The Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black & White Paper

315 Pages·2018·54.223 MB·English

by  Denise Ross

THE HANDMADE SILVER GELATIN EMULSION PRINT
Creating Your Own Liquid Emulsions
for Black & White Paper
The Handmade Silver Gelatin Emulsion Printis a cookbook of simple, basic recipes for making black and white
printing paper and paper negatives, along with creative options for printing, toning, and coloring. Author
Denise Ross draws from photographic literature from the last 135 years, adapting old recipes to fit modern
tools, materials, and work spaces and modern twists have been applied to traditional techniques.
The book is divided into three sections: Section One lays the groundwork for this unique alternative
process; Section Two provides the recipes; Section Three highlights contemporary silver gelatin artists.
The book features over 200 full-color images and covers key topics including:
• Vocabulary: a list of terms used by traditional photographers and emulsion makers
• Creating work spaces with the right tools and materials
• Basic emulsion chemistry and paper coating techniques
• Working with various negative options, analog and digital
• Gaslight chloride contact printing paper
• Kodabromide-type chlorobromide all-purpose paper
• Bromide enlarging paper
• Warm tone paper and developers
• Making and toning your own printing-out paper (POP)
• Matte surface and baryta coating surface paper
• Paper negatives and making hand-drawn and digital masks
• Toning handmade paper
• Gum printing over handmade paper
• Troubleshooting handmade paper
• Artists working with handmade paper
The Handmade Silver Gelatin Emulsion Print is for photographers who love the look and creative potential of
black and white traditional photography but who want more control over the process and the end product.
It is written for the beginner to experienced photographer, with processes initially explained in such a way
that anyone will feel comfortable getting started, as well as information in increasing levels of complexity so
that experienced photographers who enjoy a challenge will also find one.
Denise Ross has been a photographer for over 30 years. Ross grew up with interests in both the arts and
sciences. Halfway through pursuing an MFA in photography she switched tracks and earned a master’s
degree in botany with an emphasis in wetland ecology and restoration. In the late 1990s, Ross retired from
botany and returned full-time to photography. Since 2003 Ross has been working with handmade silver
gelatin emulsions; she has been at the forefront of the handmade silver gelatin renaissance. Combining her
background in science, research, and love of traditional black and white photography, Ross has extensively
researched and reverse-engineered historic emulsion formulas and techniques for contemporary use. Ross
created The Light Farmin 2008, a teaching website devoted to the renaissance of handmade silver gelatin
emulsions. She has shepherded the public conversation and understanding of this field, and authored a book
The Light Farm, Handmade Silver Gelatin Emulsions for Dry Plate, Paper, and Film, Volume 1: The Basics
(2015). Ross’s work has been exhibited nationally and has appeared in publications such as Photo Techniques,
Large Format Photography,The Book of Alternative Photographic Processes, and Jill Enfield’s Guide to Photographic
Alternative Processes.To see her work, visit www.thelightfarm.com
Contemporary Practices in Alternative
Process Photography Series
Series Editor: Christina Z. Anderson
The Contemporary Practices in Alternative Photographic Processes series focuses the lens on a variety
of alternative, historical processes from the medium’s 180-year history. Each book outlines a
step-by-step approach to a particular medium, and features contemporary artists who use that
particular process regularly in their practice. The richly illustrated books in this series serve as
guidebooks for those new to alternative processes, refresher courses for professionals already familiar
with each medium, and a source of inspiration for all.
Titles in the Series
Gum Printing: A Step-by-Step Manual Highlighting Artists and Their Creative Proctice,
Christina Z. Anderson
Salted Paper Printing: A Step-by-Step Manual Highlighting Contemporary Artists,
Christina Z. Anderson
Polymer Photogravure: A Step-by-Step Manual Highlighting Artists and Their Creative Practice,
Clay Harmon
THE HANDMADE SILVER GELATIN
EMULSION PRINT
Creating Your Own Liquid Emulsions
for Black & White Paper
Denise Ross
First published 2019
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2019 Taylor & Francis
The right of Denise Ross to be identified as author of this work has been asserted by her in
accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
A catalog record for this title has been requested
ISBN: 978-0-8153-4990-7 (hbk)
ISBN: 978-0-8153-4991-4 (pbk)
ISBN: 978-1-351-16400-9 (ebk)
Typeset in Adobe Caslon Pro and Century Gothic
by Florence Production Ltd, Stoodleigh, Devon
Notice to readers:
Exercise caution in the handling of all photographic chemicals. Use of any such chemicals
constitutes some risk, and some are poisonous. The publisher and author accept no responsibility
for injury or loss arising from the procedures or materials described in this book whether used
properly or improperly. The workplace should be well ventilated. Chemicals should be mixed
only in the manner described. Avoid contact between the chemicals and eyes, skin, clothing, and
furniture. Do not eat or drink while using chemicals. Keep them away from pets and children.
Wear protective eye wear and gloves if necessary. In short, be mindful of all safety procedures
for yourself and others.
Contents
Acknowledgements ix Chemicals 36
SECTION ONE Chemicals Used in Emulsion Making 36
Chemicals Required for Processing
The Important Stuff Before the Recipes 1
Chemistry 36
Chapter 1 Commercial Formulas 36
Introduction 3 For Toning 37
Gelatin 37
Chapter 2
Vocabulary 7 Chapter 5
The Basics 41
Chapter 3
Basic Emulsion Chemistry 41
The Darkroom 13
Safety 42
Space 13
Silver Nitrate 42
Infrastructure 16
Acids 43
Coating Table 16
Ammonia 43
A Sink (Or Two) 16
Weighing and Measuring 43
Ventilation 16
Eyedroppers 44
Lighting 18
% (Percent) Solutions 44
Darkroom Heating and Cooling 18
The Recipes 45
Color 18
Waste Disposal 45
Floors 19
Basic Emulsion Making 46
Clothes Lines, Clips, and Shelves 19
Addressing Sources of Potential Confusion
Equipment and Tools 19
and Consternation 46
Thermometers 19
The Basic Emulsion Components 48
Scale 19
Silver 48
Glassware 20
Halides 48
Mixing and Heating 20
Water Baths 21 Gelatin 48
Filters 27 The Basic Formula 48
Mortar and Pestle 27 The Steps of Emulsion Making 50
Lightproof Containers 27 Precipitation and Ripening 50
“Addition” Tools 27 Setting and Washing 50
All the Little Miscellaneous Things. 27 Digestion 50
Things for Paper Coating and Things for Finals 51
Processing 27
Chapter 6
Chapter 4 Coating Paper 53
Materials 31 Infrastructure and Equipment 54
Paper 31 Coating Table 54
Composition 33 Coating Guide Bars 55
Tint 34 Glass Coating Rods (a.k.a. Puddle Pushers) 57
Surface texture 34 Squeegee 57
Weight 34 Assorted Old Towels and Paper Towels 58
Sizing, Buffering, and Optical Brighteners 34 A Plastic Storage Box 58
Grain 34 Polyester (“Mylar”) Sheets 58
Front Side vs. Screen Side 35 Metal Yardstick (Or, Meter Stick) 58
Wet strength 36 Watercolor Crayon 58
vi
Snap-Blade Utility Knife 58 Toning 108
Plastic Measuring Cups, Spoons, and Scoops, Drying 108
with Handles 58 Air Drying 108
Hanging Laundry Clips 58 Ferrotyping 110
Wood Strips 58 Flattening 110
Spring Clamps 68 Spotting 112
Materials 60
Chapter 10
Coating Techniques 60
Toning and Other Ways to Add Color 117
Wet Paper Coating with Guide Bars 60
Selenium Toning 120
Free-Form Coating on Wet Paper 63
Gold Toning 120
Coating Dry Paper 66
Recipe: Blue Gold Toner 120
Chapter 7 Silvergum 123
Troubleshooting Coating 73 Hand-Coloring with Colored Pencils 126
The Art in the Process 73 Hand-Coloring with Photo Oils 126
Selvages 75 Hand-Coloring with Photo Dyes 127
Spots 75
SECTION TWO
A Catalog of Coating Boo-boos 76
The Recipes 129
Microbubbles 76
Blisters 77
Chapter 11
True Mysteries 77 Developers 131
Repellency Spots 78
Metol-Based Developers 132
Glyoxal Pox 79
Recipe: D23-Plus 132
Too Thick; Too Thin 79
Recipe: TLF All-Purpose Developer 132
Hot Emulsion 80
Recipe: TLF Extra Oomph Developer
Uncovering the Hidden Potential of Flaws 81
(TLF-X, for Short) 132
Recipe: Ansco 120 Soft-Working Paper
Chapter 8
Printing 83 Developer 133
Contact Printing 83 Metol/Hydroquinone (MQ) Developers 133
Printing Frames 84 Recipe: Ansco 125 Paper and Film
DIY Printing Frames 86 Developer 133
Printing 89 Recipe: Ansco 135 Warm-Tone Paper
Hand-Drawn Masks with Graphite Pencil 89 Developer 133
Hand-Drawn Masks with Colored Pencil 95
Chapter 12
Digital Inkjet Masks 96
Baryta Coating Surface 135
Digital Negatives 97
Recipe: Baryta Paper 138
Traditional Enlarging 98
Enlarger Choice 98 Chapter 13
Enlarging with Handmade Paper 98 Potassium Chloride (KCl) “Gaslight”
Contact Printing Paper 141
Chapter 9
Chloride Emulsion Characteristics 143
Processing 103
Paper Choices 144
Tools and Materials 104
Printing 148
Gloves 104
Developers: Color and Contrast Control 150
Bottles 104
Selenium Toning 152
Trays 104
The Recipe 154
Technique 104
Develop 106 Chapter 14
Stop 107 Three Salts Contact Printing Paper 159
Fix 107 Emulsion Characteristics 161
Hypo-clear 108 Toning 166
Wash 108 The Recipe 167
vii
Three Salts Contact Printing Paper (Hand Processing Paper Negatives 231
Stirring Variation) 171 Developing 231
Variation: Three Salts Plus Copper Chloride Stop 231
Contact Printing Paper 171 Fixing 233
Washing 233
Chapter 15
Drying 234
Chlorobromide (Kodabromide-Type)
Flattening 234
All-Purpose Paper 175
Developers for Paper Negatives 234
Enlarging Speed ClBr Emulsions 176
Spotting Paper Negatives 236
Homemade Developers for ClBr Emulsions 177
Printing with Paper Negatives 239
Printing 177
Scanned Paper Negatives to Digital
Controlling the Characteristic Curve 177
Print 239
Controlling Print Color 184
Contact Print Made Directly with an Original
Toning 185
Paper Negative 239
The Recipe 185
Contact Print Made with an Inkjet Digital
Notes 188
Negative 241
Scanning for Digital Negatives, Inkjet Prints,
Chapter 16
and Screen Viewing 241
Bromide Paper for Enlarging and
Coating Paper Negatives 246
Contact Printing Paper 191
The Recipe 246
Bromide Emulsions 192
Toning 198 SECTION THREE
The Recipe 199 The Contributors 253
Chapter 17 Chapter 19
Gelatin-Chloride Printing-Out Paper (POP) 203 Ian Andvaag 255
The Basics 204 Biography 256
The Recipe 205
The Workflow 208 Chapter 20
Radoslaw Brzozowski 259
The Right Negative 208
Printing 208 Silver Gelatin Printing-Out Papers (POP) 259
Overexposure 210 The Papers Used for Hand Coating 259
Underexposure 210 Emulsion Recipes and Making Instructions 259
Gelatin 260
Dry-down 212
Recipe POP Recipe by Beadle 262
Fixing, or Fixing and Toning 212
Recipe: POP Recipe by Valenta 262
Recipe: Hypo & Gold POP Toner/Fixer 212
Preparing a Matte Emulsion 262
Recipe: Blue Gold POP Toner 213
Methods for Coating Paper 262
Washing 214
Brush Coating 262
The Case for Digital Negatives for POP 214
Transfer 262
Color Variations Between Different Densities 218
Mayer Rod 264
Recap 219
Drying Coated Papers 265
Chapter 18 Storing POP Papers 265
Paper Negatives 223 Exposing the Print 265
Paper Negative Emulsion Characteristics 224 Processing POP Paper 266
Paper Options 225 Recipe: Gold Toner for POP Paper 269
Helix 100% Rag Vellum Paper 225 Recipe: Hardening Fixer for POP Papers
Bienfang Graphics 360 227 (by Lumiere) 269
Rives BFK 227 Drying POP Paper 269
Fabriano Artistico, HP, 90 lb 227 Developing POP Paper 269
Photography with Paper Negatives 230 Recipe: Hydroquinone Developer for POP 271
Exposure 230 Recipe: Pyrogallol Developer for POP 271
Reciprocity Failure 230 Biography and Mission Statement 274
viii
Chapter 21 Recipe: Azo-Type Formula Silver Gelatin
Didier Derien 277 Paper, Grade 3 295
Biography 277
Bibliography 297
Chapter 22 General Emulsion Making 297
Edward Durrill 283 Chloride Paper 297
Biography 283 Chlorobromide Paper 297
Bromide Paper 297
Chapter 23
POP 297
Cate Sampson 289
Paper Negatives 298
Why Historic Processes 289
Miscellaneous 298
Print and Process Information 289
Biography 290 Index 299
Chapter 24
George L. Smyth 293
Biography 293
Acknowledgements
It’s true. It’s almost impossible to thank everyone Thank you to my family and friends who have
who helps any creative endeavor see the light of heard, “I don’t have time!” far too often over the
day. last half year, yet still seem to love me. Thank you!!
Thank you to Jill Enfield for nagging me until Last, but not least: Ian, Radoslaw, Didier,
I submitted to Focal, and then helping get it done. Edward, Cate, and George. It has been my deep
Thank you to Christina Z. Anderson for making honor and pleasure getting to know you all through
silver gelatin a part of her wonderful series of the making of our book. Thank you for sharing.
books. It’s very gratifying to finally see handmade
silver gelatin find a home among the other historical
processes.