Perfectly Imperfect - Silver Gelatin Dry Plates
In our modern and seemingly perfect world, I think it is refreshing to craft images from raw materials. I am talking about making handmade artisan fine art prints from 8x10 silver gelatin dry plates.
I make large format silver chloride contact prints as well as silver gelatin 40x50 and larger gallery prints of my botanical subjects.
In our digital world and era of instant gratification, I thought it would be fun to share the high-level steps of what is required to create a darkroom print from a silver gelatin dry plate glass negative.
Before I share the high-level steps of creating a handmade silver gelatin emulsion, here is a little background in case you are not familiar with silver gelatin emulsions.
It all starts by deciding the type of emulsion I want to create in my darkroom/mini laboratory. In the 1870s, the first silver gelatin emulsions were effectively color blind.
These emulsions are sensitive to the blue-violet color spectrum and UV light. The print that you see in this article is from a color-blind (ordinary) silver gelatin emulsion. The flower is a deep violet color in real life.
I used my knowledge of the colorblind emulsion in order to create the contrast for this print. The flower stands out against the dark background and that is exactly what I wanted.
You need a halide (i.e., chloride, bromide, iodide) along with a salt (e.g., potassium, sodium, ammonium) coupled with silver nitrate to make a light-sensitive emulsion. If it weren't for gelatin, none of this would work. The emulsion (halide+salt+silver nitrate) is suspended in the gelatin and then poured and set on a glass plate that ultimately performs as light-capturing crystals to produce our images.
With over 100 years of photo-chemistry at my fingertips, I am fascinated to learn and apply the knowledge of the photographers and chemists that came before me in a new and innovative way to make brand new art that looks like it was made in the 1870s.
After the ordinary emulsion, orthochromatic emulsions were discovered and opened up new tonality that didn't exist before. Orthochromatic emulsions are sensitive to UV, blue, and green light. The increased sensitivity causes blues to be appear lighter and reds darker.
They didn't know at that time they still didn't have it right and therefore the panchromatic emulsions that we enjoy today as modern black and white film photographers were ultimately created. Panchromatic emulsions allow a realistic reproduction of a scene as it appears to the human eye.
In short, I have the entire history of silver gelatin emulsions available to me. The news gets even better! It doesn't stop with negative emulsions to be used in the camera for negatives, but I can make my own paper as well!
I favor silver-chloride emulsions for my large format fine art contact prints. You may be familiar with the vintage Kodak AZO paper. This was a silver-chloride paper that is known for its slow speed and incredible tonal range. I have a very special approach that I use for my prints that uses Amidol and gold toning.
HIGH-LEVEL EMULSION-MAKING STEPS
Here are the high levels steps that I go through to create my perfectly imperfect fine art prints from dry plate negatives. The entire process from making my emulsion to hand coating my glass plate negatives and exposing them to developing to making the fine art print could take about a week for a single print.
When comparing this slow and methodical process to modern digital photography, it is a stark difference to work an entire week to create a single print versus being able to take thousands of exposures in a day with modern digital cameras. I am not advocating that one is better than the other, I create artist original work on my own terms and in a way that I love.
I consider the overall look and aesthetic that I want to bring forward with the story I am trying to share. I tend to work in projects because it allows me to deeply explore my subjects.
I then head to the darkroom and create the type of emulsion that I think is the best fit for my project. Sometimes I don't get it right on the first try and I end up making another variant (recipe).
Here are the high-level steps that I go through to create my handmade emulsions:
Video Workshops For Analog Photographers
Read Testimonials from photographers and collectors from around the world.
Buy Your Film, Darkroom, and Photography Gear at No Additional Cost To You From B&H Photo
COLOR FILMS, DEVELOPERS, DARKROOM GEAR
Fujichrome Provia 100F - Fujichrome Velvia 100 - Fujichrome Velvia 50 - Kodak Portra 160 - Kodak Portra 400 - Kodak Ektar 100 - Fujicolor Pro 400H - Fujicolor Crystal Archive Silver Gelatin RA4 Paper - RA-4 Color Print Processing Developer & Processing Chemicals - Color Darkroom Enlargers
ILFORD B&W FILMS & DEVELOPERS
KODAK B&W FILM DEVELOPERS
DARKROOM SUPPLIES & EQUIPMENT
Note: I participate in affiliate programs where I earn a small commission on some select products that I provide links for on my website at www.timlaytonfineart.com. When you use these links, I earn a small commission and there is no additional charge to you.
Keywords: analog photography, black and white, darkroom, Dry Plates, fine art, Historic, large format, photography, Silver Gelatin, Vintage
No comments posted.
Recent PostsLarge Format Pictorialist Silver Gelatin Prints Are The New 21st Century Alt Method Darkroom Diary Episode 23 (Ultra Large Format Silver Gelatin Contact Print) Darkroom Diary Episode 22 (Mounting Ice Princess Silver Gelatin Print) Darkroom Underground Episode 1 - Ultra Large Format Paper Negatives Darkroom Underground Episode 1 Preview - Ultra Large Format Paper Negatives at Hodgson Mill New Darkroom Underground Analog Photography Membership Darkroom Diary Episode 21 (Testing Ilford WT as an 8x10 Large Format Paper Negative) Darkroom Diary Episode 20 (TT Signature Pictorialist Lens) How To Make Enlarged Analog Negatives Darkroom Diary Episode 19 (DIY LED Lightbox For Viewing Film)