including paper, a copper plate, acrylic sheets, and a piece of fabric. Also includes a visual aid showing multiple examples of acetone image transfers, alongside the graphic material used to create the transfer and Astman's notes. The prints in this file exemplify the results of a variety of image transfer processes, including acetone transfers.

File consists of an instructional teaching document, paper, and three latex gloves. Materials relate to Astman's teaching of processes for the creative bleaching of photographs.

File consists of samples of prints, predominantly image transfers created through various processes such as by heat or solvent, on a variety of materials, including paper, cardboard, fabric, and metal. Also includes instructional documents for using Iron-on Transfer Paper and 8 skeletonized leaves, which were used as supplies during Astman's teaching.

File consists of a list of safety guidelines for working with different elements of photographic processes, such as developing baths and other chemicals, instructional documents regarding photocopy lift transfers, alternative photographic emulsions, and laser-cutting/etching. Also includes two transparency prints of an image of a face.

File consists of photographic slides of multiple artists’ works, including Arthur Siegel, Andy Warhol, and Jan Dibbets, used in Astman’s lectures for the course Camera Art: Combining Media. Includes 80 slides, which were originally housed in a Kodak Carousel slide tray for projection, as well as a list of the works depicted in the slides. Also includes an instructional document for operating the slide carousel.

File consists of slides of various artists' works, such as Anna Atkins, Robert Schaefer and Sally Larsen, used by Astman during lectures about historical experimental photography. Includes 69 photographic slides, originally housed in a Kodak Carousel slide tray for projection. The slides are labeled with the artists' names and types of photography demonstrated, such as cyanotype, daguerreotype, tintype and others.

File consists of instructional and guide booklets, brochures, and related documents regarding creative techniques for using and manipulating polaroid film and creating image transfers. Also includes an invitation to the opening reception for the exhibition, Barbara Astman: Revisiting Red, as well as an emulsion transfer on aluminized paper, a polaroid image in a frame reading "got milk?" along the bottom, and two skeletonized leaves that were used by Astman in photographs.

File consists of Polaroid prints and image transfers, predominantly emulsion lifts, showing the results of a wet image transfer process. Includes multiple transferes of the same image of a woman facing away from the camera, which Astman also used in a separate artwork series. One of the image transfers is on a glass plate, which Astman

File consists of prints, predominantly polaroid emulsion transfers onto paper, showing the results of a boil and transfer image transfer process. Primarily consists of transfers made using the same image of a naked woman facing away from the camera. Some transfers include notes detailing the steps taken during the process of the transfer, such as how long the image floated in water before transfer.

File consists of cyanotype prints, as well as slides, negatives, transparencies and related graphic material used in the process of creating the cyanotypes, including two radiographs (x-ray photographs) of a human skull, 2 plastic bags with logos, and laser printouts of digital images. These samples and materials were used by Astman during teaching, especially regarding historical processes of photography.