The full gamut of photographic printing processes may be little-known to contemporary photographers, who have been educated largely within the mainstream of the silver-gelatine tradition. My intention here is to help restore some of the ‘lost’ options by providing you with a handy reference list of the better-known alternative processes and an outline of their characteristics and working methods, without any detailed formulae or procedures. This should enable you to decide if 'there might be anything in it for you’. If so, then the texts listed in my bibliography should provide you with an entry into the practice
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