THE EXPERIMENTAL DARKROOM

Contemporary Uses of Traditional Black & White Photographic Materials

The Experimental Darkroom is a book focused on traditional black & white photographic materials—
darkroom chemistry and silver gelatin paper—now used in many non-traditional ways. The book starts
with a comprehensive digital negatives chapter. Topics are divided into five sections: cameraless experi-
mentation, camera experimentation, printing experimentation, finished print experimentation, and a
section highlighting contemporary photographers who use these approaches today. Each process under
discussion is accompanied by photographic examples and a step-by-step method written in a “Just the
facts, ma’am” style. Topics included are:
• Photograms and clichés verre
• Lumen prints
• Chemigrams
• Pinhole and zoneplate
• Holgas
• Chromo
• Liquid emulsion and modern tintype
• Lith printing
• Sabattier
• Mordançage
• Bleaching and bleachout
• Toning, traditional to experimental
• Applied color and abrasion tone
• Encaustic, photomontage, and collage
• Bromoil
The Experimental Darkroom encourages taking risks and having fun. Over 400 images and 71 artists are
included in its 276 pages. The outcome will be an expansion of creative options for the silver gelatin print.
The options are engaging and now more accessible with digital negatives. Images are no longer solely
captured in camera or on analog film. The darkroom is no longer always dark. The print is no longer a
pristine and accurate rendition of what the camera sees. Photographers are pushing the boundaries of
black & white photographic practice. It is an exciting time to get into the darkroom and play!

Christina Z. Anderson’s work focuses on the contemporary vanitas printed in a variety of 19th century photographic processes. Anderson’s
work has shown nationally and internationally in 120 shows and 60 publications. Anderson has authored books which have sold in over
40 countries—The Experimental Photography Workbook, Gum Printing and Other Amazing Contact Printing Processes, Gum Printing: A Step
by Step Manual Highlighting Artists and Their Creative Practice, Salted Paper Printing: A Step-by-Step Manual Highlighting Contemporary
Artists, and Cyanotype: The Blueprint in Contemporary Practice; also Digital Negatives with QuadToneRIP: Demystifying QTR for Photographers
and Printmakers co-authored with Ron Reeder, and Handcrafted: The Art and Practice of the Handmade Print co-authored with Wang,
Jianming, and King. Anderson is Series Editor for Focal Press/Routledge’s Contemporary Practices in Alternative Process Photography
series and Professor of Photography at Montana State University. To see her work, visit christinaZanderson.com.
 Contemporary Practices in Alternative Process Photography Series

The Contemporary Practices in Alternative Process Photography 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.

Series titles in order of publication

Golaz, Annette. Cyanotype Toning: Using Botanicals to Tone Blueprints Naturally (2022)
Malde, Pradip and Mike Ware. Platinotype: Making Photographs in Platinum and Palladium with
the Contemporary Printing-out Process (2021)
McPhee, Leanne. Chrysotype: A Contemporary Guide to Photographic Printing in Gold (2021)
Reeder, Ron and Christina Z. Anderson. Digital Negatives with QuadToneRIP: Demystifying QTR
for Photographers and Printmakers (2021)
King, Sandy, Don Nelson and John Lockhart. Carbon Transfer Printing: A Step-by-Step Manual
Featuring Contemporary Carbon Printers and their Creative Practice (2020)
Anderson, Christina Z. Cyanotype: The Blueprint in Contemporary Practice (2019)
Ross, Denise. The Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions
for Black and White Paper (2019)
Harmon, Clay. Polymer Photogravure: A Step-by-Step Manual Highlighting Artists and their Creative
Practice (2019)
Anderson, Christina Z. Salted Paper Printing: A Step-by-Step Manual Highlighting Contemporary
Artists (2018)
Anderson, Christina Z. Gum Printing: A Step-by-Step Manual Highlighting Artists and Their
Creative Practice (2017)
THE EXPERIMENTAL DARKROOM
Contemporary Uses of Traditional
Black & White Photographic Materials

CHRISTINA Z. ANDERSON
First published 2023
by Routledge
605 Third Avenue, New York, NY 10158

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2022 Taylor & Francis

The right of Christina Z. Anderson to be identified as author of this work has been asserted 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 informa-
tion 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 identi-
fication and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

A catalog record for this title has been requested

ISBN: 978-1-032-14957-8 (hbk)

ISBN: 978-1-032-13186-3 (pbk)
ISBN: 978-1-003-24194-2 (ebk)

DOI: 10.4324/9781003241942

Typeset in Adobe Caslon Pro and Century Gothic

by Christina Z. Anderson

Publisher’s Note:
This book has been prepared from camera-ready copy provided by the author.

Cover image: Carol’s Roses, eighty-four 7.5˝ × 7.5˝ unique lumen prints printed on eighty-four different black and white/
silver gelatin papers © Christina Z. Anderson 2021

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.
Table of Contents

Figure P.1. Marlboro Man, silver gelatin mordançage, 13.5˝ x 6.8˝ © Christina Z. Anderson 2006

Preface ix Creating a starting profile 18

Introduction 1 Testing the profile 19
Evaluating and modifying the profile 19
Chapter 1
Linearizing the profile with Build QTR Curve 20
Setting Up the Contemporary Darkroom 3 Printing and evaluating the print 20
Chapter 2 Printing the monochrome negative 20
Digital Negatives for the Darkroom 7 QTR profile for lumen printing 22
Photoshop software 8 Troubleshooting the digital negative 23
Epson ink jet printer 8 Troubleshooting the QTR negative 23
QTR and Print-Tool software 8 Printing with the Print-Tool app 25
Build QTR Curve software 8
Transparency material 8
PART ONE
Stouffer step wedge 9
Cameraless experimentation 27
Digital step wedges 9 Chapter 3
Contact printing frame 9 Photograms and Clichés Verre 29
Determining exposure for all methods 9 Photogram variables to consider 30
Creating the Photoshop curve 11 Exposure time 30
Applying the curve to a negative 12 Direct projection photogram 31
QuadToneRIP 14 Reverse photogram 31
Installing QTR and Print-Tool 14 Bas relief photogram 31
Installing a profile 15 Direct positive paper 31
Installing the Build QTR Curve tool 16 Tips and ideas 31
Understanding profile terminology 17 Cliché verre 32
Making a one-part profile 18 Making a cliché verre 33
Installing software 18
Finding the correct exposure time 18
vi Table of Contents

Chapter 4 Chapter 7
Lumen Prints 35 The Holga 81
Making a lumen print 36 The lens 82
Toning38 Focus82
Tips and ideas 38 Aperture82
Digital negatives and lumen printing 39 Shutter82
Lumen print step wedges 40 Film82
Favorite papers 40 Flash83
Not so favorite papers 41 Multiple exposure 83
Using lith developer with lumen prints 48 Loading a Holga 120 mm 83
Cyanolumens50 Unloading the Holga 120 mm 84
Phytograms52 Loading the Holga 35 mm 84
Chapter 5 Unloading the Holga 35 mm 84
Taping your Holga 84
The Chemigram 55
Long exposures 85
Hard and soft resists 56
Tips and ideas 85
Examples of hard resists 56
Examples of soft resists 56 PART THREE
Other resists 58 Printing Experimentation 87
Tools58
Chapter 8
Examples of process choices 58
Making a chemigram test strip 58 Chromo89
The laser chemigram 60 Discoveries91
Tips and ideas 61 Materials needed 91
Image type 91
PART TWO The chromo tray method 92
Camera Experimentation 65 Tray 1 92
Chapter 6 Tray 2 (if desired) 92
Tray procedure 92
Pinhole and Zoneplate 67
The chromo brush method 92
Pinhole technicals 68
Brush procedure 92
Calculating optimal pinhole size 68
Tips and ideas 93
Finding the right needle 68
Chemistry of the solutions 94
Needle size chart 68
Chromo sources 95
Calculating the f-stop 68
Calculating exposure 68 Chapter 9
Speaking of exposure factor 70 Liquid Emulsion and Modern Tintype 97
Reciprocity correction for film 70 Emulsion hardener 98
Reciprocity correction for paper 72 Surface preparation 98
Image diameter 72 Gelatin-alum subbing solution for glass 98
Direct positive paper 72 Coating98
How to make a pinhole 72 Exposure99
Oatmeal/ice cream pinhole camera 73 Processing99
Film canister pinhole camera 74 Tips and ideas 99
35mm pinhole body cap 75 Modern tintype using liquid emulsion 100
Zone plate 75 Supplies100
Tips and ideas 75 Tintype developer I 100
Pinhole resources 75 Tintype developer II 100
Pinhole exposure tables 76 Quickie tintype developer 101
Rockland tintype developer  101
Tintype directions 101
Lavender varnish recipe  101
Troubleshooting modern tintype 101
 Table of Contents vii

Chapter 10 Gold thiocyanate toner 132

Lith Printing 103 Gold thiourea toner 132
Papers for lith printing 103 Blue toning 132
Lith developers 103 Iron blue toner 132
Lith Developer ID 13 104 Copper toning 133
Lith Developer ID 85 104 Ferguson’s copper toner 134
How lith works 104 Tea toning 135
The lith process 105 Walnut or other nut toning 135
Second Pass lith 106 Sepia toning 136
Bleach-back lith 106 Thiourea toning 138
Troubleshooting107 Clay Harmon’s one-shot thiourea toners 138
Chapter 11
Selective toning 138
Multiple toning 139
Sabattier109
Mortensen’s metalchrome 139
About sabattier 110
Paper and developer to use 110 Chapter 15
Clarence Rainwater’s R77 110 Applied Color and Abrasion Tone 141
Sabattier the quick way 110 Supplies142
Duotone sabattier 110 Steps143
Thiosulfate sabattier 111 Tips and ideas 146
Tips and ideas 111 Abrasion tone 146
Abrasion tone (without abrasion) 146
PART FOUR Mortensen’s abrasion tone 146
Finished Print Experimentation 113
Chapter 16
Chapter 12
Encaustic, Collage, Photomontage 149
Mordançage115 Supplies149
Coote formula 117 Low tech encaustic 150
Papers to use 118 Medium tech encaustic 150
Mordançage process 118 The encaustic process 150
Mordançage negatives 120 The ivorytype 151
Speck formula I 120 Tips and ideas 151
Troubleshooting—the paper is stained 121 Sources152
Troubleshooting—mordançage not working 122 Collage and photomontage 152
Tips and ideas 122 Possible supports 152
Chapter 13 Possible materials 152
Bleaching and Bleachout 125 Adhesives152
Standard bleach formula 125 Tools152
Bleach as a corrective or selective tool 125 Five steps to collage 153
Farmer’s Reducer bleach formula  126 Photomontage153
Bleachout126 Tips and ideas 153
Tips and ideas 127 Chapter 17
Chapter 14 Bromoil155
Toning129 Paper choices 156
One bath vs two bath toners 130 Other supplies 156
Print preparation for all toning 130 Bromoil bleach formula 157
Selenium toning 130 Making the print for bromoil 157
Split toning with selenium 130 A bit quicker bromoil 157
Bleaching after selenium 130 Bleaching the print 157
Gold toning 131 Inking the print with the brush 158
1% gold chloride solution 131 Inking the print with the brayer 158
Gold sodium bicarbonate toner  131 Oleobrome159
Bromotype159
Troubleshooting bromoil 159
Tips and ideas 160
viii Table of Contents

PART FIVE
Contemporary Experimental Artists 163
Chapter 18
Contemporary Experimental Artists 165
Patricia A. Bender 167
Annemarie Borg 173
Brigitte Carnochan 177
Douglas Collins 179
Bridget Conn 185
Karen Hymer 189
Mike Jackson 193
Kate Jordahl 195
Tiina Kirik 199
Leah Macdonald 203
Chris McCaw 205
Brittany Nelson 207
Eva Nikolova 211
Elizabeth Opalenik 215
Chris Peregoy 221
Nolan Preece 225
Tim Rudman 229
Leah Schretenthaler 235
Sara Silks 237
Kathy Vargas 241
Figure P.2. Mushroom, hard resist chemigram © Fran
APPENDIX Browne 2019. Fran Browne is a Montana State University
In-camera composition tips 246 School of Film and Photography alumna who uses
analog, experimental, and alternative processes in her
Further Chromo Formulas 247 work. Browne’s photographic focus is the beauty in the
Alan Bean’s process 247 mundane and the decay and abandonment of small
Denny Moers’ “painting with light” 247 town America. To see more of Browne’s work follow her
Jolly’s Procedure One 247 @imagesbyfran.
Jolly’s Procedure Two 248
Jolly’s updated process 248 Further Toning Formulas 257
More notes from Jolly 249 Gold thiocyanate toner II 257
Jolly Silver Mirror Printing process 249 Gold thiourea toner II 257
Silver Mirror Printing update 250 Cassell’s copper toner 257
Edmund Teske’s process 250 Photo Miniature copper toner 257
Dan Burkholder’s method 250 Chinese toning (selenium/iodine) 258
Further Mordançage Formulas 251 Iodine bleach 258
Speck’s patent 251 FSA toning 258
Original Marriage formula 254 The process 258
E.J. Wall’s etching process 254 Other FSA toners 258
Baxter’s formula 254 Halo-chrome™259
Baker’s formula 255 Bleach formula 259
Kodak etch bath EB-3 255 Redeveloper formula 259
L.P. Clerc’s formula 255 Halo-chrome™ on a finished print 259
Allen P. Greenleaf ’s formula 256 Halo-chrome™ on an unfixed print 259
Alan McFaden’s formula 256 Silver toning processes—SS 260
Jonathan Bailey’s formula 256 Step one: copper bleach formula 260
Step two: redeveloper formulas 260
Bibliography261
Index263
Preface

Figure P.3. Up the River, paper negative from a homemade cardboard pinhole camera, contact printed, 13˝ x 5˝ © Chris
Byrnes 2022. To see more of Byrnes’ work follow her on Instagram @lady_camera_obscura.

I
n 1995 I enrolled in a painting class at My first foray into authorship began with my
Montana State University. I was not planning rudimentary manual The Experimental Photography
on pursuing a degree since I already had a ba, Workbook (2001). No one book included all the
but it was so enjoyable that I continued taking processes I wanted to teach and some processes
one class after another and then ended up with a were not even in the literature. That first labor-
degree. One of the requirements for my painting intensive semester I researched and compiled
degree was a beginning black and white photogra- weekly handouts for every process. Then, to save
phy class. After the first few weeks in the class with time at the copy machine, I spiral-bound all the
Professor John Hooton I was hooked and there was handouts together. It occurred to me that others
no turning back. Along with my bfa in painting might be interested in this manual. The Workbook
I finished a ba in photography, which became my took off. The Experimental Darkroom is the outcome
medium of choice. of that book and two decades of teaching.
When I graduated in 2000 with no access to This book would not have happened without key
a darkroom, I asked Paul Monaco, the director of people who paved the way. I thank Paul Monaco for
the School of Film and Photography at Montana giving me the chance to teach in 2000. I thank John
State University, if he needed someone to teach, Hooton, Charlotte Trolinger, and Rudi Dietrich
which would grant me access. Several weeks later for being my influential photography professors
Paul offered me a job teaching beginning black in the 1990s. It was Charlotte’s Experimental
and white photography. I had no idea that teaching Photography class that I took over Spring 2001
would become my profession. when she went on sabbatical. I thank Sam Wang
In those first classes I taught students how for being my graduate professor while I pursued my
to make pristine black and white prints. Spring mfa at Clemson University. I thank Mark Nelson,
2001 I was offered a chance to teach Experimental Sandy King, Ron Reeder, Clay Harmon, and Ike
Photography, much more my interest along with Eisenlord for teaching me most of what I know
alternative processes. Whereas in the beginning about digital negatives. I thank Malin Fabbri for
black and white classes it was all about the perfect selling that rudimentary Experimental Photography
print, in the experimental class it was all about how Workbook on her alternativephotography.com
to mess it up! Over the years my expertise grew in website. Because of Malin I have sold books in at
experimental and alternative process photography, least forty countries. We all stand on shoulders of
which I continue to teach and practice today. giants, some who are unsung heroes.
Figure I.1. The Beach on the Lake, selenium toned, hand colored silver gelatin print, 25.3 x 18 cm © Margrieta A. P. Jeltema
2021. “We fill our days and encounters with stories, old and new ones, that weave themselves in ever richer patterns,
forever eluding us, forever beckoning us to discover new threads and to make sense of what we feel and see. Often I
wonder what photography is about and why it is so important for me. Why is it important for me to still use film and even
glass plates? My favorite camera is more than 100 years old, a turn of the century whole plate camera. Its magic lies in
its extreme simplicity. I use all the formats between 35 mm and whole plate. There is the joy of expectation, the handling
of the films, the smell of the chemicals, the errors and all the experimenting and learning that goes with it. My love for the
material world of ancient cameras, with their glass plates and gelatin films, has extended naturally to the making of all
kind of prints. Though I like to make archival ink-jet prints, the making of silver gelatin prints is a richer pleasure.” Margrieta
Jeltema was born in the Netherlands. She has lived and worked in the Netherlands, Italy, Algeria, the Caribbean, Chile,
Portugal and Romania. During her biology studies with a major in philosophy at Wageningen (the Netherlands), Margrieta
studied bronze casting, painting, etching and ceramics. Her work embraces poetry and sculpture, but her main creative
outlet is photography. During the last few years she has received a number of awards, nominations and publications
in the International Photographic Awards (IPA), Px3, Black and White Spider Awards, International Aperture Awards,
WPGA awards, Shotz Magazine, Seities, Gammelgaard Monochrome, Prix de la Découverte, Photoreview, Lensculture,
Fotofilmic, Street and Fine Art Photography and Black & White Photography. The series My Heart of Glass, The Shaded
Gardens of Bucharest, and A Chinese Mother in Italy were published in Dodho. Jeltema exhibits internationally. To see
more of Jeltema’s work visit www.margrij.com.
Introduction

T
he Experimental Darkroom is a book no longer bringing their parent’s film camera with
on the changing landscape of the silver them to college. I ended up rewriting much of
gelatin darkroom. The book’s focus is on the book, tightening it up, removing unnecessary
traditional black and white/silver gelatin paper sections, and expanding discussions on the more
and darkroom chemistry often now used in non- popular processes. There is now more systematic
traditional ways. The book particularly focuses on and exacting information, documentation of recent
processes that I have found to be the most engag- experimentation, a lengthy artist section, and all
ing for students over the last twenty-two years of new photographs.
teaching. What has been the hallmark of today’s silver
The backdrop to the contemporary dark- gelatin darkroom is that artists are pushing the
room begins in the 1960s and even before. boundaries of chemistry and paper. There really
Around that time photographers had a desire to isn’t a need anymore to print pristine silver gela-
quit being beholden to large corporations like tin, because that is effectively done digitally., Nor
Kodak that controlled the photographic market. is there a need anymore for the silver gelatin dark-
Photographers found alternatives to silver gelatin room to document the world, because that is being
printing. Processes such as Vandyke brown, cyano- done in digital color. The black and white dark-
type, palladium, and salted paper were referred to room has been liberated from its utilitarian roots.
as alt(ternative). Silver gelatin was not “alt” at that Chemistry-based black and white photography
time but part of the “establishment.” may no longer be a requirement in photographic
Today “alternative process photography” (alt curricula but it is still a popular elective, because
process, alt pro, alt) references hand-crafted print- it fulfills needs on a physical and emotional level.
ing as alternative to digital ink jet, though these Physically, some processes are still better done
boundaries are not so—forgive the pun—black chemically than digitally. Emotionally the need to
and white. Silver gelatin has quietly slipped into create with one’s hands has never been stronger. The
the alt category sometime within the last decade, black and white darkroom holds a magic that the
though some will still debate that; probably they are digital dimroom cannot approximate: the magic of
correct when it comes to the pristine silver gelatin an image materializing in the developer, the magic
print. What, in fact, constitutes a photograph is the of chance happenings. In the 20th century, the
subject of whole books today, with some arguing darkroom was work. Today it is a conscious choice.
an ink jet print, since it is not “written with light,”
is not even a photograph. This book focuses on How to use this book
experimental silver gelatin practice as part of the This book assumes familiarity with the black and
alt pro movement and leaves the theorizing (and white darkroom at a beginning to intermediate
arguing) about what constitutes photography or level. Many experimental methods of image making
alt to others. are introduced. The book encourages trying new
The precursor to this book is the 2001 things, taking risks, and having fun, with the ulti-
Experimental Photography Workbook. As I said in mate outcome an expansion of creative options and
the Preface, it began as a spiral-bound compila- expression. To excel in any one of them takes time
tion of all my class handouts that I used in my and commitment. Try the processes at first with play
Experimental Photography class at Montana State in mind, without seeking perfection. Perfection is a
University and ended up a full-color 6th edition creative “wet blanket” when learning. Then choose
book in 2012. The book was in need of a few one or two to take to a deeper level. It is truly an
changes, not least of which was a digital negatives exciting time for silver gelatin paper!
chapter since so many incoming freshmen were
Figures 1.1–1.4. Portraits series, silver gelatin chromos, 6.5˝ x 10˝ © Eric R. Hinsperger 2017.“These
portraits show each person’s unique interest. I used digital negatives to print them in the traditional
experimental darkroom. The chromo process creates ‘iridized’ borders with a smoky run-off on each
end. The prints have a beautiful metallic, sensual finish that must be seen in person to experience the
full spectrum, as they do not scan well.” Eric R. Hinsperger is an American photographer and award
winning Director of Photography currently living in Portland, Oregon. His work has been featured in
multiple magazines, local store fronts, and recently 2021 Best Oregon Short Film (OSFF).
Chapter 1
Setting Up the Contemporary Darkroom

All chemicals should be treated with utmost respect.

Go to www.msds.com and download the SDSes (Safety
Data Sheets) for every chemical used in the darkroom
and store them in a readily available notebook in
alphabetical order for easy access. Have the local
poison control number handy and prominent! Label
all chemistry. Have an eyewash kit in the darkroom in
case splashes into the eye occur. Immediately clean
up any spills that occur. Avoid contact between the
chemicals and eyes, skin, clothing, and furniture.
Minimize absorption of chemicals through breathing,
ingestion, or skin contact. Do not eat or drink while
using chemicals. Wear protective eye wear and gloves
if necessary. Always keep hands clean. Dispose of
hazardous materials according to state regulations.
Always keep chemistry locked up and away from
children and pets. The workplace should be well
ventilated. Chemicals should be mixed only in the
manner described.
Use of any chemicals constitutes some risk, and
Figure 1.5. Gato Blanco, lith print, Slavich Unibrom 160, some are poisonous. The publisher and author accept
Fotospeed LD20 50/50 ml in 3 liters water © Douglas Ethridge no responsibility for injury or loss arising from the
2022 procedures or materials described in this book whether
used properly or improperly. In short, be mindful of all
safety procedures for yourself and others!

T
his book assumes the reader has a work-
ing black and white darkroom with the Photograms and clichés verre
typical chemistry: paper developer, stop, • 4˝×5˝ pieces of glass or plastic for the enlarger
fixer, hypoclear/fixer remover, and, of course, silver • Flat black spray paint, optional
gelatin paper. • Direct positive paper if desired
Three other necessary items are a contact
printing frame, ohp transparency film, and a Lumen prints
Stouffer step wedge. See Digital Negatives for the • Non-uv resistant plexi or glass larger than paper
Darkroom for further clarification on digital needs • Ferric ammonium citrate and potassium ferri-
(computer, software, printer). cyanide for cyanolumens, if desired
Supplies and chemistry are listed in this chapter • Sodium carbonate and ascorbic acid (Vitamin
according to process. If a process is not listed, it C) for phytograms, if desired
doesn’t need anything extra aside from the usual
black and white chemistry and paper. These lists are Chemigrams
comprehensive but not exhaustive as some processes • Hard (e.g. Golden msa varnish) and soft resists
have many potential choices and directions. • Xacto knife and tweezers
Where there are italics in a list, the italicized
items are a substitute for the item directly above— Pinhole and zoneplate
for instance, under Toning you can purchase • .003 brass shim stock or other metal
commercial brand toners or make them yourself • Flat black spray paint
using the chemistry in italics. • Needles
4 Chapter 1 Setting Up the Contemporary Darkroom

• Black gaffer’s tape Sabattier

• 600 grit sandpaper • Sodium sulfite
• Zone plate • Catechol
• Camera body cap • Sodium carbonate
• Phenidone
Holga • Potassium bromide
• Holga camera from FreestylePhoto.biz • Sodium thiosulfate
• Black gaffer’s tape
• Film Mordançage
(See Appendix for chemistry for advanced formulas.)
Chromo • Copper chloride
(See Appendix for chemistry for advanced formulas.) • Glacial acetic acid
• Arista Ultra or Ilford Warmtone paper • Drugstore or 10–20v hydrogen peroxide
• Arista Chromo Stabilizer and Activator • Copper sulfate
• EcoPro developer • Potassium bromide
• Krylon Crystal Clear acrylic glossy spray
Liquid emulsion and modern tintype
• Liquid emulsion, variable contrast Bleaching and bleachout
• Krylon Crystal Clear acrylic glossy spray • Potassium bromide
• Oil (!) based clear varnish (tintype) • Potassium ferricyanide
• Liquid emulsion hardener • India ink, tech pens, or Sharpie markers
• Trophy aluminum
• Methylated alcohol, gum sandarac, and oil of Toning
lavender for varnish, optional (See Appendix for chemistry for more formulas.)
• Rockland tintype bulk developer • Potassium bromide
or • Potassium ferricyanide
• Ammonium thiocyanate • Tea, loose or tea bags
• Sodium sulfate • Walnut husks
• Sodium carbonate • Liquid frisket/maskoid and/or frisket film
• Dektol • Selenium toner, gold toner, iron-blue toner,
copper toner, sepia toner, Halochrome™
Lith printing and/or
• Foma papers • 1 g gold chloride
• Potassium ferricyanide • Distilled water
• Lith developer • Ammonium thiocyanate
or • Copper sulfate
• Hydroquinone • Ferric ammonium citrate
• Potassium metabisulfite • Glacial acetic acid
• Potassium bromide • Potassium citrate
• Potassium hydroxide • Sodium bicarbonate
• Sodium sulfite • Sodium carbonate
• Boric acid crystals • Sodium chloride (salt)
• Sodium bisulfite • Sodium sulfide
• Paraformaldehyde • Sodium thiosulfate
• Sodium, ammonium or potassium hydroxide
• Tartaric acid
• Thiourea
 Chapter 1 Setting Up the Contemporary Darkroom 5

Figures 1.6–1.7. Left, Coastal Treeline; right, Blue Costal Treeline, untoned and blue/copper toned gelatin silver mordançages
© Aubrey Irwin 2021. Aubrey Irwin is a Montana-based photographer with a focus on alternative processes. Irwin is pursuing
a BA in Film and Photography and English Composition from Montana State University, Bozeman, graduation Spring 2022.

Applied color and abrasion tone • Bromoil brush or men’s shaving brush
• Photo oils • Cosmetic foam wedges or 1˝ nylon flat brush
• Frisket removable low-tack film • Chamois cloth
• 100% cotton balls • Blotter paper
• Q-tips • Large piece of glass
• Toothpicks • Bromoil kit from Bostick and Sullivan
• Marlene, naphtha, or Arista cleaner or
• Krylon Crystal Clear acrylic glossy spray • Copper sulfate
• Ivory black and burnt sienna pastels • Potassium bromide
• Potassium dichromate
Encaustic, collage, photomontage
• Heat gun Sources for supplies
• Brushes Artcraft Chemicals
• Cradled wood panels or other support ArtcraftChemicals.com
• Acrylic glossy medium and matte medium B&H Photo
• pva glue BHphotovideo.com
• Encaustic paints, purchased Bostick and Sullivan
or Bostick-Sullivan.com
• Beeswax Freestyle Photographic Supplies
• Dammar resin FreestylePhoto.biz
• Pigments Photographer’s Formulary
PhotoFormulary.com
Bromoil Stouffer Industries (step wedges)
• Black or colored lithographic ink http://www.stouffer.net
• Naphtha, mineral spirits, or Simple Green
• 6˝ ceramic tiles
• Palette knife
• 2˝ brayer
• 4˝ brayer
Figures 2.1.–2.3. Top, The Kanga Cricket Wall
© Leanne McPhee 2021. 9˝ x 6˝ lumen print,
fixed and alkaline-gold toned. Middle, The
Bubble Taps © Leanne McPhee 2021. 9˝ x
6˝ lumen print, fixed. Bottom, The Shelter
Shed © Leanne McPhee 2021. 9˝ x 6˝ lumen
print fixed and alkaline-gold toned. All three
images were from 4˝x 5˝ Ilford FP4 125 film
negatives, scanned to create a digital
negative with suitable contrast, contact
printed onto Ilford MGFB Multigrade
Warmtone Semi-Matte silver gelatin paper,
and exposed under UV light for 9 minutes 50
seconds to 10 minutes 30 seconds.
“At three points over fifteen years, I
photographed my primary school. The
images in this series were taken after the
primary schools in the region were closed
and one ‘super school’ created. The
iconic shelter shed, Kanga cricket wall,
and bubble taps are captured in their
dismantled state amongst bleached grass
and debris.”
Leanne McPhee is an Australian fine art
photographer with expertise in a variety
of alternative photographic processes,
particularly new chrysotype and salt
printing. McPhee has work held in public
and private collections in Australia,
China, Italy, and the US, delivers hands-on
workshops, and is the author of Chrysotype:
A Contemporary Guide to Printing in
Gold. To see more of McPhee’s work visit
leannemcphee.com.
Chapter 2
Digital Negatives for the Darkroom

Figure 2.4. 2018 Campfire, Paradise, California, lumen print on Oriental Warmtone paper, all day exposure, digital negative
created using the Lumen QTR profile, © Christina Z. Anderson 2021

L
et’s be honest: there is no such thing as an There are essentially two methods to make all
“easy” digital negative. “Easy” would entail the tones from white to black match the density
merely inverting an image in Photoshop range of the paper. One method is to create a curve
and printing it out. Because digital inks have and in Photoshop place it on top of the negative
a density range from black to white (full ink to to compress the tones to fit. The other is to tell the
no ink) greater than many processes can handle, printer driver to make the tones fit. Digital negative
merely printing out an image “as is” can’t be done. systems are usually variations of these two methods.
You would sacrifice tonal detail in the print on one Examples of these two systems are PDN and QTR
or the other end. Either the highlights would be respectively.
paper white and blown out with no detail in order Precision Digital Negatives (PDN) Curve
to preserve detail in the shadows, or the shadows Calculator III (CCIII) software allows you to
would be blocked up black in order to expose long create custom curves in Photoshop. It is a proprietary
enough to have detail in the highlights. (and patented) software created by Mark Nelson
8 Chapter 2 Digital Negatives for the Darkroom

(precisiondigitalnegatives.com). CCIII software QTR and Print-Tool software

has a wonderful option to generate a family of For the QTR method you will need to down-
contrast curve choices straight to Photoshop. load and install two pieces of software. These are
QuadToneRIP (QTR), developed by Roy QuadToneRIP and Print-Tool, both available from
Harrington, replaces the printer’s proprietary driver the QuadToneRIP website. See further how to
software with its own and directs certain inks to download and install.
print in certain places in certain amounts. See
Digital Negatives with QuadToneRIP, Demystifying Build QTR Curve software
QTR for Photographers and Printmakers for an Build QTR Curve is a Java script developed by
in-depth treatment of QTR. QTR can be used on David Eisenlord and available for a free download.
both Windows and Mac computers. Instructions It is an invaluable tool for automatically generat-
in this chapter are for the Mac. ing curves. It can be used with both methods. See
This chapter will introduce these two meth- further how to download and install.
ods—using a curve in Photoshop or adjusting inks
within the printer driver. The first method will be Transparency material
similar to PDN, but the curve will be generic, not Digital negatives for the silver gelatin darkroom are
custom, and the negative will be an all-ink nega- printed on one of two types of “paper,” Pictorico
tive, not colorized. A generic curve will get you in High Gloss White Film (opaque white, not neces-
the ballpark to a “pretty good” digital negative and sary for our purposes) or transparency material
with many of the experimental processes, pretty which is transparent in a milky sort of way. Both
good is plenty fine. films have a coating which absorbs a considerable
The second method will be a crash course amount of ink without the printer dots merging
version of QTR. If this becomes your method together and puddling. Transparency film is often
of choice, I recommend the Digital Negatives referred to with the acronym ohp for overhead
with QuadToneRIP book previously mentioned projection film. In this chapter when we talk about
to understand this system fully. I admit, QTR is film we are referring to this digital transparency
dense, more on the expert level of digital negative substrate, not traditional analog film unless “analog”
making, and takes time to learn, but once you do is specified.
you’ll be amazed at its power. I am a fan of Fixxons and its low cost. The nega-
tive film ($49/100 sheets) is adequate for all but
Photoshop software the densest negatives. However, in humid climates
Photoshop is the premier image-editing software, thinner transparency film has a tendency to curl
and now with monthly subscription fees available ever so slightly, and it will jam in the printer. It
for all Adobe software, it is much more affordable. also seems to never dry, and is more prone to pizza
This and an Epson printer are all that is neces- wheel marks as the still-wet ink on the ohp is
sary for the first method of applying curves in being transported through the printer. If this is
Photoshop. the case, use Pictorico ($22/20 sheets).
Pictorico comes in Premium and Ultra
Epson ink jet printer Premium which has an even thicker ink-receiving
Essentially any inkjet printer will produce a digital layer. Premium is fine for the silver gelatin dark-
negative. However, to date, Epson printers have the room as is Fixxons, except lumen printing; purchase
densest inks, perhaps the only printer brand to have Pictorico Ultra Premium for lumen negatives
dense enough inks, to block light effectively. QTR because a lumen negative needs a heavier ink load.
can only be used with Epson printers. This book
will refer to the P900, but the methods described
can be applied readily to other Epson printers.
 Chapter 2 Digital Negatives for the Darkroom 9

wedge is a perfectly linearized image. Our goal is

to create a negative which will translate the tones
written on the wedge into exactly the same tones in
the final print. A digital step wedge is included in
the QTR package—Applications/QuadToneRIP/
Curve Design/Images/21step.psd. One is also
included in Eisenlord’s Build QTR download.

Contact printing frame

Digital negatives are generally printed out at the
Figure 2.5. 4˝ x 5˝ 31-step wedge same size as the final print and the silver gelatin
paper exposed in direct contact with the negative.
Stouffer step wedge There needs to be a way to keep the negative and
With both of these systems, the first step is to find paper in tight contact during exposure, and that is
a correct exposure time to give the darkest black easily done with a contact print frame (see Bostick-
on the silver gelatin paper using as much exposure Sullivan.com). You can make a homemade contact
as necessary but not too much (overexposure). This print frame thus: use cloth tape to hinge a sheet of
can be done two ways, one less complex just using ¼˝ plate glass along one edge to a piece of 4-ply
a piece of ohp and an opaque piece of something, mat board. Place a sheet of some thin compress-
and one more complex but also more accurate using ible material on the mat board, then the coated
a Stouffer analog film step wedge. It seems strange paper, then the negative, and lower the plate glass
to use analog film to judge digital film exposure, but onto everything. The weight of the glass is usually
the Stouffer step wedge is calibrated in accurate 1/2 sufficient to make good contact.
stop (21-step) or ⅓ stop (31-step) increments so My students have found that printing out small
exposure can be pinpointed with simple math. The negatives (4˝ × 5˝) and using them to projection
31-step wedge is best for fine-tuning your exposure print in the enlarger works! This would therefore
time. There are inexpensive step wedges (around require only the typical darkroom enlarging easel.
$20) and more expensive larger step wedges (around The images are slightly grainy, but if grain does not
$75, pictured above). I cannot stress enough how bother you, there is much room for experimenta-
useful a step wedge is in the darkroom. Buy them at tion with this method. In fact, why not print 35
Stouffer.net, Amazon.com, bhphotovideo.com. mm sized digital negatives for even more grain?

Digital step wedges Determining exposure for all methods

Whereas the analog film step wedge is used to Determining exposure with no step wedge
calculate correct exposure time, digital step wedges The aim is to determine the minimum exposure
are used after the exposure time is determined to needed to obtain maximum black when printing
create your own curves if desired or the necessary through the ohp negative.
QTR profile. A digital step wedge has tonal steps 1. Set up the enlarger with a grade 2 filter, the
ranging from 0% (clear) to 100% (maximum black) enlarger head high enough (~2 feet) from the base-
in evenly inked steps of 5% density from clear/no board so its light path covers an 11˝ × 14˝ contact
ink to black. It is constructed so that the Photoshop frame, a 35 mm negative carrier in the enlarger, a
eyedropper tool reads the same percent gray as is 50 mm lens wide open to F2.8, and the light path
written on each step. By definition the digital step focused so its edges are sharp.
10 Chapter 2 Digital Negatives for the Darkroom

2. Take a piece of silver gelatin paper out of the 60 sec. 60 sec. 120 sec. 120 sec.

pack under darkroom safelight and place a sheet Max 21-step/ 31-step/ 21-step/ 31-step/
black : 1/2 stop 1/3 stop 1/2 stop 1/3 stop
of ohp over half of the paper.
Step 1: 60 60 120 120
3. Place a sheet of opaque material so it covers both
Step 2: 42.4 47.6 84.8 95.3
halves and leaves a strip uncovered at the top.
Step 3: 30 37.8 60.0 75.7
4. Make a 5 second exposure and move the opaque
Step 4: 21.2 30 42.4 60.1
material down half an inch to uncover another strip
Step 5: 15 23.8 30.0 47.7
and make another 5-second exposure. Continue
Step 6: 10.6 18.9 21.2 37.9
this process for 60 seconds until there is a series of
Step 7: 7.5 15.0 15.0 30.1
twelve 5-second exposures (120 total seconds and
Step 8: 5.3 11.9 10.6 23.9
24 5-second exposures if there is no max black).
Step 9: 3.7 9.5 7.5 19.0
5. Develop the test sheet and dry it. Note the step
where there is no difference between the ohp Step 10: 2.6 7.5 5.3 15.1

and non-ohp side. This is the minimum exposure Table 2.1. The table is based on enlarger exposure times of
capable of giving maximum black. a Stouffer 21- or 31-step wedge backed with film. 1/3 stop
is equal to .794, 1/2 stop is equal to .707. By multiplying
Once this printing time is determined for that
(to subtract time) or dividing (to add time), the correct
paper, it doesn’t change. This is the exposure that time can be found. Transparency film is included in these
will be used for all further calibration. If a final calculations but the Stouffer film's base+fog is not, because
print turns out to be too light or dark, it is often of its minimal (1/6 stop) effect. If desired, you can multiply
the final exposure time x .89 to remove the Stouffer film's
an indication of another problem in the workflow. base+fog, too. Also note that transparency films can
Determining exposure with a step wedge differ in density. Here the added density of 1/2 stop (.707)
Calculating an exposure time is easy with a Stouffer is computed into the calculations which is about what
Pictorico Premium and Fixxons compute to be.
step wedge since a step wedge is measured in stops
just like a camera, and photographers know stops.
The correct exposure time­—the amount of time it baseboard so its light path covers an 11˝ × 14˝
takes to get the paper as dark as it needs to be and contact frame, a 35 mm negative carrier in the
no darker (overexposure)—is found by overexpos- enlarger, a 50 mm lens wide open to F2.8, and the
ing the step wedge to make sure at least two or light path focused so its edges are sharp.
more steps on the Stouffer’s merge together with 3. Expose the step wedge for 60 seconds, process
no differentiation. Once that is done the rest can and dry the step wedge print.
be calculated mathematically—or merely consult 4. Note the first step number to match paper black
Table 2.1 where the math is already done for you. (you must have at least two steps that are 100%
You can purchase a 21-step wedge (1/2 stop each black and if not, repeat the test with a 120 second
step) or a 31-step wedge (1/3 stop each step). Tip: exposure). Locate that step number in Table 2.1
Don’t buy the more expensive calibrated ones; they and next to it will be the correct exposure time.
are not necessary. Each increment of the 31-step wedge corre-
1. Back the step wedge with your film of choice, sponds to 1/3 stop and a mathematical number of
Fixxons, Pictorico, etc. Tip: tape the film and the 0.794 (.8 for ease) which is used to add time (by
step wedge together on either end with rubylith tape, dividing the exposure time) or subtract time (by
an opaque red tape that blocks light, available from multiplying the exposure time) depending on how
Uline or other places. This will provide a nice rectangle many maximum black steps are showing on the
of paper white on either end for comparison purposes. print. Each increment of the 21-step wedge corre-
2. Set up the enlarger with a grade 2 filter engaged, sponds to 1/2 stop and a mathematical number of
the enlarger head high enough (~2´) from the 0.707 (.7 for ease). Example: if Steps 1–4 are all
 Chapter 2 Digital Negatives for the Darkroom 11

To make steps darker To make steps lighter Creating the Photoshop curve
multiply exposure by: multiply exposure by:
The curve creation process for all negatives is
21-step
the same: plugging in a set of coordinates in the
1 step 1.4 .707
Photoshop curve dialogue panel. The only differ-
2 steps 2.0 .50
ence is in the actual coordinate numbers. Each of
3 steps 2.8 .35
these curves will be created and then saved to your
4 steps 4.0 .25
hard drive. They are then used for all future images
31-step
and will not have to be created again. These curves
1 step 1.26 .794
are based on Epson printers that use Ultrachrome
2 steps 1.59 .63
inks. Table 2.3 shows the input/output curve points.
3 steps 2 .50
Since 0/0 and 100/100 are already in place, there
4 steps 2.5 .397
are at most nine pairs of coordinates to enter into
Table 2.2. This table is for quick calculations if you decide the curve panel.
to vary exposure slightly. 1/3 stop is a slight difference; 1/2 All Warmtone
stop is noticeable. If you vary a full stop, you might want Table 2.3. If there’s an “x”
papers papers
to check your workflow. Photoshop won’t allow two
0/0 0/0 points so close together so skip
it and enter the next pair.
X/10 2/10
maximum black, Step 4 needs to move 3 steps back to X/20 4/20
Step 1. The initial 60 second exposure time is multiplied 2/30 5/30
3x consecutively by .794 or .707. Then, optionally, the
4/40 8/40
film density is subtracted since you won’t be print-
7/50 12/50
ing through film (multiply by .89) and then 1/2 stop is
added to account for Pictorico ohp density by divid- 11/60 16/60

ing the final amount by .707. Tip: if you forget these 18/70 23/70

numbers, use easy to remember numbers .7, .8, and .9. 29/80 38/80
Once the exposure time is determined for that 64/90 70/90
paper under that enlarger/lens/enlarger height 100/100 100/100
combination, use that time for either digital nega-
tive system. If in a gang lab with multiple enlargers 1. Open an image in Photoshop and convert it to
with different ages and strengths of light bulbs, it Gray Gamma 2.2 (Edit/Convert to Profile/Gray
may be necessary to adjust the time when using a Gamma 2.2).
different enlarger. Suggested times are Arista fb 15 2. Add a curve layer (Layer>New Adjustment
seconds, Ilford mgfb 19 seconds, Ilford Warmtone Layer>Curves)(Figure 2.6).
38 seconds, Foma 131 Warmtone 48 seconds.

Figure 2.6.
12 Chapter 2 Digital Negatives for the Darkroom

3. Go to the dropdown menu in the Curves Panel down arrow keys toggle Output. Tip: if the curves
located at the very top right corner and select panel background grid doesn’t show all the gridlines,
Curve Display Options to make sure the Curves Option+Click within the grid to toggle it on.
Panel is set to Pigment/Ink % (Figure 2.7). 5. Enter the Input/Output numbers, starting with
the x/10 pair and continuing up the line with x/20,
x/30, etc. Don’t change 0/0 and 100/100. There are
only 9 pairs of numbers to enter.
6. Select any point and with the +/- keys toggle up
and down the curve from point to point to check
that all Input/Output values are set accurately.
7. In the dropdown menu in the Curves Panel click
Save Curves Preset and name it with the corre-
sponding name like Arista-15sec.acv (Figure 2.9).
Your curve work is done!

Figure 2.7.

4. Click on the diagonal line just above the bottom

left to create a point on the curve. The Input/
Output numbers will appear in the Curves panel
at the bottom (Figure 2.8). Each horizontal back-
ground line in the curves panel corresponds to 0,
10, 20, 30, 40, 50, 60, 70, 80, 90, 100% Output.
The left/right arrow keys toggle Input. The up
Figure 2.9.

Applying the curve to a negative

1. Open a digital image and convert it to 16 bit
(Image>Mode>16 bit) and Gray Gamma 2.2
(Edit>Convert to Profile>Gray Gamma 2.2).
2. Size it to no larger than 300 ppi and 7.5˝ ×
9.5˝ if you want 1/4˝ borders on 8˝ × 10˝ paper
for 8.5˝ × 11˝ ohp film, and “save as” (File>Save
As>imagename_neg.tif) to not write over the
original.
3. Do any kind of image adjustments needed and
for the final step do one or two sharpening steps
if desired:
• Filter>Sharpen>Unsharp Mask Amount
50–150%, Radius 0.5, Threshold 0 and/or
• Layer>Duplicate Layer then with that layer
selected, Filter>Other>High Pass Radius 10.
Set that layer at blend mode of Soft Light on
Figure 2.8.
the layer’s panel drop down menu. View the
 Chapter 2 Digital Negatives for the Darkroom 13

image at 50%, and with the duplicate layer

active, play with the opacity slider at the top
right of the Layers panel to see when it looks
sharp enough but not too sharp. Flatten the two
layers (Layer>Flatten Layers or Command+E).
Save (Command + S).
4. Invert the image (Command+I).
5. Apply a curves adjustment layer to the image
(Layer>New Adjustment Layer>Curves).
6. Click the dropdown menu in the curves panel,
click Load Preset and load the curve (Figure 2.10).

Figure 2.11. A curve is not cut in stone. Sometimes

a perfectly linearized negative makes for a boring,
predictable print. Points on the curve can be moved up
or down to taste. Moving a point up lightens the print (not
the negative in other words); moving a point down darkens
the print. Easy to remember—sky (up) is lighter and earth
Figure 2.10.
(down) is darker. Small adjustments to curve points go a
long way so be judicious.

7. Save the image (Command+S). Do not flat-

ten these two layers but save the negative with the • Up at the top of this panel click the dropdown
curve always separate. That way the image can be Print Settings menu again and under Layout
printed with a different curve, if desired. choose Flip Horizontal so print will ultimately
8. Go to File/Print. Unfortunately printer drivers be right-reading.
are different, but on the P900 look for the follow- • If necessary only, under the dropdown Printer
ing choices if you have them. On the first print Settings menu select Advanced Media Control
dialogue panel under Color Handling select: and move the Color Density slider towards +50
• Photoshop Manages Colors if you find your negatives aren’t dense enough.
• Epson Premium Glossy Photo Paper (it doesn’t • Save and print. Be sure to print on the correct
matter in this dropdown menu here since side of the ohp film. Tip: do the “lick and stick”
Photoshop is managing colors, not the printer). test—lick a finger and see if it sticks to a corner
• Check Send 16-bit data if the image is in 16-bit. of the ohp; if so, that is the side to print on. If
• Normal Printing. the Pictorico cut-off corner is at the top right,
• Rendering Intent: Perceptual. that means the printable side is facing you.
• Black Point Compensation unchecked. 9. Let a negative dry for at least an hour face up
Up at top of this panel click the dropdown Print with nothing on top, or dry it with a blow dryer on
Settings menu and choose Printer Settings and warm. Then store it in a notebook sleeve.
under Basic click: 10. Print an image and assess. If you want to
• Media Type: Premium Photo Paper Glossy make any changes in the way the tones look in the
• Under Print Quality select Quality Options image, see Figure 2.11 and move points slightly,
and move slider almost to the far right so you and smoothly, up or down. No curve is cut in stone!
can uncheck Black Enhance Overcoat, Gloss
Smoothing, High Speed, Finest Detail, and This completes the generic curve in Photoshop
Bottom Edge Print Quality Priority. method. The QTR method follows.
14 Chapter 2 Digital Negatives for the Darkroom

QuadToneRIP
QTR allows complete control over a printer’s inks
through the use of custom QTR profiles. A QTR
profile—technically an ink descriptor file—is a
set of commands or computer functions written
in a .txt file. The .txt file which tells the printer
what to do is stored in a specific folder. When the
QuadToneRIP driver is used to print a negative, a
particular profile for that process is selected from a
dropdown menu, and the driver prints the negative
as instructed in the .txt file.

Installing QTR and Print-Tool

Before you begin your QTR journey, install QTR
and Print-Tool on your computer using the follow-
ing steps.
1. Go to http://www.quadtonerip.com/html/
QTRdownload.html and download the software: Figures 2.12–2.14. When downloading QTR the package
will look like this, the Install icon along with a tutorial. After
• QTRIP2.8.0.dmg or the latest QTR program. installation, you’ll notice QTR comes with QTR-CurveView
QTR-CurveView.app allows you to see a visual in the folder along with other things. Print-Tool is a separate
of a .txt/.quad file, and comes within the QTR download. Tip: keep Print-Tool and QTR-CurveView in your
dock for easy access.
package.
• Print-Tool-2.3.2.app.zip, the printer driver
2. Double click on the QTR software icon. A 4. In Applications/QuadToneRIP/Profiles/
folder called QuadToneRIP will be installed in double-click the P700–900-UC folder (or
your Applications folder. Another folder also P800-UC, etc.) to open and double-click the
installs in the library at /Library/Printers/QTR/ InstallP900.command in that folder to install
quadtone/QuadP900 (or P800, 3880, etc.). Folders the printer.
containing software for all supported Epson 5. Double-click on Print-Tool to open. Tip: keep
printers will be installed in the same location at Print-Tool readily available by right-clicking on the
/Library/Printers/QTR/quadtone/. Note that Print-Tool icon and choosing Options/Keep in Dock.
the forward slash in front of Library needs to be 6. At the very top of the Print-Tool window see if
included. your printer, now called QuadP900 (or QuadP800,
3. Plug your Epson P900 (or P800, 3880, etc.) etc.) appears in the dropdown menu after Printer.
printer into the computer and turn it on. If so, both QuadToneRIP and Print-Tool have
successfully installed.
 Chapter 2 Digital Negatives for the Darkroom 15

Figure 2.15. When

Installing a profile a profile is being
Once a profile is created, it has to be installed installed you will
before it can be used. see a graphical
representation of the
1. Drag any profile into Applications/Quad ink distribution that the
ToneRIP/Profiles/P700–900-UC (or P800-UC, profile will deliver, as
etc.) and double-click the InstallP900. illustrated to the left,
if you have “GRAPH_
command within that folder. As the profile CURVE=YES” in your
is installing, a window pops up (Figure 2.15) QTR profile.
that verifies installation. If there are prob-
lems with the profile’s installation, it will say
so in this window, so check for error messages.
You can also verify installation by going to
/Library/Printers/QTR/quadtone/QuadP900
(case sensitive) and look for the profile after
installation. Double-click on the .quad profile (or
right-click and Open With QTR-CurveView) in
that folder to see a visual of the profile.
2. Open an image file in Print-Tool, following the
instructions on Printing with the Print-Tool App
in this chapter. The newly installed profile should
appear in the third panel’s Curve 1 dropdown menu
(you may have to quit and restart Print-Tool for
it to appear, if Print-Tool was open during profile
installation). Tip: each profile is stored as a .txt file
in Applications, and as a .quad file in the Library. It
is best practice to keep a file folder with a copy of .txt
profiles in your documents folder that is backed up regu-
larly because with a computer crash the Applications
folder and Library folder are not always included in a
backup. Also, when deleting an installed profile, both
the .txt file and the .quad file have to be deleted or the
profile remains.

Figure 2.16. Profiles appear in Print-Tool’s Curve 1 dropdown

menu.
16 Chapter 2 Digital Negatives for the Darkroom

Installing the Build QTR Curve tool Step 2

Although this software is not necessary to use with
QTR, this java script developed by David “Ike”
Eisenlord automates the process of measuring a
scanned step wedge with the press of a button.
1. Download David Eisenlord’s Build QTR Curve
(https://www.davideisenlord.com/?p=229).
2. In the download there are two items: a 21-step
wedge and the Build QTR Curve java script. The
step wedge is in Gray Gamma 2.2, necessary when
using Build QTR Curve. Step 3
3. Drag the Build QTR Curve java script file into
the Photoshop scripts directory (Applications/
Photoshop/Presets/Scripts).
4. To check if you have successfully installed the
file, open Photoshop and in the File dropdown
menu scroll to Scripts and Build QTR Curve
will appear as a choice in the Scripts dropdown
menu.

Step 4
Step 1

Figures 2.17-2.20
 Chapter 2 Digital Negatives for the Darkroom 17

profile. Note that LK refers to Gray and LLK refers to

Understanding profile terminology
Light Gray in a P700/P900 printer; Violet is not used.
This is a crash course in QTR speak. Functions
GRAY_INK_1=K
preceded by a # are turned off. Functions (blue)
GRAY_VAL_1=100
remain unaltered. Variables (peach) are the ones
Gray Ink 1 is usually K and set to a Value of 100.
that are modified.
GRAY_HIGHLIGHT=0
#CURVE_NAME= P900-BW
Increasing this value darkens shadows of the print
#PROCESS INFO Ilford mgiV 2 filter 19 sec.
and lightens print high tones, generally not useful in
50mm lens at F2.8, enlarger 25˝high, 35
a digital negative.
mm carrier
GRAY_SHADOW=0
Above is merely informational for the user and
Greater than 0 darkens midtones to highlights of the
preceded by a hashtag to turn off.
print but also lowers contrast.
PRINTER=QuadP900
GRAY_GAMMA=1
Make sure the correct printer name is here, but I
Gamma less than 1 lightens the midtones/greater
have also deleted this line entirely and a profile if
than 1 darkens the midtones of the print. A most
in the correct folder to begin with will install in the
useful function for a one-part profile.
correct folder to end with.
GRAY_CURVE="0;0 4;20 7;30 15;40 27;50
CALIBRATION=no
41;60 56;70 73;80 90;90 100;100"
Profile is not being used to color calibrate.
Either an .acv curve file can be directly dragged here
GRAPH_CURVE=YES
or its Input/Output numbers are entered between
This allows a visual graph of the curve.
straight quotes starting with the 0;0 coordinates.
N_OF_INKS=8
COPY_CURVE_C=K
This matches the number of inks in the printer.
COPY_CURVE_M=K
However, in the P700/P900 that has 9 inks (Matte
COPY_CURVE_Y=K
Black and Photo Black are considered one), they can
COPY_CURVE_LC=K
be treated as 8-ink printers and Violet is unused.
COPY_CURVE_LM=K
DEFAULT_INK_LIMIT=100
COPY_CURVE_LK=K
Leave default at 100 and adjust inks individually.
COPY_CURVE_LLK=K
LIMIT_K= 45.5
The Copy Curve lines direct which inks to follow
Each ink is limited to a certain max amount.
which part and here, being a one-part profile, all
BOOST_K=
inks follow black (K).
Use if needing more contrast and lighter highlights.
#GRAY_OVERLAP=0
LIMIT_C=10.4
Overlap up to 100 can be useful to smooth tonal tran-
LIMIT_M=10.4
sitions and grain in multi-part profiles; in a one part
LIMIT_Y=10.4
profile it is not necessary and is turned off.
LIMIT_LC=6.5
#LINEARIZE="100;100...0;0"
LIMIT_LM=6.5
Measurements from a densitometer or a spectro-
LIMIT_LK=39
photometer are entered here between straight, not
LIMIT_LLK=13
curly quotes. This can be used alone or together with
N_OF_GRAY_PARTS=1
Gray Curve. LAB numbers ascend lowest to highest.
Profiles are 1–3 parts. In a one-part profile inks follow
Densitometer numbers highest to lowest. Here the
the black (K) curve; in a two-part profile inks follow
Linearize function is turned off with a hash tag and
black (K) and light black (LK); in a three part profile
the profile is linearized with Gray Curve but if you
light light black (LLK) is usually the third part. The
have a densitometer it is best to use Linearize first
QTR silver gelatin profile used herein is a one-part
and then fine tune with Gray Curve second.
18 Chapter 2 Digital Negatives for the Darkroom

Making a one-part profile

(P900)
90% (P800) 110% 120% 130% 140% 150%
Ink Base Base Base Base Base Base Base
K 31.5 35 38.5 42 45.5 49 52.5
C,M,Y 7.2 8 8.8 9.6 10.4 11.2 12
LC,LM 4.5 5 5.5 6 6.5 7 7.5
LK 27 30 33 36 39 42 45

LLK 9 10 11 12 13 14 15

Table 2.4 and Figure 2.21. A silver gelatin negative

should be neutral in color to respond to variable
contrast filters equally. Colored dark inks, C, M Y, are set
to equal (low) amounts and colored light inks LC and
LM, are also set to equal (low) amounts, with neutral
black inks, K, LK and LLK doing the light blocking. The
P800 has the densest inks so here that is the base profile. The P900 needs about 30% more ink to equate to a P800
negative. These are merely starting points to develop your own profiles. Top right are QTR profiles for those two printers.

P
rinting silver gelatin is somewhat differ- Finding the correct exposure time
ent than printing other alt processes. The 2. Determine the exposure time with a Stouffer
enlarger prints with incandescent, not UV 21- or 31-step wedge as instructed in this chapter.
light, and color filters from yellow to magenta can
be utilized for contrast control over and above the Creating a starting profile
contrast built into the digital negative. A neutrally 3. In the Applications/QuadToneRIP/Profiles
colored negative that responds predictably to folder locate the P900-UC folder (or P800, etc.).
contrast filters is best. In this folder you will see a number of profiles
Silver gelatin paper, mass-manufactured under ending in .txt, and a command called InstallP900.
strict parameters, also has a much more predict- command. Select an existing .txt profile in the
able response than individually hand-coated paper. P700–900-UC folder and select File/Duplicate.
The table above has a range of ink loads to test, It doesn't matter which file because you will be
but chances are that most silver gelatin papers will typing over the existing profile. Relabel this new
respond to an ink load between 90 and 130%. profile BW.txt with no spaces in the file name. Tip:
Finally, silver gelatin has more exposure latitude, QTR is for printing positives as well as negatives. If
where exposure times can be decreased or increased you are using QTR for negatives only, make a folder
up to 1/2 stop either way as a useful tool. in the profiles folder labeled “Others” and drag unused
Most of the profile is determined with the profiles into it so they aren't installed. Also, a profile
correct minimum exposure time to get maximum is in two locations; to delete an installed profile, you
black and the correct ink load to get paper white. will have to move both the .txt file and the .quad file
The next two functions for profile adjustment are to the trash.
Gamma and Boost in that order. At the outset, 4. Double-click to open the profile and type in
Boost is inactive in these profiles. the following information in place of the existing
profile. Remove any information in the old profile
Installing software that is not in the new profile, e.g. toner informa-
1. Download and install QuadToneRIP, Print- tion, etc. Don't use returns until at the end of a line
Tool, and Build QTR Curve as instructed in this of code. Quotation marks are straight, not curly
chapter. quotes. A hashtag in front of a line inactivates it so
 Chapter 2 Digital Negatives for the Darkroom 19

it won’t direct the printer to do something. change the step wedge’s exact 5% increments.
#CURVE_NAME=P900-BW 7. Drag the digital step wedge to the Print-Tool
PRINTER=QuadP900 icon and print it on transparency according to
CALIBRATION=no
GRAPH_CURVE=YES
Printing with the Print-Tool App (with Negative
N_OF_INKS=8 box checked!) using the profile you installed, which
DEFAULT_INK_LIMIT=100
BOOST_K=
should now appear in the Curve 1 dropdown menu.
LIMIT_K=45.5
LIMIT_C=10.4 Evaluating and modifying the profile
LIMIT_M=10.4
LIMIT_Y=10.4 8. Expose the digital step wedge on the silver gela-
LIMIT_LC=6.5 tin paper of choice and evaluate. Tip: tape the step
LIMIT_LM=6.5
LIMIT_LK=39 wedge on one edge with Rubylith tape to ensure a strip
LIMIT_LLK=13 of paper white for comparison purposes. First make sure
N_OF_GRAY_PARTS=1
GRAY_INK_1=K
there is only one step of paper white.
GRAY_VAL_1=100 • If the step wedge seems light overall and more
GRAY_HIGHLIGHT=0
GRAY_SHADOW=0
than one step is paper white, lower the Total Ink
GRAY_GAMMA= 1 load in the profile according to the chart, reinstall
GRAY_CURVE="0;0 100;100" the profile and print another step wedge.
COPY_CURVE_C=K
COPY_CURVE_M=K • If the step wedge seems dark overall and there
COPY_CURVE_Y=K is no paper white, raise the Total Ink load in the
COPY_CURVE_LC=K
COPY_CURVE_LM=K profile according to the chart, reinstall the profile
COPY_CURVE_LK=K and print another step wedge.
COPY_CURVE_LLK=K
9. Assuming maximum black and paper white are
5. Double click InstallP900.command. A termi- now achieved but the tones in-between are blocked
nal window pops up that shows which profiles up, adjust Gray Gamma.
are being installed. If the profile has an error, the • If shadows are blocked up, lower Gray Gamma
script will tell you. Verify installation by going to to somewhere between 0.3–1.0, starting with 0.7
/Library/Printers/QTR/quadtone/QuadP900 (use a 0 before fractional amounts).
and look for the profile. On newer computers, you • If highlights are blocked up raise Gray Gamma
may have to change read/write permissions. If so, right to 1.0–1.4. A little goes a long way and it will
click on the folder and choose Get Info. At the bottom of affect all tones. You can use fractional amounts
the Get Info panel you will see Sharing Permissions. like 1.25.
Click the password-protected lock open, presuming • If both shadows and highlights do not have
you have administrative access, change Read Only to enough separation, a slight raise of both Total
Read/Write, and click the lock closed. Ink to open up the blacks and Gamma to darken
the whites might be in order.
Testing the profile 10. Print another step wedge and evaluate the
6. Go to the Applications/QuadToneRIP/Curve highlights.
Design/Images folder and locate the 21step.psd • If highlights are still too light, put a number
digital step wedge (or the 21-step-g2.2.tif step after Boost that is lower than the K ink amount.
wedge in the Build QTR Curve folder). Tip: the • If highlights are still too dark, raise
QTR step wedge is untagged; the Build QTR Curve Boost to a number higher than the K ink amount.
step wedge is Gray Gamma 2.2. As long as No Color 11. Once you are able to print a step wedge with
Management is selected in Print-Tool, there is no need 21 discreet steps from Dmax (the darkest dark
to tag the QTR step wedge with a profi le. If you decide possible in a process) at Step 100% to paper white
to do so, make sure to assign (Edit/Assign Profile/ at Step 0%, and the steps in-between look not too
Gray Gamma 2.2), not convert, because convert will dark, not too light, with nice separation, it is time
20 Chapter 2 Digital Negatives for the Darkroom

Simply select the point you want to move, use the

cursor key to tap it left or right until the curve is
smoother. Make a note of the smoothed point’s
new coordinates and change them accordingly in
Figure 2.22. When a step wedge is scanned to run through the string of numbers that you just pasted after
Build QTR Curve it must be cropped exactly like this—with Gray Curve. Repeat as needed. Run InstallP900.
the ample white bottom area—or an error message may
command and the new profile is done.
occur.

Printing and evaluating the print

to linearize. Note that if prior adjustments have 15. After editing an image in Photoshop, convert
been good, this linearization step will be minimally the image to Gray Gamma 2.2 (Edit/Convert to
invasive. Profile/Gray Gamma 2.2), save the image as a .tif
or .psd, and close.
Linearizing the profile with Build QTR Curve 16. Follow the instructions on the Printing with
12. Scan in 16-bit grayscale with no adjustments. the Print-Tool App to make a few different nega-
Open the scanned step wedge in Photoshop and tives to print in your process of choice.
convert it to Gray Gamma 2.2 if it is not already 17. If you find prints to be consistently too light
there (Edit/Convert to Profile/Gray Gamma 2.2). or too dark, adjust exposure by up to 1/2 stop either
Crop it so it looks just like Figure 2.22 with the way. If the contrast is off, use a different filter.
wide white bottom or else you may get an error
message upon running the script. Printing the monochrome negative
13. Select File/Scripts/Build QTR Curve. The 1. It is best practice to always start with an image
script will generate a curves layer along with a that is raw, .tif or .psd (not .jpg), 16 bit, and in
set of Gray Curve coordinates. Select the curve Adobe RGB 1998 or ProPhoto RGB colorspace.
coordinates (Cmd+A), copy (Cmd+C), and paste This produces an image with the greatest gamut of
(Cmd+V) the line of coordinates along with bits and color within which to edit and retain best
straight quotation marks after Gray Curve in place detail from highlights to shadows.
of the curve coordinates in the profile. Curve coor- 2. Do any kind of adjustments to the image that
dinates are entered in pairs between the straight it might need. It is not necessary to size an image
quotes with a semicolon between each Input/ before sending it to Print-Tool because you can size
Output number and a space between the pairs. an image within Print-Tool itself.
14. Double click on the curve layer to open up 3. For a final editing, suggested sharpening meth-
the Adjustment Curve panel. If you have chosen ods, if desired, are as follows. Tip: An image destined
exposure time for maximum black, ink load for for a negative can be sharpened much more than one
paper white, and Gamma for opening up the tones destined to be a digital print.
in-between, the curve generated by Build QTR • Recovery sharpening (Filter/Sharpen/Unsharp
Curve should be very close to the diagonal line and Mask Amount 50-150%, Radius 0.5,Threshold 0).
minimally invasive. See Figure 2.23. for the differ- • More global sharpening (Layer/Duplicate
ence between a curve that does too much heavy Layer) then with that layer selected choose
lifting and one that is minimally invasive. If it is Filter/Other/High Pass/Radius 10. Set that
doing way too much heavy lifting go back to the layer at blend mode of Soft Light on the layer’s
drawing board with ink loads and Gray Gamma. palette drop down menu. With the image at 50%
If the curve looks good, but has a bump or so in it, view size, play with the opacity slider at the top
select the point or points that need to be smoothed. right of the Layers Palette to see when it looks
sharp enough but not too sharp. Flatten these
two layers.
 Chapter 2 Digital Negatives for the Darkroom 21

Figure 2.23. The curve on the left, derived from Build QTR Curve, indicates the chosen ink load is too low because through
the entire profile, the curve wants to lighten the print. Points above the diagonal lighten, below the diagonal darken
(think up/sky/light, down/earth/dark). The curve in the middle, though more appropriate with less heavy lifting required,
indicates the highlights are too light, needing a lower ink load—perhaps. The curve on the right indicates the best profile
of these three—little heavy lifting done by the curve to linearize the profile.

4. When all editing is done, save the edited RGB exposure as coldtone papers. Example: with an
image (Command + S) in case you ever want to enlarger raised to 25˝ from lens to contact frame,
go back to it, convert the image to Gray Gamma a 50 mm lens wide open to f2.8, a 35 mm carrier
2.2 (Edit/Convert to Profile/Gray Gamma 2.2), in the enlarger head, Ilford mgiv will expose in 19
and then save again, this time save as to not save seconds and Ilford Warmtone in 38 seconds. With
over the RGB edited file (Shift+Command + S), the same setup, but a 150 mm lens set to f5.6, and a
and close. 4˝× 5˝ negative carrier in the enlarger head, Ilford
5. Drag the image to Print-Tool and print with the mgiv will expose in about half that time.
appropriate profile as illustrated in Printing with 8. Place the negative on the paper, emulsion to
the Print-Tool App further. emulsion, and put this sandwich in the contact
6. When ready to print the negative in the dark- printing frame so the negative is face down, visi-
room, always set up the enlarger the same way to ble through the glass, with the emulsion side of
achieve consistent results. the silver gelatin paper facing up to the enlarger
• The bottom of the enlarger head rests at the same through the glass.
height (about 25˝ from lens to contact frame). 9. Expose and process as normal for a silver gelatin
• The lens is set to the same f-stop each time, e.g. print. Evaluate the image just as you would with a
wide open or a stop or two down if necessary. normal print and make adjustments accordingly:
• The light path is focused to cover the entire • If the overall image is slightly too light or too
contact printing frame. dark, add or subtract exposure respectively.
• The filter pack is set at a 2 filter and the filter • If the whites are slightly gray/dull, move to a
pack is engaged. higher contrast filter.
7. Determine the exposure time with a Stouffer • If the whites are slightly lacking detail, move to
21- or 31-step wedge as outlined in this chapter. a lower contrast filter.
Generally warmtone papers will require 2–3× the • If greater than slight adjustments are needed,
revisit the profile.
22 Chapter 2 Digital Negatives for the Darkroom

QTR profile for lumen printing

A lumen print negative has to be very dense and
contrasty. Certainly you could try and print a lumen
print with a normal silver gelatin digital negative,
but chances are the negative will be too thin and
you’ll want more contrast. Here is a lumen print
QTR profile that works well for all day expo-
sures in full sun. All parts of the profile below in
blue remain the same; peach is what changes. If
you want an even denser negative, raise K and Y
higher in equal proportions. Note that the only
inks utilized in this profile are K and Y because
they are the only inks that hold back appreciable
amounts of light. All other inks are dialed down
Figure 2.24. Ilford MGIV matte lumen print of the QTR ink
as low as possible but still used so as not to clog pattern page. The QTR ink pattern page prints rows of each
the ink cartridge nozzles from disuse. This profile ink individually from 0% to 100% and is used to discover
is perfect for a P800 and works well for a P900, which inks hold back the most light in your process of
choice. It shows that Black and Yellow inks are the suitable
but if you find you need a denser negative for the choices for the lumen print profile, and to a lesser extent,
P900 raise K and Y to 65 and leave all others the Light Black. To learn how to use the Ink Pattern Page,
same. Note: be sure to use Pictorico Ultra for your beyond the scope of this book, check out Digital Negatives
ohp because of the higher ink load necessary for for QuadToneRIP.

this negative.

#Lumenprint
N_OF_INKS=8
DEFAULT_INK_LIMIT=100
BOOST_K=
LIMIT_K=50
LIMIT_C=5
LIMIT_M=5
LIMIT_Y=50
LIMIT_LC=5
LIMIT_LM=5
LIMIT_LK=5
LIMIT_LLK=5
N_OF_GRAY_PARTS=1
GRAY_INK_1=K
GRAY_VAL_1=100
GRAY_HIGHLIGHT=0
GRAY_SHADOW=0
GRAY_GAMMA=1.0
GRAY_CURVE=”0;0 8;10 16;20 29;30 41;40 54;50 65;60 75;70
82;80 90;90 100;100”
COPY_CURVE_C=K
COPY_CURVE_M=K
COPY_CURVE_Y=K
COPY_CURVE_LC=K
COPY_CURVE_LM=K
COPY_CURVE_LK=K
COPY_CURVE_LLK=K

Figure 2.25. Here is the same image on Ilford Warmtone

printed with a salted paper profiled negative (top) and a
lumen print profiled negative (bottom) to illustrate how a
suitably profiled negative does wonders for lumen prints.
 Chapter 2 Digital Negatives for the Darkroom 23

paper feeder with the pizza wheels disengaged.

Search the web for this method because I would
hate to recommend something I have not tried
that has consequences for the operation of your
printer.
Posterization: This is where instead of continuous
tone there is a flattening of tone in some areas.
• In a curved negative the curve is too drastic, so
slightly move curve points closer to the diagonal
line in the curve dialogue panel.
• Always photograph in as lossless and uncom-
pressed a capture system as you can (raw for
digital slrs or at least tiff, never jpeg).
• Don’t over-edit an image; also, edit in 16-bit
Figure 2.26. The dreaded “pizza wheels” which always
mode not 8-bit mode.
show up in highlight areas where there is more ink.

Troubleshooting the QTR negative

Troubleshooting the digital negative I don’t see my profile listed in the Terminal
Pizza wheels: When there are large areas of high- window but I don’t see any error message.
lights in the negative (e.g. clouds, sky) sometimes • Double-click the install command again. 
microscopic pinprick dots where the teeth on the • One of the folders or files in the chain /Library/
track wheels that advance the paper in the printer Printers/QTR/quadtone/QuadP900 folder is
mar the ink. They can be seen by holding the nega- Read Only. Right click (or type Command+i) on
tive obliquely against something dark and looking each folder starting with the QuadP900 folder.
through a loupe. They end up printing microscopic At the very bottom under Sharing & Permissions
black dots marching across the image. verify that each folder is set to Read and Write.
• With an Epson printer, under Advance Media Change by clicking on the Lock and changing
Control change the slider next to Increase permissions as needed.
Drying Time per Pass to +20 up to +50, the The installer shows an “illegal curve name”
Paper Thickness to 15, and the Platen Gap to message.
Wider. • No spaces or symbols are allowed in a curve
• Use the front load feeder where pizza wheels are name, and it can’t be over 40 characters. Only
not used to transport the paper during printing. use hyphens and dashes.
• In the P800 and P900 in the window on the I am using a numerical string after Gray Curve
printer itself go under the Maintenance menu and get an “invalid curve” message in the installer.
and select Thick Paper. • Quotation marks must be straight, not curly.
• In Print-Tool use unidirectional printing and • Numbers start with 0;0 and end with 100;100.
2880 super. • Numbers must be written with a semicolon
• Switch to a more ink-absorbent transparency between each number in a pair and a space
film like Pictorico Ultra. between pairs, like this: "0;0 8;10 16;20..." etc.
• Some photographers have devised a method of I installed a new profile and it does not show up
disengaging the pizza wheels entirely by tricking in the Print-Tool curves menu. 
the printer into thinking the front load feeder is • Print-Tool may have been open while installing
being used when it is not, and then using the top the profile. Quit Print-Tool and re-open it.
24 Chapter 2 Digital Negatives for the Darkroom

Figure 2.27. Library

Chairs, New Orleans,
from the series Still
Lives After Katrina,
bromoil print,
6˝ x 8˝ © Jill Skupin
Burkholder 2006

I installed a new profile but the test print looks • Many QTR users find that additional fine tuning
just like the previous print. of the profile and/or exposure “to taste” is neces-
• Verify that the profile installed by going to the sary. Recheck the exposure time and profile by
Library folder and see if it is there. printing a step wedge alongside the image. Silver
• Make sure that you did in fact select the new gelatin printers can make exposure adjustments
profile to print. of about +/-15% whereas with other processes
• Check the profile to make sure that there is no it may be safer to adjust the profile.
hashtag in front of Gray Curve, which would • Make sure the image is Gray Gamma 2.2 (Edit/
inactivate the curve line of code.  Convert to Profile/Gray Gamma 2.2) if all cali-
I printed my negative with a profile that was bration process has been in Gray Gamma 2.2.
working but now it is quite dark (or light). • If exposure is fine and Gray Gamma is set prop-
• Quit Print-Tool, run the installer again, verify erly, adjust the .acv curve to taste by moving the
that the proper .quad file is present, open Print- data points on the curve up to lighten the print
Tool and try again. and down to darken the print (Figure 2.11).
I deleted a .txt file but the profile is still in the Light and/or dark areas of my print have no
QTR dropdown menu, how do I get rid of it? detail.
• Go to the .quad folder and simply delete all of • This is one area where it is very useful to have
the .quad files. Quit Print-Tool if it is open. Run a step wedge as part of your negative. If a step
the installer again and this will generate new wedge that previously printed fine shows a prob-
.quad files that are presently in the profiles folder. lem with the whites or blacks, the problem is
I loaded a negative instead of a positive into most likely in exposure or development. If the
Print-Tool, checked the “flip for emulsion” check step wedge looks good, then go back to the image
box and the image did not print reversed. on your computer and use the eyedropper tool to
• The Prefs button next to the Negative check box measure your highlights and shadows. Any areas
works only if you check the Negative check box. which read 100% or 0% are going to print with no
My test strip looks good but my print is too light detail. Adjust the image and reprint the negative.
or too dark.
 Chapter 2 Digital Negatives for the Darkroom 25

Printing with the Print-Tool app Step 1

The Print-Tool app will be used every time you print
with the QTR system. Before using it, convert an
image to Gray Gamma 2.2 (Edit/Convert to Profile/
Gray Gamma 2.2), edit, size, sharpen, save as a .tif
or .psd (Shift+Command+S), and close. Print-Tool
has a check box for converting a positive to a nega-
tive and for flipping an image, so there is no need to
invert or flip beforehand.
1. Drag the image to the Print-Tool app and posi-
tion it as desired in the print area. Make sure
on the first screen that the Printer is Quadxxx
(QuadP900, etc.), the right size of paper is chosen
(e.g. 8.5˝ × 11˝ or US letter), the Scale Factor is
100%, the Embedded Profile is Gray Gamma
2.2, Print Color Management is No Color
Management, and the Negative box is checked
which will print the positive as a negative. Tip:
you can rotate the image with the Rotate tool and add
text to the canvas with the Text button.
2. Click on the Prefs button and in this panel check
Flip for Emulsion Side so the negative prints Step 2
flipped and the final print will be right-read-
ing (Prefs will not work if negative box is not
checked!). There are options in this panel to print
a border of different sizes around the image if
desired. Press Done and then Run Print to open Step 3
up the next panel.
3. In this panel, Printer should still be Quadxxx.
and in the Layout drop-down menu select
QuadToneRIP which opens up the next panel.
4. In this panel choose Mode: QuadToneRIP
16-bit, and installed profiles appear in the
Curve 1 drop-down menu. Choose Resolution Step 4
2880 dpi (2880 dpi super if you have problems
with pizza wheel marks on the negative), Speed
Unidirectional, Black Ink Photo Ink, and click
Print. Let the negative dry for an hour or more
or blow dry with a hair dryer on high for a minute
or two and then print in your process of choice.
Tip: Lick and stick! Lick a finger and touch a corner
of the transparency film surface lightly. Your finger
will stick to the printable side.

Figures 2.28–2.31. Don't forget to check the Negative box

and Flip for Emulsion Side!
Figures P1.1–P1.2. Top, Ferns 2,
Ilford Gallerie FB paper, two day
exposure under cloudy conditions,
12˝ x 9˝; bottom, Ferns 1, Ilford
Warmtone FB paper, ten hour
exposure under full sun, 12˝ x 9˝
© Dani Hatfield 2021. “These two
images of the ferns show the
differences that exposure time
and paper choice can make in
an image. A shorter exposure on
Ilford Warmtone paper resulted
in an image with deep red and
terracotta tones. The other image
was made using a different paper,
Ilford Gallerie FB, which produces
different tones than that of
Ilford Warmtone. The image
was left out for twice the time
to counteract cloudy weather,
but this overexposure resulted
in the greenish solarization of
the shadows.” Dani Hatfield
is a graduate from the MSU
School of Film and Photography.
Growing up on the outskirts
of Yellowstone National Park
has made much of her work
revolve around nature and the
inherent beauty of the outdoors.
She enjoys working in a wide
variety of digital and alternative
photographic processes. To see
more of Hatfield’s work follow her
@danihatfield.photo or visit her
website danihatfield.com.
 PART ONE
Cameraless Experimentation
Room or Light &
Activator/ outside Chemicals Light chemicals
Negative Resist Developer Fixer Stabilizer light create creates create
Process used used used used used exposure colors colors colors

Photogram Yes Yes

Chemigram ** Yes Yes Yes Yes

Lumenprint * *** Yes Yes Yes Yes

Chromo Yes Yes Yes **** Maybe ***** Maybe Yes/maybe

Sabattier Yes Yes Yes Yes

Yes-pot.
Duotone Sabattier Yes Yes Yes Yes bromide

P1.2. The chart above will make sense as you explore this book more, though there are always exceptions to the rule.
There are areas of commonality that processes share, but also differences. For example, all but the photogram use
room light as part of the equation. All use fixer, but one (lumen prints) does not use developer, etc.
* Occasionally a negative is used outside in full sun
* * Only process to use a resist
* * * Only process to not use developer
* * * * Only process to use activator/stabilizer
* * * * * Only process that specifically uses chemicals to plate out silver
Figure 3.1. Portrait Study, unique luminogram photogram on silver gelatin paper, 20˝ x 24˝ © Mike Jackson 2019. See
the Contemporary Experimental Artists chapter for more of Jackson’s work.
Chapter 3
Photograms and Clichés Verre

Figure 3.2. The Land, unique luminogram, pen on silver gelatin paper, 24˝ x 20˝ © Mike Jackson 2019

A
 photogram is a photographic image that Once cameras became the norm, photograms
is produced without a camera. Objects fell out of vogue, until the early 1900s when inter-
of varying opacities are placed on paper est in them was renewed. Christian Schad made
and then the paper is exposed under the enlarger. photograms starting around 1918, and called them
Where the objects rest, varying shades of white “Schadographs.” He used arrangements of objects
to gray will result, depending on the opacity of and trash—torn tickets, receipts, rags—on film.
the objects. The more opaque, the whiter the paper Man Ray was doing the same in 1921. He discov-
underneath stays. ered the process while working in his darkroom one
The first photogram was created by William day, when he accidentally put an unexposed piece
Henry Fox Talbot, one of the founding fathers of of photographic paper into his developer. Waiting
photography. Around 1834 he put flower speci- for an image to appear, which didn’t, he decided not
mens on top of silver nitrate-sensitized leather and to waste the paper. He placed a funnel, graduate,
paper and exposed them to light. and thermometer on the paper and turned on the
30 Chapter 3 Photograms and Clichés Verre

Today photograms have become much more

sophisticated and no longer just for beginners.
There are photographers who specialize in just
photograms. A new form of photogram is the
lumen print discussed in the next chapter, which
differs from a photogram insofar as the paper is
exposed to room or sunlight for very long amounts
of time, the paper is never developed in paper
developer, and the final image is merely fixed.

Photogram variables to consider

To make a successful photogram, there are many
variables to try:
• Opacity of the object from translucent to opaque
• Height of the object from the paper
• Object 2d or 3d
• Object moving, still, or removed for part of the
exposure time
• Paper exposed to light under the enlarger, or
in the developer, or partially developed and
re-exposed under the enlarger
• Film used instead of paper to make a negative
• Intensity and length of light under the enlarger
• Intensity and length of a light source other than
Figure 3.3. Untitled, silver gelatin bas relief, 5˝ x 7˝ © Mark an enlarger, e.g. flashlight or matches
L. Eshbaugh 2020. “This image started from a 35mm film • Light source moving or still
negative, enlarged onto a 5˝ x 7˝ or larger sheet of ortho
• Light direction(s) to achieve a sense of space
film and tray developed in Sprint chemistry. Ortho film is a
high contrast film, and you can use either print developer It is challenging to produce a balanced, interest-
or film developer (which is my preference for a slightly lower ing composition in a photogram. There should be
contrast negative) to process. The first printing creates a film enough space for shapes to “breathe,” i.e. consider
positive. I then take that 5˝ x 7˝ positive and contact print
it onto another sheet of ortho film which when processed negative space as well as positive. The objects within
is the enlarged negative. Once I have both a positive and the space should dialogue with each other concep-
negative of the same size, a bas relief can be created by tually and visually. All of these variables make for
putting the two slightly out of register and contact print the
sandwich onto silver gelatin paper.”
much trial and error and paper.

Exposure time
darkroom light. An image began to form, and the A trial exposure time to start with is F8 for 15
rest is photogram history.1 He dubbed his creations seconds for an 8˝ × 10˝ black and white print,
“Rayographs.” Man Ray continued to experiment, depending on the particular paper used and its
and when Lazlo Moholy-Nagy saw Man Ray’s speed as well as the height of the enlarger and
Rayographs in Paris, he brought the technique to brightness of the enlarger bulb. You want the
the Bauhaus, an art design school in Germany that paper to achieve maximum black (see the Digital
was started in 1919, shut down by Hitler prior to Negatives chapter) but a lot depends also on the
World War II, and was reborn in Chicago as the opacity of the objects on top of the paper. The more
Institute of Design in 1937. Photograms are still opaque, the longer the exposure time can be.
alive and well today and often the first assignment
in beginning black and white photography classes
to introduce students to light, paper, and chemistry.
 Chapter 3 Photograms and Clichés Verre 31

Figures 3.4–3.6. The Sequence of Three, from left to right, photogram, reverse photogram, and bas relief photogram ©
Cheyenne O’Donnell 2021. O’Donnell discovered that better bas relief photograms come with an initial image that is
higher contrast, not a fully tonal image with lots of grays. O’Donnell is an alumna of Montana State University’s Film and
Photography program.

Direct projection photogram bas relief print. Now the light has to travel through
With this method, use a 4˝ × 5˝ glass negative two pieces of silver gelatin paper and therefore the
carrier, microscope specimen plate, or even a couple exposure will be even longer. One of my students,
sheets of acetate to sandwich different substances Sam Norsworthy, found that an initial photogram
on or between the glass/plastic. Think of the process exposure of 15 seconds became 4 minutes for a
this way: Whatever is placed on the glass/plastic bas relief photogram. Note: there is no reason to
becomes a “negative” through which light from the stop down the lens aperture on the enlarger when
enlarger is projected onto the paper. making photograms. Use the widest open aperture
your lens allows because the sharpness of the print
Reverse photogram has nothing to do with lens aperture when contact
If a previously made photogram (white objects printing like this.
on a black background) is used as a negative and
contact-printed to another piece of silver gelatin Direct positive paper
paper, a reverse photogram results: black objects Harman has released a new direct positive RC
on a white background. This takes a much longer paper that when used in the photogram process
exposure because the light has to travel through will produce black objects on a white background.
silver gelatin paper to expose the paper below, It is a fixed grade, high contrast paper (similar to
somewhere close to 3 stops more which is 8× the Ilford multigrade grade 3½–4). It comes in glossy
original exposure (time × 2 × 2 × 2 = 3 stops). A and luster surfaces. Two caveats: the paper needs
15 second exposure now becomes perhaps 90–120 to be used under red safelight only, not amber.
seconds. When doing reverse photograms and bas And, with direct positive paper you have to think
relief photograms use RC paper for the negatives backwards, in that less exposure is darker and more
because it lays flat. Fiber base paper buckles slightly exposure is lighter.
and blur occurs.
Tips and ideas
Bas relief photogram • Layer multiple pieces of glass with objects sand-
If both these photograms, the original photogram wiched in-between. Objects further away from
and the reverse photogram made as discussed the paper will produce grayer, softer-edged
above, are sandwiched together slightly off-register, effects.
this sandwich can be used as a negative to make a
32 Chapter 3 Photograms and Clichés Verre

Figures 3.7–3.8. Left, Geometry 201, unique oxidized gelatin silver cliché verre print from graphite and charcoal drawing,
8˝ x 10˝; right, Geometry 18, unique oxidized gelatin silver cliché verre print from graphite drawing, 8˝ x 10˝ © Patricia A.
Bender 2018. For more of Bender’s work see the Contemporary Experimental Artists chapter.

• Translucent objects that bend light rays such as Cliché verre

glass cups, pitchers, and crystal work great. Cliché verre is French for “glass negative,” that today
• Items with the printed word either found or refers to the negative, the product, and the process.
printed digitally onto transparency work good It is an old process, dating almost from the begin-
singly or layered with other objects. nings of photography. A glass plate was covered
• Painted or smoked cellophane or saran wrap with soot or dark varnish and allowed to dry, then
creates intriguing, malleable shapes. etched with a needle. This glass plate negative was
• You can expose a negative in the enlarger (or contact printed to silver gelatin paper and resulted
in contact with the paper in a contact printing in a photographic drawing on paper.
frame) along with objects to get a combination Where the varnish was scratched completely
of photographic image and object. off with the needle it would print black, and where
• “Draw” with a penlight, lighter, or matches. If it was scratched off only slightly it would print in
you are going to use flame, you must get permis- gray tones depending on how much varnish was
sion to do so from the darkroom manager, have removed with the scratching. All of a sudden you
your instructor present, and be careful using have the possibility of black, white, and a multitude
flame around chemistry! of gray tones in between.
• Sabattier the photogram while in the developer Today we don’t need to use messy soot or smelly
by flashing light briefly right over the tray. See varnish. A can of black spray paint, or acrylic paint,
the Sabattier chapter. India ink, fogged film, markers on plastic, acetate,
• Tone or handcolor the finished photogram; see paper, polyester, Mylar, even an exposed black piece
the Toning and Applied Color chapters. of RC paper can all achieve similar effects.
 Chapter 3 Photograms and Clichés Verre 33

Figure 3.9. Coyote, from the series Las Sombras/The Shadows, 40˝ x 40˝ © Kate Breakey 2005.
“The images in this series are ‘contact prints’ of living things—plants, insects and birds. Their
imprint, a ghostly shadow, is burned directly onto paper with light to make a permanent record,
the only document of their brief existence here on this earth. The series ranges from the tiniest
of creatures—scorpions and beetles, bats and mice, to larger mammals, coyote and deer, a
bald eagle and everything in between, snakes and birds, possum and rabbits—several hundred
individual plants and creatures in all made over a 10 year period.” To see more of Breakey’s
work visit www.katebreakey.com.

Making a cliché verre 4. Use these substances to vary the density in a

1. Cover some form of plastic or glass base with more fluid manner:
various opacities of substances. • Water
2. Use tools such as these to scratch into the • Lysol
opaque substance: • Fantastic cleaner
• Engraving tools • Formula 409
• Dentist tools • Mr. Clean
• Toothpicks 5. Expose the cliché verre to the silver gelatin paper
• Xacto knives and process the print as normal.
• Needles
3. Scratch gently and evenly if the cliché verre is Endnotes
going to be used as a negative so the marks don’t 1. Davenport, Alma. The History of Photography: An
Overview. Albuquerque: The University of New Mexico Press,
look ragged when enlarged. 2000, p. 167.
Figures 4.1-4.8. From top to bottom, left to right, Sunday Shirt on Fotokemika Emaks, Friday Shirt on Fotokemika Varycon,
Thursday Shirt on vintage ILfobrom, Tuesday Shirt on Ilford Galerie, Wednesday Shirt on Fotokemika Varycon, Another
Sunday Shirt on Forte Polywarmtone FB, Monday Shirt on Forte Polygrade FB, Saturday Shirt on Forte Polygrade, composites
of a lumen print with a developed silver gelatin print © Tiina Kirik 2021. For directions see her work in the Contemporary
Experimental Artists chapter.
Chapter 4
Lumen Prints

Figure 4.9. St. George’s Chapel, lumen print on Ilford MGFB glossy paper, day long exposure under a QTR digital negative,
18.5˝ x 13˝ © Alyssa McKenna 2021. McKenna is a Colorado native completing her BA in Film and Photography at Montana
State University. Her areas of photographic interest are alternative and experimental darkroom processes. To see more
of her work follow her @alyssa_k.m and visit alyssamckenna.myportfolio.com.

W
hen silver gelatin paper is left out in both from the metaphorical photographers and
light for long periods of time, it will from a third history that underwrites Burchfield’s
turn various colors—yellow, pink, Amazon work: experimental work in alternative
mauve, blue, purple, terracotta, peach, brown— process and cameraless images.”2 Visual discovery
a phenomenon most of us have witnessed over is the primary reason to delve into this fascinating
the years in darkroom trash cans. If the paper is lumen print process. It is easy, and it is fun!
fixed without developing first, the paper will stay Lumen prints are technically so simple to do
colored. The master of this colored “printed out they don’t require a chapter of explanation, though
photogram”1 who coined the term “lumen print” my research into the process may still be of benefit.
was Jerry Burchfield who made amazing photo- Regular silver gelatin paper (or film) is exposed
grams of Amazon flora under the hot South to sunlight for long periods of time, from twenty
American sun. Jonathan Green states in the fore- minutes to days depending on the weather, with
word to Burchfield’s monograph, “...we have the various objects from translucent to opaque (or a
accident, the gamble, the unexpected. This belief in negative) placed on top just as if one was doing a
the agency of chance and the uncontrollable visual photogram (or a contact print) in the darkroom.
discoveries of the photographic process derives When the paper color looks dark enough, the
36 Chapter 4 Lumen Prints

added ingredients (lemon juice, baking soda, ascor-

bic acid, sodium carbonate, etc.) all affect the colors
of the final print.
Err on the side of overexposure. Overexposure is
rarely a problem with lumen prints. Underexposure
is. All lumen prints experience major color shifts
and lightening in fixer, and the most common
problem is worrying that the exposure has gone
on too long and then fixing too soon so that the
image disappears to a pale yellow, gray, or brown.
Think hours in full sun, depending on the opacity
Figure 4.10. Anderson Mill © Christina Z. Anderson 2021, of the objects on top of the paper. Think days if it
composite of two lumen prints on Ilford Warmtone. The
left half was exposed all day under full sun, the right all
is cloudy.
day under cloudy bright conditions. The right side print is
underexposed for my tastes, but for certain subjects a paler Making a lumen print
color works fine.
1. Take a piece of silver gelatin paper out of its
light tight black bag under safelight so the rest of
the box of paper is not fogged. Once it is out of the
packet it doesn’t matter if that sheet is brought out
into the light with no objects on it yet. Minimal
light exposure will only produce the palest of colors
when fixed. Tip: save your light safe bags to transport
Figure 4.11. Four scans of the border of fixed Ilford silver gelatin paper to and from the darkroom; some-
Warmtone lumen prints. Each was exposed 8AM–5PM in thing as simple as a black garbage bag will also work.
conditions from cloudy to full sun. Note the color change
2. In pencil, label the back of the silver gelatin paper
from pink to terracotta to mauve to taupe gray, and also
that at a certain point density reverses and solarizes on on one edge—paper name, rc or fiber, neutral or
this paper with too much exposure. The pink border was warmtone, paper surface, etc. It is so important to do
from an underexposed print and the taupe gray from an this! You will find papers you love and papers that
overexposed print.
aren’t so good, and five years from now you won’t
remember which ones worked well unless the paper
paper is fixed, washed, hypocleared, and archivally has been labeled. Pencil is archival (don’t use pen!).
washed just like any silver gelatin print with one 3. Arrange the items of choice on top of the paper.
exception­—the print never touches the developer. It is especially good to have organics that are fresh
Burchfield’s exposures ranged from 1/2 hour to 5 and retain moisture because the moisture and
hours3 or longer, with one even as long as 94 days. chemistry affect color and design. Dip organics,
When he felt the exposure was done, he put the if desired, in lemon juice, vinegar, diluted baking
print into a light tight box and fixed it when he soda, etc. (see Phytograms, further for how certain
returned to the United States. This illustrates that substances react as “developers” to produce black on
not only are lumen prints technically simple, they the lumen print). Moisture results in auras around
have amazing latitude in processing and handling. objects.
Even better, the lumen print process is perfectly 4. If you want the objects to remain stationary put
suited for long-expired or fogged paper so not only a piece of heavy plate glass on top. This might also
is it easy and economical but also ecological. be necessary if you have animals around and are
Exposure time, intensity of light, humidity, using any sort of foodstuff. Be sure the plate glass
moisture, chemistry and moisture from plants, is larger than the paper because the glass’s edge will
choice of paper, age of paper, temperature, and print an unpleasing line across the paper.
 Chapter 4 Lumen Prints 37

5. The longer the exposure outside, the more intense

the color of the final print will be on most papers.
Contrast is determined by how opaque the chosen
objects are and exposure time. Winter exposures
will take longer because the sun is weaker. Whereas
in summer a full sun exposure from 10am–4pm
is plenty long, in winter this might translate to a
couple days or more. The same for cloudy summer
days; expect longer exposure times. Think in terms
of UV light and sunburn; if you’re not putting on
sunscreen then the light output is low.
6. When the lumen print looks suitably exposed,
take the paper out from under the glass and trans-
port it back to the darkroom in a lightsafe bag.
7. In a separate tray of water wash off any substance
on the paper to prevent contaminating the fixer if
necessary. When the paper is rinsed well, transfer
the lumen print to the fixer and fix just as if it
were a normal print. You will notice an intense and
immediate shift of colors in the fix. Don’t panic.
If the print has been exposed to enough light, the
colors may shift from blues and purples to pinks,
Figure 4.12. Hooker Oak © Christina Z. Anderson 2021. Note the
yellows and terracottas, for instance, but much of
color shift that occurs when fixing Ilford Warmtone.
the density remains. The colors and density will
shift again with drydown, darkening substan-
tially—you can witness the drydown effect by
sprinkling a dry lumen print with drops of water.
There is an instant lightening of the colors under-
neath the water droplets, easily two stops of density.
All of this is related to the Mie effect or light scat-
tering (see the Chromo chapter for an explanation
of the Mie effect).
It is said that using an alkaline versus an acid Figure 4.13. A surprising difference between alkaline (left,
fix will minimize this drastic color shift and in my pH 8) and acid fix (right, pH 6) on the same piece of paper,
exposed at the same time. Acid fixing leans redder in color
former books I have repeated this fallacy (never
on certain papers. There is no reason to use anything but
trust the literature without testing it for yourself !). regular darkroom fix on lumen prints.
Not only does an alkaline fix not minimize the dras-
tic color shift, it actually often shifts a color duller
and browner and a few papers lose their wonderful
pinks. Any regular darkroom rapid (acid) fixer is
just fine! Tip: if desired, scan the unfixed lumen print
just before fixing to preserve the unfixed colors for a Figure 4.14. Note the black spot on the lumen print which
sometimes happens during the water wash when an
digital print.
upside-down print rests touching the bottom of a tray.
8. Rinse, hypoclear, wash, and dry as per normal. While washing agitate every once in a while and make
sure the print is suspended in the water wash, not touching
anything.
38 Chapter 4 Lumen Prints

Figure 4.15. From left to right: untoned, gold toned, and

selenium toned Ilford Warmtone.

Toning
Figure 4.16. Top, Kentmere Bromide untoned and gold
You can tone lumen prints just as any silver gelatin toned; bottom, Luminos Charcoal R untoned and gold
paper. See the Toning chapter for formulas. In my toned. Gold toning adds density and is a way to turn a
experience, I am not a fan of selenium toning of lumen print blue.

lumen prints because silver selenide is somewhat

transparent and what it does to a lumen print is Tips and ideas
turn it a pale brown (Figure 4.15). I am also not a • You can expose lumen prints under uvbl if
fan of sepia because it lightens the print consider- outdoor exposure is not an option. Note that
ably and does not produce a color better than the Leanne McPhee in Chapter 2 only exposes
original lumen print itself. It is possible to gold- for ~10 minutes. When I have used uvbl,
after-sepia for a peachy orange color, but again even 4 hours is not excessive, so I don’t recom-
there is so much lightening of the print in the sepia mend uvbl because it’s a waste of power when
step that it is probably only useful if the print is too even cloudy exposure does a quicker (and free)
dark to begin with, which is rare. If you are going job. However, in some climates uvbl may be
to use selenium or sepia, use a weak dilution and your only choice. A benefit is not much heat is
very brief toning to avoid image fading as much as produced as is with a contact frame facing the
possible. Have a water tray ready to go so you can hot summer sun.
halt the toning action quickly. • Warmtone papers result in warmer tones such
Gold toning by itself works very well, though. as yellow, peach, brilliant pink and terracotta.
Gold will tone from plum to gray-blue depending Coldtone papers can be more neutral, pink to
on the length of time in the toner (Figure 4.16). taupe brown, pink to deep lavender, or pale
yellow to gray. Warmtone papers in general are
more colorful.

Figure 4.17. These two fixed step wedge prints were both exposed on Ilford Warmtone under full sun (top) and UVBL
(bottom) for four hours. The difference in color is attributable to more intense exposure (top) and less intense exposure
(bottom). Ilford Warmtone goes from peaches and purples to terracottas with longer exposure.
 Chapter 4 Lumen Prints 39

Figure 4.18. Granny LaJean, all day exposure of a digital

negative on Ars Imago paper © Christina Z. Anderson
2021. When I pulled the negative off of the paper, half
the ink stuck to the glossy paper surface. It did rub off in
the water wash but the negative was ruined. In hot and
humid conditions and with some smooth, glossy papers,
use Dura-lar .003 mil polyester sheets between the digital
negative and the paper.
Figures 4.19–4.20. Top, a step wedge on Ilford warmtone
paper developed out, side by side with the same paper as
Digital negatives and lumen printing a lumen print. Bottom, comparison of a lumen print darkest
In the past I have attempted to print lumen prints dark and lightest light (max black and max white) on Bergger
with digital negatives and produced somewhat VCCM paper compared to a silver gelatin max black and
paper white. The maximum density of the lumen print (.87 vs
successful albeit low contrast results. The nega-
2.24 on a densitometer) is much lighter than a developed
tive wasn’t dense enough. It wasn’t until I learned silver gelatin print and the maximum white of a lumen print
all things QTR which has the ability to control (.19 vs .05 on a densitometer) is darker than a fixed silver
individual inks that only using the densest inks in gelatin print. The perceived contrast of a lumen print and
its intriguing color palette still works, but it will never have the
a digital negative became possible. The negative density range of a traditional silver gelatin print.
substrate is not flooded with nonperforming inks
when increasing negative density.
The lumen process benefits from a very dense perceived relative to its surroundings, though, and
but also contrasty negative. With enough of the the digital negative works. An accurately prepared
exposure-blocking inks used, the necessary adjust- digital negative opens up new avenues of explora-
ment curve is almost straight line, enough so that tion for the lumen process, no longer centered upon
you could probably get away without using a curve photogram practice as has generally been the case.
at all in the profile. See the Digital Negatives chap- Note that with some silver gelatin papers, like
ter for the lumen print QTR profile. a glossy RC, the digital negative will stick to the
Keep in mind that the contrast of a lumen print paper with long, warm, sun exposures, especially in
will always be different than that of a normally climates where humidity is higher. In that case use
developed out silver gelatin print. The deepest dark Dura-Lar thin, clear, polyester sheets in-between
of a lumen print (maximum “black”) will never be the negative and the paper to prevent this from
as dark as the black of a silver gelatin print (see happening. Dura-Lar or its equivalent is readily
Figures 4.19–4.20) because the print is not run available from craft stores or Amazon.com. I have
through a developer. The darkest dark is equiva- only had this problem on a few papers, and rarely
lent to a deep gray. Highlights will never be as on a fiber based paper. If it happens, the negative is
white as the white of a silver gelatin print either, ruined but the ink stuck to the silver gelatin paper
but some form of pale color. Contrast is always is easily rubbed off in a water wash before the fix.
40 Chapter 4 Lumen Prints

Lumen print step wedges

Following are a sampling from over 100 papers
tested. Each was exposed outside for a day of sun
March through September (10:00am–4:00pm
more or less) under a Stouffer 4˝ × 5˝ step wedge.
Each step wedge print was then scanned before
fixing (left) and after fixing (right) to illustrate the
color shift that occurs with fixing. I always fix my
lumen prints.
Figure 4.21. Fotokemika Emaks step wedge in comparison to
a print on the same paper. Note how the dominant purple
If the paper resulted in distinct steps from deep-
of the step wedge is only dominant in the shadows of the est darks to highest highlights without solarizing, it
rose and the highlight peaches and yellows predominate. could handle lots of exposure. Some papers solar-
ized at the dark end of the spectrum during that
amount of time (Ilford Warmtone), which indi-
cated less exposure could be used. Some papers
produced bland, pale, mushy colors even with days
of exposure so they did not make the favorites list,
though results certainly may vary as nothing about
lumen printing is cut in stone.
One discovery I made is that the resulting color
of the step wedge may predict the general color
“palette” of a lumen print on that paper, but when
using digital negatives designed for lumen printing,
much more of the highlight colors predominate
than they do on the step wedge. This is because
Figures 4.22–4.23. Lunar Hornet Moth, left, Ilford Galerie FB a digital negative is denser than the Stouffer film
paper exposed over 2 cloudy days; right, Arista FB paper step wedge (a dr of 4.0 versus a Stouffer dr of
exposed to 10 hours of sun, 8˝ x 10˝ © Dani Hatfield 2021
3.05 in photo geek speak) so the highlight part of
the step wedge often predominates. Before judg-
ing a paper based on the step wedge alone, make
an actual print. You can see this by comparing the
following step wedge prints with the rose prints
thereafter.

Favorite papers
• Adox Lupex
• Agfa BW 119 DW Glossy
• Agfa Luster RRS 119 3
• Agfa Record Rapid RRH 111 5 DW Glossy
• Agfa Record Rapid RRH 119 5 Lustre
• Arista Ultra VCFB Glossy
Figures 4.24–4.25. Orb Weave Spider, left, Kodak Polymax • Ars Imago
FD exposed to 10.5 hours of sun, right, Ilford Galerie exposed
over 2 cloudy days, 8˝ x 10˝ © Dani Hatfield 2021
• Bergger Brom-240
• Bergger Fine Art Silver Supreme N
 Chapter 4 Lumen Prints 41

• Bergger VCCB and VCCM Warmtone • Maco

• Chicago Albumen Works New Centennial • Oriental Seagull G2, G4 and G5 Bromide
• David Lewis Fine Art Bromoil • Oriental Seagull Portrait RP-R Warmtone
• Foma Retrobrom SP 151 and 152 • Oriental Seagull VCFB II Warmtone
• Fomabrom N111 Normal Glossy • Zone VI Brilliant VCII DW Glossy
• Fomatone MG Classic Warmtone 131
• Forte Polywarmtone FB Plus Not so favorite papers
• Fotokemika Emaks K888-3 DW Glossy G3 • Afga Brovira BN and BS 111-3
• Fotokemika Varycon • Bergger Prestige VNB Neutral
• Fotospeed Lith FB DW Semi-Matte • Ilford MG Cooltone FB
• Ilfobrom Galerie FB • Kenthene RC graded papers
• Ilford MG Art 300 FB Textured Matte • Kentmere VC Select
• Ilford MGFB Warmtone • Kodak Polymax RC papers
• Ilford MGIV FB Glossy and Matte • Luminos Photo Linen
• Ilford SP921P • Mitsubishi Gekko
• Kodak Elite Fine Art S3P/S4P • Oriental VC-RP II Glossy RC
• Kodak Panalure II RC • Tura VC-Plus RC
• Luminos Classic Charcoal R FB • Varydot RC

Adox Lupex. Distinct steps, caramel terracotta to yellow to Agfa Brovira 119 DW Glossy. Unique woven texture, brick to
pale cream, silver chloride paper. cream, distinct steps, medium speed with excellent contrast.

Agfa Luster RRS 119-3. Very warm brown to peach to yellow Agfa Record Rapid RRH 111-5 Glossy. Yellow to mauve to
with various shades more yellow. warm taupe, excellent contrast, didn't block up.

Figures 4.26–4.53. Here and on the next three pages are some excellent paper choices, scanned before and after fixing.
“Don’t fear the fix!” Tiina Kirik quips. Fixing makes a lumen print archival. You can scan an unfixed lumen and print it
digitally, but I much prefer a “purist” approach which is to treat a lumen print as an archival silver gelatin print, which it is.
42 Chapter 4 Lumen Prints

Arista Ultra FB Glossy. Cream to peach to pink to bright laven- Ars Imago. Shimmery polyester base, hot pink is ortho coat-
der to taupe. Fast, steps not so distinct. ing, beautiful, distinct, bright peach steps, on slow side.

Bergger Brom-240. Lovely pinks and mauves, similar to David Bergger Fine Art Silver Supreme. Textured art paper surface
Lewis’Bromoil. Also Dmax is nicely dark. similar to Ilford MG Art but colors more yellow to pale peach
to deep roses and mauves to taupey brown.

Bergger VCCM. Peach to rose to lavender taupe. Matte David Lewis Bromoil. Cantaloupe to orange to lavender gray,
surface good for handcoloring. Responds differently to acid gets quite dark, fast, semi-matte surface, brilliant colors.
and alkaline fixes; use acid fixes like Sprint.

Foma Retrobrom SP151. Beautiful rosy peaches and creamy Fomabrom 111. Cantaloupe to pink to greenish taupe. Fast,
yellows. Favorite next to Forte. silver chlorobromide.
 Chapter 4 Lumen Prints 43

Foma Fomatone VC FB glossy. Way different than other two Forte Polywarmtone Elegance. Bright pinks or purples de-
Foma papers. Evenly bright peach to terracotta. pending on fix; use acid fix. Watch uneven fixing/splotching.

Fotokemika Emaks. Similar to Forte and Bergger, blue mauves Fotospeed Lith FB DW Semi-matte. Caramel brown to peach
to yellows, softer contrast and colors, fix in acid fix. to cream yellow, consistent color with no shifts. Slow.

Ilfobrom Galerie G2 Glossy. Galerie is luscious, brilliant canta- Ilford MG Art. Bright cantaloupe to ruby orange-pinks to
loupes and mauves like MG Art. deep rose. Excellent art texture. Solarizes with overexposure.

Ilford Warmtone Glossy. Brilliant yellows, oranges, deep ter- Ilford MGIV FB glossy. Matte and glossy similar pinks to purples
racotta. Saturated color. Fast to expose. Solarizes in darks. to grays, also similar to Arista.
44 Chapter 4 Lumen Prints

Ilford SP921P. I think this was a precursor to Ilford MG Art be- Kodak Elite S3. Beautiful browns, nicely delineated steps and
cause it performs the same and has that beautiful texture. retro color palette. Step wedge does not show the beauty of
the paper. Thickest paper I’ve worked with, too.

Luminos Charcoal R Warmtone. Textured art paper with more Maco. Greenish gray to lavender pink to peach pink, nice
muted warm colors from pale yellow to brown. Slow. contrast and delineation of steps.

Oriental Seagull G5 Bromide. Beautiful creamed coffee Oriental Seagull Portrait Warmtone Medium Contrast. Deli-
colors and darks get dark. cate, pale yellow peaches, good for certain subject matter.

Oriental Seagull VC FB Warmtone. Nice even terracotta Zone VI Brilliant VCII DW Glossy. Muted lavenders and pinks;
colors from peach to brown. midtone lavenders flatten and almost reverse for an intrigu-
ing look.
Adox Lupex Agfa Brovira BN 111-3 Agfa Brovira BS 111-3 Agfa Brovira BW 119 Agfa Luster RRS 119 FSC

Agfa MCC 118 FB Fine Grain Agfa Portriga Rapid PRK 111 Agfa Portriga Rapid PRK 118-3 Agfa Portriga Rapid PRN 111-2 Agfa Portriga Rapid PRN 111
Mtte Wmtn

Agfa Portriga Speed 310PE Agfa Record Rapid 119-5 Lustre Agfa Record Rapid RRH 111-5 Arista RC G3 Glossy Arista RCVC Pearl
DW

Arista Ultra FB VC Glossy Arista Ultra RC Semi Matte G3 Arista Ultra RC Semi-matte G2 Arista Ultra RCVC Glossy Bergger Brom-240

Bergger VCCB Style Bergger VCCB Bergger VCCM Bergger VCNB Bergger VNB

New Centennial Collodio Chloride POP David Lewis Bromoil Foma Retrobrom SP151 Glossy Foma Retrobrom SP152 Sm-mtte
Fomabrom N111 Normal Glossy Fomaspeed 311 Fomatone MG Classic Wmtn 131 Fomatone MG Wmtn133 Velvet Forte Polywarmtone FB Plus MW

Forte Polywmtn RC Plus Glossy Fotokemika Emaks K888-3 Gl Fotokemika Varycon KG Gl Fotospeed Lith FB DW Smi-mtte Ilfobrom Galerie FB G2 Glossy

Ilfobrom Galerie G4 Glossy Ilfobrom Galerie G4 Ilford Cooltone Ilford MG Art FB Textured Matte Ilford MG III RC Rapid Glossy

Ilford MGFB Classic Glossy Ilford MGFB Warmtone Ilford MGIV FB Glossy Ilford MGIV FB Matte Ilford MGIV RC Deluxe Glossy

Ilford MGIV RC Deluxe Pearl Ilford MGIV RC Portfolio Pearl Ilford SP921 Kenthene Fine Lustre G4 RC Kentmere Bromide G3

Kentmere Fine Print VC DW Kentmere VC Select Kodabrome II RC Kodak Elite 3SP Premium Wt Kodak Elite 4SP
Kodak Panalure II RC F Glossy Kodak Polymax Fine Art D Kodak Polymax Luminos Charcoal R Wmtn lt txtr Luminos Classic Charcoal R

Luminos Flexicon VCRC SmMt Luminos Flexicoon VCRC VCF Luminos RCR Rough G2 Luminos RCR Rough G3 Maco

Mitsubishi Gekko Glossy RC Oriental Bromide G4 Oriental Seagull Midgrd Wmtn Oriental Seagull Bromide G2 Oriental Seagull Bromide G5

Oriental Seagull Prtrt Med Cont Oriental Seagull Prtrt Soft Cont Oriental Seagull VCFB II Wmtn Oriental VC Plus FB Oriental VC-RP II Glossy RC

Polycontrast III RC Lustre Rapid PRK 111-3 Slavich Bromoportrait 80 FB G2 Tura VC-Plus 12 PE RC Semimt Varydot

Figures 4.54–4.56. Eighty-six Roses © Christina Z. Anderson 2021. The preceding three pages are prints of
the same QTR negative (profile in the Digital Negatives chapter) on 86 different papers over the months
of March to September (three months on either side of the summer solstice). Each paper was exposed
for a full day of sun (e.g. 10am to 4pm) just like the step wedges. It’s hard to compare apples to apples
since the sun varies but the exposure times were roughly the same and the sun full sun to mostly sunny. UV
ranged from 2–9. You can see from these prints that some papers print beautiful lumen prints while others
print “mushy.” Save the mushy ones for combination lumen/lith or chemigrams or other processes where
developer will add dark tones.
Zone VI Brilliant VCII DW Glossy
48 Chapter 4 Lumen Prints

to the Lith Printing chapter for developers to

purchase readymade and formulas to make your
own lith developer if desired.]
1. Lith developer comes in two parts, Part A and
Part B, combined just before use. The usual dilution
is 15 ml Part A: 15 ml Part B: 970 ml water. At this
dilution a lumen print will develop blacks in 1–2
minutes. Stronger dilutions tend to work too fast
and uneven development may occur.
2. Have a pre-mixed stop bath of weak acid (e.g. 30
ml white vinegar in 1 liter water) handy to quickly
arrest the action of the developer.
3. In dim room light, arrange materials on the
silver gelatin paper. With lith development it is
helpful to minimize light exposure of the paper
outside of the time where image forming object(s)
are in place.
4. Expose the lumen print as usual, and when
exposure is done, bring the whole arrangement
back into dim room light, or even darkroom safe-
Figure 4.57. Moonrise II, lith lumen print © Tiina Kirik 2021 light conditions before removing objects from the
paper.
Using lith developer with lumen prints 5. Rinse the paper to remove any plant juices or
As already said in this chapter, lumen prints are not foreign materials from the surface of the paper if
developed in paper developer, only fixed, because if necessary (not necessary with digital negatives, of
a print that has been exposing outside all day is put course).
into paper developer you’ll get a solid black print. 6. Put your print into the dilute lith developer bath
There is an exception to this rule that first came to and keep the developer solution moving over the
my attention from lumen expert Tiina Kirik (see face of the paper for the whole development period.
the Contemporary Experimental Artists chapter) Watch carefully for the color shift and development
and the following are Kirik’s words and directions: of blacks.
“Lith developer is a special formula of print 7. When you see the print reach the level of black
developer that is used in very dilute form for lith that you desire, snatch the print from the developer
printing. Both lith printing and lumen printing are and put immediately into stop bath. At this point
based on over-exposure. This dilute lith developer you can wash the print and take time to exam-
permits a print to be ‘snatched’ at the desired point ine it briefly in very dim light. If the blacks are
of development. This can also be applied to lumen not sufficiently developed you can put it back into
printing. The lith developer used at high dilution the developer. Note that if the developer becomes
makes the process easier to manage and control. contaminated with acid from stop bath it will stop
The lith lumen technique adds extra depth of color, working, so rinse well before attempting any return
a shift in color tone and a welcome touch of blacks the developer bath.
to an otherwise colorful lumen print. Some solar- 8. Fix, wash, hypoclear, wash, and dry as with any
ization edge-effects may also occur. [Note: refer archival silver gelatin print.”
Figure 4.58. Leaves and Shadows, darkroom developed/lith lumen print, Ilford Warmtone © Tiina Kirik 2020
50 Chapter 4 Lumen Prints

Cyanolumens
Cyanolumens are hybrid cyanotype-silver gelatin
prints. Black and white (or color) paper is coated
with cyanotype chemistry in the dimroom and then
exposed like a lumen print outside for anywhere
from 10 minutes to hours. The shorter the expo-
sure, the more the cyanotype dominates the lumen,
which stands to reason since the deeper colors of
a lumen print require long exposures. The exposed
paper is brought into the dimroom, washed,
fixed, and washed again. The work you see here is
from one consummate practitioner of the cyano-
lumen process, Mary Thomas (Wales). See the
Contemporary Experimental Artists chapter for
another artist, Annemarie Borg (London), working
in this process, too.
1. If you have cyanotype on hand, mix Part A and
Part B in equal amounts at time of use. If you have
dry chemistry, merely mix in a tablespoon of ferric
ammonium citrate and a teaspoon of potassium
Figure 4.59. Fungi, Ernst Haeckel © Mary Thomas 2020, ferricyanide in 100 ml of water, enough for ten or
8˝ x 10˝ Kentmere VC Select glossy paper, cyanotype more prints. Tip: Generally cyanotype sensitizer is
solution sprayed on and exposed wet, sprayed with a
stored in separate A and B solutions, but mixing up a
diluted solution of baking soda, plastic wrap placed on
top for texture under the negative, exposed in low spring small amount such as this will most likely be used up
sun for 45 minutes, rinsed in water, fixed in Ilford Rapid fixer before it goes bad. Plus this is experimental!
for 30 seconds, soaked in a weak hydrogen peroxide bath 2. Take a piece of gelatin silver paper out of the
for 30 seconds, then a final water rinse. Mary Thomas is a
Welsh artist who began her alt photography journey after packet in the darkroom and coat or spray with the
retiring from a teaching career in 2014. She started with cyanotype solution and let dry. The solution can
cyanotype and then wet cyanotype. With her love of also be exposed wet if preferred, but if using a nega-
experimentation this ultimately led to the cyanolumen, a
combination of silver gelatin paper, cyanotype solutions,
tive on top of a wet solution, protect it with a sheet
and various household ingredients to create one of a kind of plastic wrap or Dura-lar in-between.
works. Mary was drawn to the illustrations of Ernst Haeckel, 3. Bring the paper out into direct sunlight and
a German biologist, as fitting for the cyanolumen process.
expose for however long desired, a minimum of
Aside from sourcing Haeckel’s illustrations she also uses her
own digital imagery as well as organic material. Her work 10 minutes to hours. The brighter and hotter the
involves ongoing experimentation with adding kitchen sun, the shorter the exposure can be.
cupboard ingredients such as turmeric, salt, baking soda 4. Bring the print into the dimroom and “develop”
and dilute vinegar, a sort of photographic alchemy that
results in one of a kind works that cannot be replicated. For the cyanotype part of the equation by washing the
more of her work see @marytcyanolumen. print for a minute or two in a liter of water made
slightly acidic with 1/4 cup vinegar, stop bath, or 1/2
teaspoon citric acid.
5. Fix in an acid fixer (an alkaline fixer will bleach
the cyanotype), wash, and dry as per a normal
silver gelatin print, being careful of two things:
do not over-fix—Mary fixes in Ilford Rapid Fixer
for only 30 seconds—and do not overwash so the
cyanotype disappears—5 to 10 minutes final wash
is adequate, longer if desired if no fading of the
print is observed.
Figures 4.60–4.65. From left to
right, top to bottom, wet process
cyanolumens © Mary Thomas 2021.
Trees I, 8˝ x 10˝, masking tape
applied to Fujicolor Crystal Archive
paper, sprayed with baking soda
solution, then cyanotype solution,
covered with plastic wrap, exposed
to sun for 20 minutes, rinsed and
fixed in Ilford fixer for 30 seconds,
rinsed and dried. Trees II, 8˝ x 10˝,
masking tape applied to Fotospeed
RCVC glossy paper, sprayed with
dilute vinegar, then cyanotype
solution, covered with plastic wrap,
exposed to sun for 20 minutes,
rinsed and fixed in Ilford fixer for 30
seconds, rinsed and dried. Trees III,
8˝ x 10˝, masking tape applied to
llford MGIV Deluxe glossy paper,
sprayed with baking soda solution,
then cyanotype solution, covered
with plastic wrap, exposed to sun for
20 minutes, rinsed and fixed in Ilford
fixer for 30 seconds, rinsed and dried.
Trees IV, 8˝ x 10˝, masking tape
applied to Ilford MG FB Warmtone
glossy paper, sprayed with baking
soda solution, then cyanotype
solution, covered with plastic wrap,
exposed to sun for 30 minutes, rinsed
and fixed in Ilford fixer for 2 minutes,
rinsed and dried. Trees V, 8˝ x 10˝,
masking tape soaked in phytogram
solution, applied to Kentmere
Kenthene Stipple paper, cyanotype
solution applied, covered with
plastic wrap, exposed to sun for 30
minutes, rinsed and fixed in Ilford
fixer for 2 minutes, rinsed and dried.
Trees VI, 8˝ x 10˝, feather (Mary says
the birds leave her gifts like this in
her garden), masking tape applied
to RCVC glossy paper, sprayed with
dilute vinegar, cyanotype solution
applied, covered with plastic wrap,
exposed to sun for 20 minutes,
rinsed and fixed in Ilford fixer for 30
seconds, rinsed and dried.
52 Chapter 4 Lumen Prints

where the plant makes contact with the photosensi-

tive emulsion will darken and a careful application
of a leaf or petal will result in a stain with a similar
form. Sunlight that filters through the leaf or petal
influences the process of staining, resulting in varia-
tions in tone revealing the internal structure of the
plant in detail (thanks to Kevin Rice for getting
this explanation straight). The results are depen-
dent on the light conditions, temperature, and the
prevalence of active chemistry in the plant species.
In total darkness the process will be driven solely
by the chemical reaction induced by the soaked
Figure 4.66. Phytography, phytogram made in direct plants. In bright sunlight the process will be driven
sunlight, 34 x 25 cm © Karel Doing 2020 by a combination of the chemical process and the
effects of light (similar to a lumen print). In some
Phytograms exceptional cases the plants can produce subtle
A phytogram4 is a lumen print in which the organ- colour effects as well.”5 There is an excellent article
ics put on the surface are presoaked in a mixture available online in Animation (March 23, 2020).6
of washing soda and ascorbic acid (Vitamin C). Plant soaking formula
The washing soda and ascorbic acid act as a mild 2 tablespoons washing soda (sodium carbonate)
paper developer to produce colors, dark areas, and 1 tablespoon Vitamin C powder
sometimes silver. Everything otherwise proceeds 1000 ml water
as with normal lumen printing. 1. Soak plants in the above solution for as long as
Around 2014 Karel Doing coined the term desired; the longer, the softer the plant will become.
phytogram for this particular lumen print practice. 2. Drain the plants and place carefully on the film
He explains, “Industrial developers often contain or paper and weigh down with plate glass if desired.
the active ingredients metol and hydroquinone. 3. Exposure can be from several minutes to hours in
These two chemicals are super-additive, they full sunlight, just like with a lumen print but with
have a synergistic effect. Both can be classified as the added element of chemistry. Peek underneath
phenols, a group of chemicals containing one or the edge of a plant and see if it is dark enough; that
two electron rich groups of atoms, which provide will be your exposure guide.
the necessary electron to initiate development. 4. When exposure is complete, rinse off the paper
Coffee contains several phenols, making it suit- or film, fix, wash, hypoclear, wash, and dry.
able as a developer, especially in combination with Note: plants add their chemical components
Vitamin C, which provides the super-additivity to the end result but another avenue to explore is
similar to industrial products. This occurrence of the use of non-plant or inorganic items soaked in
phenols in coffee is the basis of caffenol developer. the washing soda/ascorbic acid solution. Tip: use a
Many plants also contain some sort of phenol or paintbrush or an Aquash pen filled with the solution
polyphenol, especially in spring when the plant for more markmaking possibilities.
grows fast. By soaking the plant in the soda and
Vitamin C solution, the phenol or polyphenol is Endnotes
released making the plant suitable as a developing 1. Burchfield, Jerry. 100 Lumen Prints of Amazonia Flora. Santa
Fe: Center for American Places, Inc., 2004, p. 118.
agent. Still, this is a relatively weak developer, but 2. Ibid., p. xv.
3. Ibid., p. 120.
by adding sunlight (or artificial light) the develop- 4. See phytogram.blog.
ing process is speeded up dramatically. The area 5. https://phytogram.blog/why-it-works/
6. https://journals.sagepub.com/doi/full/10.1177/174684
7720909348full/10.1177/1746847720909348)
Figure 4.67. Arachnophilia, phytogram made in a dark garden shed, exposed over 24 hours, 200 x 250 cm © Karel Doing
2018.m“My practice is rooted in experimental photography and film. Photographic materials can be manipulated
artistically in a number of ways during the developing process. A significant part of these alternative processes is based
on a distortion or partial destruction of the image. This is especially true in experimental film. Many experimental filmmakers
expose either their own camera footage or found-footage to aggressive chemicals such as bleach and acid. Other
filmmakers bury, submerge or burn their footage or expose filmstrips for a prolonged time to the elements. My interest in
this destructive approach was challenged during an artist residency that brought me to the tropical rainforest in South
America. Inspired by the authentic ecological ways of making art that are practiced by the indigenous population I
started looking deeper into my own understanding (and misunderstanding) of the relationship between nature and
culture. Proceeding from this inquiry I asked myself if I could find a way to ‘grow’ an image instead of destroying it. I did
set up a series of experiments with soil, salt, bacteria and fungi in my darkroom but only had limited success. Mostly, I was
still destroying the photosensitive emulsion and although this yield‑ed some interesting results, I was not anywhere near
‘growing an image’. In parallel to my experiments, I was following online discussions about eco-processing and came
across a recipe for mint based developer. Based on this idea, I hypothesized that it might be possible to use intact mint
leaves as image makers by bringing the leaves directly in contact with film emulsion. After soaking a bunch of leaves in
a Vitamin C and soda concoction I arranged the leaves across a filmstrip. To my delight the leaves imprinted themselves
upon the film and after fixing the strip a string of leaf-like patterns was revealed. In the following years I have expanded
upon this idea in multiple ways. Most importantly, I have taken my process out of the darkroom into the sunlight. By
exposing my film and plant compositions to bright daylight the process is enhanced while colour effects emerge similar
to those found in lumen prints. I have worked on silver gelatin paper, 16mm film and 35mm film while using a broad variety
of different leaves, flowers and whole plants. Working with plants is inspiring, not in the least because of the sheer endless
aesthetic qualities that plants offer but also because of the enormous variety of chemical components contained in
plants. I have had many surprises and although I have gained much more control over this process, the outcome can
still be quite unexpected. The benefit of this unpredictability is that the plants present themselves as true co-creators. It is
not just me, the artist, who is at work creatively but my companions, the plants, contribute to the process in an inventive
way as well.”
Karel Doing is an independent filmmaker, photographer, writer and researcher currently based in Oxford, UK. In his
practice he investigates the relationship between culture and nature by means of analog and organic process, experiment
and co-creation. He studied Fine Arts in Arnhem, the Netherlands, graduating in 1990. In 2017, he received a PhD from
the University of the Arts London. During his research he developed phytography, a technique that combines plants and
photography. Doing’s work has been shown worldwide. To see more of his work visit kareldoing.net.
Figures 5.1–5.9. Untitled, soft resist chemigrams, 8˝ x 10˝ © Jesslyn Braught 2019. “From top to bottom, left to right, resists
used were honey, bar soap, aloe gel, aloe gel again, butter, avocado oil + salt, chapstick, sunscreen, and agave syrup
+ salt. In full light, the substances were applied to gelatin silver paper and subsequently placed into a tray of fixer for
about ten seconds, followed by a tray of developer for about ten seconds. This process of fixer/developer continued
until the resist was gone. No final fix was applied; images were scanned ‘as is’. ” Jesslyn Marie is an adventure elopement
photographer, specializing in back country weddings for the wildly in love. To see more of her work visit jesslynmarie.com.
Chapter 5
The Chemigram
Figure 5.10. Untitled, hard
resist chemigram using Golden
MSA Varnish, 10˝ x 8˝© Kellie
Swanson 2016. Kellie Swanson
(b. 1994) is an alternative
process photographer and
artist based in Bozeman,
Montana. She received a
Bachelor of Arts in Film and
Photography from Montana
State University in 2018.  After
taking time off to travel and
ski, she has refocused her
work on handmade fine art
printing and sustainable, one-
of-a-kind, artistic fashion. In
her KSX clothing line, Swanson
explores the relationship
between nature, photography,
handmade prints, and self-
expression. To see more of her
work follow her @ksx-art and
visit kellieswanson.com.

T
he chemigram is a unique process that room light exposure, and suddenly there is the
uses resists on silver gelatin paper simi- possibility of black, white, and colors in-between
lar to the way wax is used as a resist in on normally monochrome paper.
batik. The process was invented by Pierre Cordier With the back and forth from developer to fixer
on November 10, 1956. What Cordier discovered or fixer to developer, the resist begins to dissolve, so
in 1956 was that a resist (in this case, nail polish) the next chemical bath either turns slowly exposing
interferes with the chemical effects of developer paper under the dissolving resist black (developer)
and fixer on silver gelatin paper—for a time. Paper or white (fixer) or some color in-between because
put into developer that has been exposed to normal of the now-lengthening room light exposure. With
room light for varying periods of time will turn time this dissolution can be coaxed into creating
black, except where a resist blocks the chemical beautiful, intricate, tree ring-like patterns.
reaction. The parts of the paper protected by the Cordier calls the chemigram a “physico-chem-
resist will continue to change color from extended ical” process, because the physical nature of the
exposure to room light. Likewise, paper put into resist—how it dissolves on the photo paper base
fixer turns white, except where a resist blocks the when repeatedly immersed in developer and fixer—
chemical reaction. The parts of the paper protected is made visible by the photographic chemistry.
by the resist continue to change color from the
56 Chapter 5 The Chemigram

Figure 5.11. Untitled, chemigram on Ilford MGFB paper using Figure 5.12. Untitled, from the Micromanaging series ©
olive oil as a resist © Danika Wolf 2021 Alyssa McKenna 2021. McKenna used soft resists on Ortho
film and with the resulting chemigram negatives, printed
them in cyanotype on watercolor paper.

Hard and soft resists • Lacquer or resin

The first decision to make is what type of resist to • Golden MSA Varnish, spray or liquid (my
use, because the resist directs the look of the chemi- favorite)
gram. There are hard resists and soft resists, with • Soluvar varnish diluted 1:1 with mineral spirits
the difference between the two more like a contin- • Epoxy enamel
uum than a clear separation. Think of a hard resist • American Accents spray varnish (it crackles)
as something that takes time to slough off the paper
and a soft resist as something that dissolves more Examples of soft resists
readily in chemistry. It stands to reason, therefore, • Wax
that a hard resist chemigram will take more time • Oil
to complete, where a soft resist chemigram can be • Honey
finished more quickly, sometimes in minutes. • Karo syrup
• Egg
Examples of hard resists • Water soluble glue
• Nail polish • Glycerin
• Cellulose varnish • Spray oil like Pam
• Acrylic varnish like Krylon (it crackles) • Future or Pledge floor polish
• Rust-Oleum You can mix in cornstarch or other thickening
• Acrylic medium substances to change the way a soft resist works.
Figures 5.13-5.16. Top left, Harlequin; top center, Limenitis; top right, Eye of Morpho; bottom Ornamental Tiger, chemigrams
on Kodak Polymax FD paper, 8˝x 10˝© Dani Hatfield 2021. “Down to the tiniest particles of matter, the universe is composed
of patterns. In insects these patterns can be the functional series of ridges that allows a cricket to make its iconic song,
or the beautiful alternating colors that allow a male beetle to attract a female. Using insects as the original patterns of
my chemigrams, I use a variety of resists such as varnish, glue, honey, and oil to strip away the function of these patterns
and show an abstraction of the insects themselves.”
58 Chapter 5 The Chemigram

Other resists • Method of application of the baths, whether by

• Felt tip pens tray, brush, spray, through a stencil, from a bottle,
• Removable adhesive plastic with a roller
• Sticky labels • Which bath first, which bath second
• Liquid mask or rubber cement • Sprinkles of dry chemicals from a salt shaker
• Tapes, different kinds, which also can be used • Nonfigurative versus photo-based or somewhere
on the back of the paper to hold back chemical in-between—e.g. through a silk screen
action through the paper base
Making a chemigram test strip
Tools This low tech, easy test strip method is a perfect
There are numerous tools that will end up in your first foray into the chemigram process as well as a
arsenal. An Xacto knife is necessary to incise lines great way to learn how different resists react.
into a hard resist. Tweezers are indispensable to 1. Take several different brands of BW photo
carefully lift and peel off parts of a hard resist. One paper out of their black plastic light-safe bags in
tool that is quite fun is a portable battery powered the darkroom. With a pencil, label the back with
Dremel with a small round bit tip to draw curvy each paper brand.
lines. A less expensive and smaller version of a 2. Place these sheets in a separate black plastic
Dremel is a battery operated micro metal engrav- bag and label the bag something like “Chemigram
ing pen which costs under $20. Testing Paper.” The rest of the test process can be
carried out in room light.
Examples of process choices 3. Set up four trays: developer, water, fixer, and
All choices affect the final look of the chemigram. water, in that order. The developer could be normal
• Paper type and brand, warmtone or cooltone, strength to dilute. Likewise with the fixer, but for
bromide, chlorobromide, or bromochloride this first attempt, use both working strength.
• Paper age—outdated/fogged paper is excellent 4. Cut a simple shape out of a plain piece of typing
for chemigrams, even ones that don’t perform paper. It can be a square, circle, snowflake, diamond,
well for lumen prints because developer and fixer whatever comes to mind. This will be used as a low
are used to produce contrast and color tech stencil.
• Resist, from thick to thin, full strength to diluted, 5. Take one piece of paper from the Chemigram
soft and syrupy to hard and water-resistant, etc. Testing Paper bag in full room light, tape it to a
• Additions to the resist—sugar, salt, for instance counter, and cover it with the typing paper cutout,
• Resist applied in the darkroom or in room light taping that in place so both lie flat.
• Resist applied with a brush, spray, stencil, silk 6. Take a resist of choice—start simple, e.g. butter,
screen, roller maple syrup, honey, Pam—and coat or brush inside
• Length of time the resist is allowed to dry before the shape carefully and completely. Varnish works
the developer and fixer baths better thin. Syrup works fine thick. Cordier’s
• Incising lines or drawing into the resist “magic” varnish of choice is a metal polish because
• Fixer, diluted or full strength it will start lifting steadily off the paper base when
• Developer, diluted or full strength submerged in a water bath.
• Toners 7. Incise a few lines into the resist. When the resist
• Strength of light, dimroom to outside sunlight goes back and forth in and out of the chemistry,
• Length of time under light the resist disintegrates faster around the line, the
• Length of time in each bath (too much time in line becomes wider, more distressed, and chemistry
the fixer makes for weak blacks because the fixer will react with the successively exposed photo paper
comes through the back of the paper to partially underneath that is no longer protected. The paper
fix all areas)
 Chapter 5 The Chemigram 59

Figures 5.17–5.22. Haida Chemigrams, hard resist chemigrams created with Golden MSA varnish © Tara Medina Caplis
2019. “I’ve always been naturally drawn to creative and hands-on pursuits. I’m a kinesthetic and visual learner so naturally
I chose a career in design and art. One of the most beautiful things about being an artist and designer is having the
power to convey your thoughts and feelings in various media. What you create with your hands live on in the things
you have made. Fall 2019 I was enrolled in an Introduction to Native American Studies course, where I drew much of
my inspiration for this series—in particular, Northwestern Coast tribal art of the indigenous people of the Haida tribe. The
creative embellishments, symmetry, and visual depictions of their culture in their art and work was beautifully captivating.
I thought their designs would translate well in the chemigram process. I consulted with my Native American Studies
professor, Dr. Walter Fleming, to be creatively conscious and sensitive while using Haida tribal designs. My intent was to
celebrate their cultural symbols in a respectful way in my art.” Tara Medina Caplis, landscape designer, graduated from
Montana State University Spring 2021 with a B.S in Landscape Design and a Minor in Photography.

will develop a darker line and then a paler line 9. Whenever the paper looks finished developing
every time the paper is put through the developer/ or fixing­—a couple minutes for developer, brief
fixer cycle. seconds for fixer­—move it to the water wash.
8. With the trays all set up ready to go, slip the Rinse well enough, still not touching the surface
photo paper coated with the resist in either the and marring the resist, and then put it in the oppo-
developer to get a black background, or the fixer site tray of fixer or developer, respectively. If the
to get a white background. Meanwhile the paper water wash is not used, there will be contamina-
will be turning color in room light—brown, yellow, tion between the developer and the fixer, which
mauve, blue, pink—that’s ok. Don’t touch the resist produces some nice colors and potentially silver
just yet. through chemical fog, an option to consider.
60 Chapter 5 The Chemigram

Figures 5.23–5.24. Left, Untitled, right, Leviathan 17, laser-etched chemigrams © Jace Becker 2015

10. The resist will start dissolving, some sooner than Houselog, a double-degree architect and photogra-
later. Butter doesn’t dissolve too quickly. Honey does. pher, familiar with laser printers, suggested a laser
Wherever the resist starts to dissolve, the underneath printer could be used to incise a hard resist. This
area will either turn lighter (fixer) or darker (devel- type of laser printer is one using a computer aided
oper), and with each back and forth, concentric design (cad) program like Rhino and a laser beam
areas of dark and light will begin to form like tree to etch, score, or cut through materials, not what
rings. Depending on the resist, the rings can have we typically think of as a laser printer. It can be
hard edges, mottled edges, or soft edges. Honey, for adjusted to cut at different depths. Two students,
instance, produces soft and silky patterns. Jen Marshall and Jace Becker, simultaneously
11. The decisions are numerous. What the process produced promising results in November, show-
teaches is patience, and going with the flow, both ing that computer-aided design, the laser printer,
literally and figuratively. It is not necessarily quick. and the hard-resist chemigram process could be
12. The chemigram is done when all the resist has happy bedfellows. The laser printer opens up all
come off. At that point do a final fix, archival wash, sorts of options from perfectly geometric drawings
and dry. to the photographic (and conceptual discussions
13. Do this same process with the remaining of hand vs machine!). It is yet one more way our
papers using different resists. Store these test strips digital world has added something of benefit to the
in a notebook with copious notes on paper brand, analog/chemistry-based processes.
resist used, time, order of chemistry. The laser printer has a characteristic look. The
heat of the cutter can melt a varnish slightly and
The laser chemigram result in a minute furry or jaggy line quality to the
Fall 2015 I taught the chemigram process to my line. A couple suggestions when using this printer
Experimental Photography class at Montana State is to use as high a resolution image as possible,
University, using both hard and soft resists. Tanner and a vector-based image. Use simpler designs at
first, too.
 Chapter 5 The Chemigram 61

Tips and ideas

• Draw the design on top of a hard resist
with a pen and then incise. Penmarks
will disappear with the resist.
• Tape the design to a light table under-
neath the silver gelatin paper and trace it.
• Tone the chemigram with selenium 1+5
which will nicely boost contrast.
• Leaving the design face down or face up
in the developer and fixer is a variable.
Due to gravity of the resist falling down,
the lines tend to be larger.
• The longer the print is left in either
developer or fixer, the thicker the line
of black or white respectively, but too
long in the fixer can hamper the ability
of the paper to turn dark in the devel-
oper as fixer will seep through the back
of the paper to affect the front.
• Bleeding/marbling marks come from a
quick dip in developer and then return
to a dip in fix without rinsing between.
It creates chemical flow patterns.
• Take parts of the chemigram and scan
and put together digitally. Open the
Figure 5.25. Untitled, © Sam Norsworthy 2021.“To create this
image in Photoshop, set the Photoshop chemigram I used Ilford Warmtone paper, taped solid lines with
noise filter to Dust and Scratches, Scotch tape, and then covered the inside shape with honey. I then
Radius 2, Threshold 20, which cleans submerged the paper in fixer until the background went off-white,
followed by cool water and finally developer before washing the
up most of the small stuff. paper and repeating the process until the honey had been fully
• See Douglas Collins, Bridget Conn, removed. Once the honey was fully removed I submerged the
Eva Nikolova, and Nolan Preece in the paper in hot water until I could remove the tape without damaging
the print. I then used a fixer bath to complete the print. The green
Contemporary Experimental Artists color is a mixture of water, fixer, and developer in my wash bath
chapter for detailed explanations of how from transferring the paper back and forth.” Sam Norsworthy has a
they make their chemigrams. background in graphic design and is currently pursuing a BA in Film
and Photography at Montana State University. His photographic
interests lie mainly in the landscape while also pursuing other
avenues that will benefit his career in the visual field.
Figures 5.26–5.29. Clockwise, from top left, Untitled, 5˝ x 5˝ chemigram made on Ilford Direct Positive paper.
The horizontal bands were formed by pieces of blue painter’s tape and circular adhesive labels applied to
the surface of the paper, then allowed to slowly lift off in successive immersions in developer, fixer and water
© Richard Turnbull 2013. Untitled, 8˝ x 8˝ chemigram made on Ilford Direct Positive paper, horizontal bands
formed by pieces of blue painter’s tape and processed in the same manner as above © Richard Turnbull
2013. Untitled, 8˝ x 8˝ chemigram made on Luminos Classic Tapestry X paper. The circular motifs were formed
by two sizes of adhesive paper labels applied to the surface of the paper, and processed in the same manner
above © Richard Turnbull 2014. Untitled, 8˝ x 8˝ chemigram made on Adorama FB paper with standard Kodak
black-and-white chemistry. The horizontal bands were formed by pieces of blue painter’s tape applied to
the surface of the paper, and processed in the same manner above © Richard Turnbull, 2013. “Although I
did a lot of conventional black-and-white darkroom work in the 1990s, I eventually left the darkroom behind
for the relative ease of digital photography. I began making chemigrams in 2010 as a way of investigating
a hybrid form of photography and painting. I’ve worked on an ongoing series using readymade adhesives
like tapes and labels to create grids and frames that bring a sense of order to the potential chaos of the
only partially controllable chemigram process.” Richard Turnbull is an art historian whose visual work includes
chemigrams, artists’ books, printmaking and assemblage. In his chemigrams he is drawn to grid systems
that act as stabilizing frames for the unpredictable and unexpected results of the process. Turnbull uses the
chemigram and other experimental photographic processes as a way of introducing the hand back into
the photographic image. His visual work can be seen at furiousdaypress.com.
Figure 5.30. Untitled, soft resist
chemigram using hydrocortisone
cream and Ilford paper, washi
tape, brushes, palette knife, tacks
and rubber stamps © Claire M.
Williams 2019.
“Learning the chemigram
process came at a pivotal time in
my adolescent life. I was wrestling
with the immeasurable loss of my
sense of childlike security and
overall general unbotheredness
to the darker experiences of life.
I was trying to catch a glimpse
of what light and simplicity, even
just being ‘OK,’ looked like in
the midst of it all, and I’d like to
think you can find the answers
I got in these chemigrams. The
chemigram process gave me
a sense of control in the loss of
control, if that makes sense. There
are only certain outcomes willed
by the chemicals to come out in
chemigrams, no matter the effort,
intent, or design, which paralleled
with my world at the time. And
in that willed, unruly chaos of an
outcome, I found that simplicity
could exist hand in hand with
it—that light and dark are not
mutually exclusive.”
“For most of my chemigrams
I used hydrocortisone cream
as the resist and brushed it on
with paint brushes and palette
knives. I first used Washi tape to
create a confined area for the
hydrocortisone, and then rubber
date and alphabet stamps that I also stamped in hydrocortisone cream. Before I placed the paper in the chemicals, I
removed the Washi tape. The more abstract areas were created by selectively choosing certain areas to brush off (or
keep on) the hydrocortisone cream in either the developer/fix.”
Claire Williams grew up in Northern California, nestled between the coast and the mountains, and began
making photographs at the age of eleven. High School brought her an education and love for the darkroom,
where she decided to pursue a career in photography thanks to the encouragement and support of her parents
and photography teacher, Mr. Frank Shields. Her heart for the outdoors took her to Montana for college, where she
received a BA in Film & Photography and a BFA in Graphic Design from Montana State University. In her spare time,
she enjoys taking slow walks, fly fishing, backpacking, and skiing. She currently resides in Bozeman, Montana with her
husband, specializing in product photography and graphic design for small local businesses. To see more of Williams’
work visit clairemwilliams.com.
Figure P2.1. Auric Object #5A, silver gelatin photogram, 19.62˝ diameter © DM Witman 2013. “From darkness, light
and life emerge. Since the earliest of days, stars have acted as beacons home, simultaneously providing material for
stories and fortunes. These celestial night images—my own nebulae and galaxies—aren’t made from dark matter of
the universe, but rather by the common slug. Delicate and persistent, the slug moves about from dusk until dawn on
gelatin silver paper in my darkroom, making marks through their biology, creating something new. These images exist as
microcosms of the cycles of life: feeding, defecation, sex, movement, life and death. I built a slug containment system in
the darkroom using large trays. I collected slugs and placed silver gelatin paper in the trays emulsion side up. I allowed
a faint light source to emit light. I placed the slugs on the paper, along with sponges for water (slugs need moisture
to survive!). I had to make sure the slugs were contained and could not escape. I allowed the slugs to move about
freely for several hours and then returned them to where I collected them. The paper was then processed normally
and toned in selenium.” DM Witman is a transdisciplinary artist working at the intersection of environmental disruption
and the human relationship to place in the Age of the Anthropocene. Her creative practice is deeply rooted within
the realm of the effects of humans on this world using photographic materials, video, and installation. To see more of
her work visit www.dmwitman.com.
 PART TWO
Camera Experimentation
Figure 6.1. Secret Garden, 11˝ x 14˝ © Nicole Small One on One 2017. “An obsession with pinhole
photography has opened the doors to limitless creativity and unique imagery. Most of the self-portraits
were made using darkroom paper but also film. Each self-portrait was applied with a vision and title
in mind. The idea of creating pinhole self-portraits began as an experiment. I began working with two
300 watt hot lights, which I had calculated as a total of 600 watts which I believed would be enough
to work with. I was wrong. Exposure times varied between 8–13 minutes and the shorter times only
happened when I had placed the lights just about two feet away, which included burning of the
skin! I finally invested in continuous studio LED lighting which I now use for pinhole portraits of both
myself and others.” Nicole Small is an artist and photographer in Montreal, Canada specializing in
fine art photography and self-portraiture. Exploration of the unusual and the non-mainstream are the
generators behind her works of art through the use of historical photographic techniques alongside the
dimensions of light and stillness in time. To see more of her work follow her on Instagram @nicolesmall_
oneonone and nicolesmalljournalentries.wordpress.com; also YouTube: NicoleSmallOneonOne.
Chapter 6
Pinhole and Zoneplate

Figure 6.2. Teapot, digital zone plate, Kodak Azo paper printed with a QTR digital negative © Sam Wang 2021. Sam
Wang retired in 2006 after teaching photography for 40 years at Clemson University, South Carolina. He has continued his
photographic work in addition to lecturing and publishing in the US and China. His work is in the collections of numerous
museums and art centers here and abroad. To see more of Wang’s work visit www.samwang.us.

P
inhole cameras are the ultimate anti-tech- term. Something one inch away from the camera
nology. There’s no lens to focus. There’s no all the way to the farthest part of a landscape will
viewfinder to look through. A successful all be equally sharp, or soft as the case may be.
image becomes the result of the photographer The images remain rectilinear—there is no
allowing serendipity to happen, and not the sophis- curvilinear distortion. Straight lines remain
tication of the equipment. It puts the play back into straight. This is most apparent at horizon lines.
the process of picture making. Size, on the other hand, is very much distorted,
Instead of a lens, a pinhole camera has a minute and is something to capitalize upon. A little pebble
hole for an aperture. This makes for longer expo- close to the lens will appear like a boulder and a
sures and softer images. There is no focusing since boulder in the distance will appear like a pebble.
there is no lens, but no need to focus because a The attributes of a pinhole camera, therefore,
pinhole camera has almost infinite depth of field, are a softer focus, universally “sharp,” rectilinear,
or universal depth of field to use a more descriptive size distorted image.
68 Chapter 6 Pinhole and Zoneplate

Pinhole technicals Finding the right needle

You could photograph with a pinhole and through Once you’ve figured out the optimal pinhole size,
trial and error figure out how to best make a picture. you have to find a needle that will drill the hole for
Or you could figure it out mathematically. There is that diameter. Not all needle packages are labeled
this gamut of pinhole practice from flying by the with needle size so it’s guesswork. If you are lucky
seat of your pants to mathematical, and all ulti- to find the needle size written on the package,
mately result in good images. I will share the math like Clover brand, the diameter is in millimeters
in this chapter but don’t let it prevent you from so convert it to inches by dividing the millime-
winging it if “being exact is not your thing.” The ters by 25.4. The smallest needle diameter in the
four math-based calculations are: Clover brand is the #10 quilting needle that has a
• Calculating optimal pinhole size diameter of .46 mm/.018˝. This is optimal for a 6˝
• Calculating f-stop focal length camera (quilting needles are short and
• Calculating exposure sturdy needles that don’t bend much).
• Calculating reciprocity failure
Needle size chart
Calculating optimal pinhole size Standard needle diameters/Optimal focal length:
Depth of field is the area in a photograph where Needle #6 .030 Around 16–18˝
“circles of confusion” are perceived by your eye as Needle #7 .027 Around 13–15˝
being points and not blobs—where your eye regis- Needle #8 .024 Around 10–12˝
ters focus. The pinhole needs to be big enough to Needle #9 .021 Around 8˝
allow the most light in so that exposures are as Needle #10 .018 Around 6˝
short as possible, but the pinhole needs to be small Needle #12 .014 Around 31/2–4˝
enough to keep circles of confusion small enough Needle #13 .012 Around 23/4˝
so that the eye perceives the image as being accept- Needle #15 .010 Around 1 ½–2˝
ably sharp. If you are not the do-it-yourself kind of person, you
There is a point where the pinhole image can buy micro-drilled pinholes in all sorts of sizes!
become too sharp and the resulting image looks See Pinhole Resources at the end of this chapter.
like a normal image taken with an inferior lens.
There is even a point where a too small pinhole Calculating the f-stop
is subject to light diffraction where the image
Focal length divided by aperture = f-stop.
becomes degraded, low contrast, and fuzzy.
Somewhere in-between too soft and too sharp is The focal length is a simple measurement from film
the optimal pinhole size, and there is a formula for plane to pinhole. The aperture is the diameter of the
this, easy to calculate: needle hole. As long as both are inches to inches
(The Square root of the Focal Length) × 0.007 or millimeters to millimeters, this formula is easy
= Optimal pinhole diameter (all in inches!) math division.
The focal length is nothing more than taking a
tape measure and measuring the distance between Calculating exposure
where the film (or paper) is from the back of the An easy way to do so is to use silver gelatin paper
camera to the pinhole. If you make the optimal in the camera, make exposures, and develop the
pinhole size for your camera and decide you want negatives as you would normally a silver gelatin
to have a softer focus image, you can easily use a paper, then assess. A more accurate method is to
larger pinhole diameter, up to double the size. use a light meter, which even come on iPhones.
1. Set the light meter to F16.
Figures 6.3–6.4. Top, Farmers’ Hall, pinhole photograph from 4˝ x 5˝ sheet film exposed in a self-
built extreme wide angle camera to take 4˝ x 5˝ film holders © Sam Wang 2006. Note the extreme
depth of field where the camera is resting on the ground while exposing. Bottom, The Wait, pinhole
photograph from 4˝ x 5˝ sheet film exposed in the same camera © Sam Wang 2006. The camera
was resting on the park bench for this image.
70 Chapter 6 Pinhole and Zoneplate

2. Enter the film’s iso into the meter. To use the former example of F16 at 1/125 and an
3. Take an incident meter reading with the meter f-stop of F186, the formula would look like this:
facing the camera.
4. Figure out how many f-stops smaller from F16 (1/125) x (186²)
the pinhole camera’s aperture is. For instance, if a 16²
pinhole is F186, it would go like this: F22 to F32 to How would this math be done in a timely fashion
F45 to F64 to F90 to F128 to F180 or a little over 7 in the field, though? It is way too complex. This is
stops smaller than F16. Since each stop doubles the where the simple exposure factor comes into play.
time of the stop below it, this would equate to 2 × There are two variables that never vary in the
2 × 2 × 2 × 2 × 2 × 2 (not 2 × 7 = 14, but 27 or 128). formula above. The aperture of the pinhole never
5. Multiply 128 × the shutter speed that the meter varies (in this case, F186). The aperture to plug into
indicates. For instance, if the meter said F16 at the light meter never varies (in this case, F16), and
1/125th second, multiply 1/125th × 128 = 128/125 or about thus the only variable is time which will always vary
one second exposure. with changing light conditions.
In this example, 128 is the exposure factor relative Thus, the formula can be greatly simplified by
to F16. Sometimes pre-made pinholes will come separating it out to a simple number that is used
with an exposure factor, stated something like this: to multiply the continually changing time variable,
“Exposure time relative to F16,” meaning the meter or as it is called, the “shutter speed” even though
reading is always taken at F16. Some cameras will a pinhole technically doesn’t have a shutter. That
have an exposure time relative to F64, in which case simple number is the exposure factor. When one’s
the meter reading is taken at F64, etc. exposure factor is calculated one time for each
camera, the only thing to do in the field is to take a
Speaking of exposure factor meter reading at F16 with the correct film iso and
The charts at the end of this chapter are all based then multiply the meter-indicated shutter speed by
on the exposure factor formula. If one is Excel the exposure factor. Here’s how it works:
spreadsheet savvy, it is easy to build a spreadsheet to
compute all exposures for all cameras with a simple (time @ F/16) × pinhole f-stop²
16²
entry of any f-stop number. The charts at the end of
the chapter will handle most pinhole situations, but The right side of this equation = exposure factor,
here’s the math in case you want to know. when using a relative aperture of F16. If using a
The charts are based on an exposure factor relative aperture of F64, plug the number 64 in
relative to F16, because most photographers under- where 16 is currently.
stand the “Sunny 16” rule: on a sunny day, outside
in full sun, a correct exposure will equal F16 at a Reciprocity correction for film
shutter speed of 1/ISO. For example, using 3200 Using body caps on digital cameras is easy, because
film, the exposure would be F16 at 1/3200. This with one image capture you can quickly tell if
is only a starting point for determining exposure you have exposed correctly. Digital cameras also
factor, because of course all pinhole exposures are do not experience the same reciprocity failure as
not taken outside on a sunny day. Following is the do film cameras. Consult the film manufacturer
formula: for reciprocity data since films differ. Test a film
before committing to an important project. Below
(time @ F/16) × (pinhole f-stop²) are suggestions. When in doubt, err on the side
16² of overexposure when using long exposure times.
FIgure 6.5. Bird Kite, pinhole image printed with hand coated Liquid Light emulsion on watercolor
paper, 11˝ x 11˝ © Brenton Hamilton 2021. Brenton Hamilton’s photography practice is centered
upon traditional photographic materials. His work in silver processes and an array of 19th century
methods—platinum, gum bichromate, paper calotype and cyanotype—have occupied him for
over two decades. Hamilton is interested in experimenting with the materials of photography, unusual
combinations of light sensitive materials and emulsions, and embellished printmaking. He exhibits
regularly and internationally and has participated in over 100 exhibitions of his works. Recently a 25
year retrospective monograph, Blue Idyll, was published by Schilt publishing in Amsterdam. To see
more of Hamilton’s work follow him @BrentonHamilton and visit BrentonHamilton.com.
72 Chapter 6 Pinhole and Zoneplate

Exposure Compensation and luster. Its speed is iso 4–6. Paper is good for
1–5 seconds × 11/4 two years normal storage, much longer, of course,
5–10 seconds × 11/2 if stored in the freezer. Two caveats:
10–15 seconds ×2 • The paper must be handled under red safelight.
15–20 seconds × 3 • With direct positive paper, less exposure is needed
20–40 seconds ×4 to make the image darker, unlike conventional
40–60 seconds ×5 photo papers where more exposure is needed to
1–2 minutes ×6 darken the image.
2–4 minutes ×8 Bright summer sun 1–2 minutes
Bright but not direct sunshine 2–3 minutes
Reciprocity correction for paper Overcast (mixed sun/clouds) 4–5 minutes
1 minute × 1.25 Dull/cloudy 6–10 minutes
5 minutes × 1.5 Interiors 1 hour
10 minutes × 1.75
25 minutes × 2 How to make a pinhole
40 minutes × 2.4 Supplies
1 hour × 2.75 Small square piece of .003 or .002 brass shim
2 hours × 3 stock or a piece out of an aluminum disposable
5 hours × 4 pie pan or pop can
10 hours × 5 Pencil with an eraser tip, or a cork
20 hours × 6 Needle
400–600 grit sandpaper
Image diameter Loupe
The pinhole projects a circle of light 31/2× the size Any container capable of excluding light will work.
of its focal length. Thus, a 6˝ focal length produces There must be a way to get a piece of sensitized
an image circle of 21˝. With light fall off around material into the container, and get it out after the
the edges—vignetting—this image area is not all exposure is made. Containers have ranged from
exposed at the same strength of light. This is espe- small objects such as saltshakers, through very large
cially apparent when using enlarging paper in the items such as oil drums or luggage. Even trucks
pinhole camera. Since its speed is slow to begin and rooms in buildings have been turned into
with, there will be a good exposure in a small central cameras, as have red peppers, watermelons, and
area while the rest of the paper remains pure white. other unusual items.
This works to one’s benefit, though, when using Inside the camera, various materials such as
these paper negatives in the enlarger; the small, black fabric, ultra flat black spray paint, or black
exposed image area fits nicely in a 4˝ × 5˝ negative tape should be used to eliminate internal reflections.
carrier. 1. Insert the needle into the eraser-tip of the pencil,
or into the cork. Be sure to get it straight so that
Direct positive paper when drilling the hole, the needle will be perpen-
Harman/Ilford now has a direct positive rc paper dicular to the metal.
perfect for use in pinhole cameras or large format 2. Twirl this pencil/needle tool into the piece of
cameras or even Holga or “krappy” cameras because metal to drill a straight hole. Have something
the image will not be a negative but a positive! It underneath the metal piece to protect the table.
is a fixed grade, high contrast paper (3½–4 grade), 3. Keep twirling until the needle pierces through
fully compatible with conventional black and white the metal. Pull the needle out, and on the opposite
paper processing chemistry. It is available in glossy side there will be a little burr that will need to be
sanded and flattened with the sandpaper. Do all
this gently.
 Chapter 6 Pinhole and Zoneplate 73

Figures 6.6–6.7. Sprawl, from the Taking Time

series, silver gelatin print composite, 80˝ x 32˝ ©
Heather Oelklaus 2021. “The slow nature of pinhole
photography alongside the desire to fit the world
through a tiny hole are the inspirations for Taking
Time, a series of ultra large paper negatives. Each
piece in the series was photographed with my 1977
Chevy Box truck that has been transformed into a
pinhole camera with an F1497 aperture. The truck
is capable of photographing all the way up to
5´ x 10´ images. In this composite photograph the
truck photographs the scene onto eight pieces of
16˝ x 20˝ Ilford Pearl RC Paper.”
Heather Oelklaus lives in Colorado Springs where
she explores unconventional photography.
Photography as object and one of a kind
photographic processes such as chemigram, lumen
prints, pinhole, and cyanotype are her art making
interest. Oelklaus explores themes of family, social
roles, and abstract art. To see more of Oelklaus’
work visit www.camerakarma.com.

4. Drill the hole again with the needle, going in Oatmeal/ice cream pinhole camera
from the opposite side this time—the side that had With an oatmeal box, all that is needed is black
the burr. Sand the opposite side when the needle flat spray paint to cover the inside of the box, and
has pierced through again. Keep twirling and drill- black tape to cover any seams that might leak light.
ing, and sanding the burrs off when the needle Spray the inside side of the pinhole plate flat black,
breaks through. Get out the loupe or magnifying being sure to cover the pinhole during the spray-
glass and check to make sure the pinhole is nice and ing process so as not to clog it with paint. When
clean. The quality of the image will vary according loading it with photo paper, tape the paper to the
to how the hole is made. Sometimes the ragged inside of the container so it does not wiggle. An ice
edges of the pinhole make for a unique image. cream container fits 8˝ × 10˝ nicely. rc paper can be
used in the box. Matte paper is best for curved film
74 Chapter 6 Pinhole and Zoneplate

Figure 6.8. Garden Bench by the Dogwoods, silver gelatin print from a zone plate (~90 mm) in-camera film negative, Delta
100 5˝ x 7˝ film, Ilford MG Warmtone, toned with selenium and polytoner © J. P. Jackson 2021. “My picture making is a
personal need that involves constant interactive perception of the world around me. It is like a ‘call and response’ that
challenges me and sometimes brings me joy. I practice ‘slow’ photography because it suits my nature and the quality
of analog photographic prints can be very beautiful.” J. P. Jackson has been passionate about making pictures for over
forty years. In the mid 1970s he had the good fortune to study photography with Jerry N. Uelsmann and Todd Walker at the
University of Florida. In 2015, Jackson returned to darkroom work teaching himself cyanotype, platinum-palladium, gum
dichromate, carbon printing and copperplate and photopolymer intaglio printing. Jackson works with analog film and
prints by hand. To see more of his work, follow him on Instagram @jackson_john_p or visit ipernity.com/home/jpjackson.

planes because glossy will tend to show reflection as an aesthetic effect. If light fall-off is not desired,
marks. The paper is then processed normally and the film plane can be curved so that the film at
used as a paper negative. Photo paper is usually any point is roughly at the same distance from the
around iso 1–12. Ilford paper is iso 1–1.5, Arista pinhole.
iso around 8.
Note that in a pinhole camera if the film plane Film canister pinhole camera
is flat, there will be light fall-off or vignetting at A quick pinhole camera could be an old film canis-
the corners. The image may be overexposed at ter. Punch the plastic side with a paper punch hole
the center and underexposed at the corners. This and put the pinhole on top. Use a piece of electrical
vignetting, however, may be exploited consciously tape for the shutter, and cut little pieces of paper to
 Chapter 6 Pinhole and Zoneplate 75

fit inside. This will produce little paper negatives

perfect for a 35 mm negative carrier. Paper texture
will show in the enlarged image.

35mm pinhole body cap

A 35 mm camera body has a focal length of about
47 mm/1.85˝. The needle size that would work best
would be the #15, but can also be fudged a bit up
to a #12. Buy a camera body cap to fit the camera.
Drill a hole in the center. A Forstner bit works
well for this because it has a pointed end to start
the hole more quickly. Center the pinhole on this
hole and tape in place. Easier yet, buy a readymade
pinhole body cap from the resources listed in this
chapter.

Zone plate Figure 6.9. Untitled Self Portrait, silver gelatin print from a
Holga pinhole negative, 10˝ x 10˝© Julia C. Martin 2019. To
A zone plate pinhole is a piece of high contrast film
see more of Martin’s work visit juliacmartin.com.
with a miniscule bull’s eye of concentric circles of
dark and clear that is placed over a hole in a camera
body cap or a lensboard. The zone plate bull’s eye Tips and ideas
is the “pinhole” and exposes images that are soft • Don’t hand hold the camera.
focus, with a halo of light surrounding the edges of • Do position the subject much closer to the
objects. It is a faster aperture than a regular pinhole camera than in “normal” photography, or the
of equivalent size (about 10×). However, the down- subject will be too small. Something can be posi-
side of a zone plate is the need to be more critical tioned right next to the lens because there is no
in matching the plate to a correct focal length, and issue with depth of field.
considering the f-stop is around F64 to F128, a • Do make sure the subject is in the picture for
zone plate does not have infinite depth of field. at least 1/2 the exposure time to get ghostlike
Focus becomes more critical, especially in close-up images; if the subject is in motion, increase this
work. Contrast in a zone plate image can be low time even more.
but is easily corrected when using digital negatives.
Zoneplate images have an intriguing mystical qual- Pinhole resources
ity—quite addictive. Calculating exposure with The Pinhole Resource: PinholeResource.com
a zone plate is the same as any pinhole camera. Freestyle Photo: freestylephoto.biz
Zone plates can be found at PinholeResource. Wooden pinhole cameras: www.zeroimage.com
com. There is even a website to generate a zone Pinhole math: pinhole.cz/en/pinholedesigner
plate: mrpinhole.com/zp.php. Laser-drilled pinholes! daystarlaser.com.
76 Chapter 6 Pinhole and Zoneplate

Pinhole exposure tables 4. Take an incident light meter reading of the

1. Xerox the following tables that match a camera’s scene, pointing the meter toward the camera as is
pinhole f-stop and tape them to the camera, so that usual with an incident reading.
when going out in the field the only thing necessary 5. Record the f-stop the light meter says to use.
to bring is the camera and a light meter. If the chart 6. Find the vertical column on the chart for that
f-stops do not match the pinhole camera exactly, indicated f-stop, and follow the column down to
use the closest f-stop that is a smaller aperture. where the iso of the film on the left hand side of
2. Set the light meter at F16 and the iso of the the chart and that f-stop column intersect. That is
meter to match the iso of the film. your exposure time.
3. Set the shutter speed of the light meter to match 7. If the exposure time is 1 second or more, look at
the iso of the film, ¹⁄ iso. For instance—100 iso the Reciprocity Correction table on the left side of
film, set the shutter speed to 1⁄₁₀₀ second. 400 iso the chart and multiply the time accordingly. Some
film set the shutter speed to 1⁄₅₀₀ second. 800 speed films such as Fuji film may not require any reci-
film set the shutter speed to 1⁄₈₀₀ second, and so procity correction up to as long as two minutes.
on. The shutter speed should be as close a match
as possible. If there is no ¹⁄₈₀₀, use the next shortest
shutter speed (¹⁄₁₀₀₀).

F64 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.01 0.01 0.02 0.04 0.08 0.16 0.32 0.7
1 sec x 1 ¼ 1600 0.01 0.02 0.04 0.08 0.16 0.33 0.6 1.3
5 sec x 1 ½ 800 0.02 0.04 0.08 0.16 0.32 0.7 1.3 3
15 sec x 2 400 0.04 0.08 0.16 0.33 0.6 1.3 3 5
45 sec x 2 ½ 320 0.05 0.11 0.20 0.41 0.8 2 3 7
2 min x 3 250 0.06 0.14 0.26 0.5 1.0 2 4 8
5 min x 4 200 0.08 0.17 0.32 0.7 1.3 3 5 10
10 min x 5 160 0.10 0.21 0.40 0.8 2 3 6 13
20 min x 6 125 0.13 0.27 0.5 1.0 2 4 8 17
40 min x 8 100 0.16 0.34 0.6 1.3 3 5 10 21
80 0.20 0.42 0.8 2 3 7 13 26
64 0.25 0.5 1.0 2 4 8 16 33
50 0.32 0.7 1.3 3 5 10 20 42
25 0.6 1.4 3 5 10 21 41 84
12 1.3 3 5 11 21 44 85 3
6 3 6 11 22 43 87 3 6
3 5 11 21 44 85 3 6 12
1.5 11 23 43 87 3 6 11 23
1 16 34 64 2 4 9 17 35
 Chapter 6 Pinhole and Zoneplate 77

F90 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.01 0.02 0.04 0.08 0.16 0.32 0.6 1.3
1 sec x 1 ¼ 1600 0.02 0.04 0.08 0.16 0.32 0.6 1.3 3
5 sec x 1 ½ 800 0.04 0.08 0.16 0.32 0.6 1.3 3 5
15 sec x 2 400 0.08 0.17 0.32 0.6 1.3 3 5 10
45 sec x 2 ½ 320 0.10 0.21 0.40 0.8 2 3 6 13
2 min x 3 250 0.13 0.27 0.5 1.0 2 4 8 17
5 min x 4 200 0.16 0.33 0.6 1.3 3 5 10 21
10 min x 5 160 0.20 0.42 0.8 2 3 6 13 26
20 min x 6 125 0.25 0.5 1.0 2 4 8 16 33
40 min x 8 100 0.32 0.7 1.3 3 5 10 20 41
80 0.40 0.8 2 3 6 13 25 52
64 0.49 1.0 2 4 8 16 32 65
50 0.6 1.3 3 5 10 21 41 83
25 1.3 3 5 10 20 41 81 3
12 3 6 11 22 42 86 3 6
6 5 11 21 43 84 3 6 11
3 11 22 42 86 3 6 11 23
1.5 21 45 84 3 6 11 23 46
1 32 67 2 4 8 17 34 69

F128 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.02 0.04 0.08 0.16 0.32 0.7 1.3 3
1 sec x 1 ¼ 1600 0.04 0.08 0.16 0.33 0.6 1.3 3 5
5 sec x 1 ½ 800 0.08 0.17 0.32 0.7 1.3 3 5 10
15 sec x 2 400 0.16 0.34 0.6 1.3 3 5 10 21
45 sec x 2 ½ 320 0.20 0.42 0.8 2 3 7 13 26
2 min x 3 250 0.26 0.5 1.0 2 4 8 16 33
5 min x 4 200 0.32 0.7 1.3 3 5 10 20 42
10 min x 5 160 0.40 0.8 2 3 6 13 26 52
20 min x 6 125 0.5 1.1 2 4 8 17 33 67
40 min x 8 100 0.6 1.4 3 5 10 21 41 84
80 0.8 2 3 7 13 26 51 2
64 1.0 2 4 8 16 33 64 2
50 1.3 3 5 10 20 42 82 3
25 3 5 10 21 41 84 3 6
12 5 11 21 44 85 3 6 12
6 11 23 43 87 3 6 11 23
3 21 45 85 3 6 12 23 46
1.5 43 1.5 3 6 11 23 46 93
1 64 2 4 9 17 35 68 139
78 Chapter 6 Pinhole and Zoneplate

F180 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.04 0.08 0.16 0.32 0.6 1.3 3 5
1 sec x 1 ¼ 1600 0.08 0.17 0.32 0.6 1.3 3 5 10
5 sec x 1 ½ 800 0.16 0.33 0.6 1.3 3 5 10 21
15 sec x 2 400 0.32 0.7 1.3 3 5 10 20 41
45 sec x 2 ½ 320 0.40 0.8 2 3 6 13 25 52
2 min x 3 250 0.5 1.1 2 4 8 17 32 66
5 min x 4 200 0.6 1.3 3 5 10 21 41 83
10 min x 5 160 0.8 2 3 6 13 26 51 2
20 min x 6 125 1.0 2 4 8 16 33 65 2
40 min x 8 100 1.3 3 5 10 20 41 81 3
80 2 3 6 13 25 52 2 3
64 2 4 8 16 32 65 2 4
50 3 5 10 21 41 83 3 6
25 5 11 20 41 81 3 5 11
12 11 22 42 86 3 6 11 23
6 21 45 84 3 6 11 23 46
3 42 89 3 6 11 23 45 92
1.5 84 3 6 11 23 46 90 184
1 2 4 8 17 34 69 135 276

F256 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.08 0.17 0.32 0.7 1.3 3 5 10
1 sec x 1 ¼ 1600 0.16 0.34 0.6 1.3 3 5 10 21
5 sec x 1 ½ 800 0.32 0.7 1.3 3 5 10 20 42
15 sec x 2 400 0.6 1.4 3 5 10 21 41 84
45 sec x 2 ½ 320 0.8 2 3 7 13 26 51 2
2 min x 3 250 1.0 2 4 8 16 33 66 2
5 min x 4 200 1.3 3 5 10 20 42 82 3
10 min x 5 160 2 3 6 13 26 52 2 3
20 min x 6 125 2 4 8 17 33 67 2 4
40 min x 8 100 3 5 10 21 41 84 3 6
80 3 7 13 26 51 2 3 7
64 4 8 16 33 64 2 4 9
50 5 11 20 42 82 3 5 11
25 10 22 41 84 3 6 11 22
12 21 45 85 3 6 12 23 46
6 43 90 3 6 11 23 46 93
3 85 3 6 12 23 46 91 186
1.5 3 6 11 23 46 93 182 372
1 4 9 17 35 68 139 273 557
 Chapter 6 Pinhole and Zoneplate 79

F360 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.16 0.33 0.6 1.3 3 5 10 21
1 sec x 1 ¼ 1600 0.32 0.7 1.3 3 5 10 20 41
5 sec x 1 ½ 800 0.6 1.3 3 5 10 21 41 83
15 sec x 2 400 1.3 3 5 10 20 41 81 3
45 sec x 2 ½ 320 2 3 6 13 25 52 2 3
2 min x 3 250 2 4 8 17 32 66 2 4
5 min x 4 200 3 5 10 21 41 83 3 6
10 min x 5 160 3 7 13 26 51 2 3 7
20 min x 6 125 4 9 16 33 65 2 4 9
40 min x 8 100 5 11 20 41 81 3 5 11
80 6 13 25 52 2 3 7 14
64 8 17 32 65 2 4 8 17
50 10 21 41 83 3 6 11 22
25 20 43 81 3 5 11 22 44
12 42 89 3 6 11 23 45 92
6 84 3 6 11 23 46 90 184
3 3 6 11 23 45 92 180 367
1.5 6 12 23 46 90 184 360 735
1 8 18 34 69 135 276 540 1102

F512 Yellow highlighted numbers have been adjusted to minutes.

Reciprocity ISO 16 11 8 5.6 4 2.8 2 1.4

Correction
Suggestions 3200 0.32 0.7 1.3 3 5 10 20 42
1 sec x 1 ¼ 1600 0.6 1.4 3 5 10 21 41 84
5 sec x 1 ½ 800 1.3 3 5 10 20 42 82 3
15 sec x 2 400 3 5 10 21 41 84 3 6
45 sec x 2 ½ 320 3 7 13 26 51 2 3 7
2 min x 3 250 4 9 16 33 66 2 4 9
5 min x 4 200 5 11 20 42 82 3 5 11
10 min x 5 160 6 14 26 52 2 3 7 14
20 min x 6 125 8 17 33 67 2 4 9 18
40 min x 8 100 10 22 41 84 3 6 11 22
80 13 27 51 2 3 7 14 28
64 16 34 64 2 4 9 17 35
50 20 43 82 3 5 11 22 45
25 41 87 3 6 11 22 44 89
12 85 3 6 12 23 46 91 186
6 3 6 11 23 46 93 182 372
3 6 12 23 46 91 186 364 743
1.5 11 24 46 93 182 372 728 1486
1 17 36 68 139 273 557 1092 2229
Figures 7.1–7.2. Flatiron, New York, silver gelatin stereo
card, 7˝ x 3.5˝ © D. E. Todd 2022. “As a young artist I
had the opportunity to go on a ‘Grand Tour’ following
the tradition of European travel to study classical and
Renaissance art. I’ve continued to explore historic
formats central to the widespread popularization of
travel photography ever since, including my homemade
stereo-Holga and custom stereo cards. This homemade
stereo camera was created by carefully measuring
and sawing two Holga 120SF cameras with a hand-held
jigsaw. The two pieces were first joined together with
super-glue and duct tape before ritual upgrades led to
epoxy and black gaffer tape in order to deter unyielding,
yet affectionate, light leaks. The design allows a roll of
120 or 220 film to be loaded and advanced using the
pre-existing spools and winding mechanisms. The lenses
are spaced to the average distance between human
eyes. The film is aligned to record a pair of corresponding left and right images side by side on the roll. The shutters are
triggered independently, one with each hand, and one always upside-down. Each stereo card was printed in the
darkroom using a custom negative carrier which allowed the corresponding left and right viewpoints to be enlarged
and exposed simultaneously onto the photo paper.” D. E. Todd is a photographic artist and educator known for his
creative agility and hands-on approach to digital craft. His focus includes technical processes and photography’s own
pop-history. His works can be found in galleries, in print and online. To see more of Todd’s work visit www.detodd.com.
Chapter 7
The Holga
Figure 7.3. We Are All Immigrants, silver
gelatin print from a Holga, 10˝ x 10˝
© Elizabeth Z. Pineda 2018. “Caught
between Two Worlds is a work on
immigration, identity, and belonging.
The dual image offers a sense of past/
present, old/new, cultural/political
change, and traversing of borders.
The photographs challenge truth,
invert spaces, question logic, fuse
landscape and people, asking one to
carefully examine not just the images,
but the issue itself. These prints are from
in-camera, double-exposed images
made with a Holga. The frames were
sometimes held for days until the next
image was found. Other times, the
frames were captured instantly one
after the other due to the nature of the
event they were made in. The images
are all split-filtered, printed on Oriental
fiber base paper. Because the double-
exposure tended to over-expose the
negative, the light detail (including
highlights) required extra exposure when
printing, many times 100 % over base
exposure. I carefully cut detailed boards
stenciled with the image reflected with
the enlarger to ensure that I did not lose
important detail, or that I did not burn-in unwanted light, information onto the print.” Originally from Mexico City, Elizabeth
Z. Pineda is a photographer using traditional photographic processes. Her work resides at the intersection of time and
memory. Branching off from her own story, she speaks visually of community and touches on barriers of language,
culture, and society. Elizabeth is an MFA candidate in Photography at Arizona State University.  To see more of her work
visit phoenixtransect.org.

T
he Holga camera is a cheap (around $40 Holgas, pinhole Holgas, and if photographing with
at the time of this writing) plastic-lens film doesn’t interest you, buy a Holga lens to attach
camera that has a certain charm and to a Nikon or Canon dslr camera! The Holga
a cult following. The name originates from the proves that successful images do not depend on
Chinese word “ho gwong” meaning very bright. expensive camera equipment and lenses.
The Chinese started manufacturing this plastic The Holga almost went out of production at one
camera in 1981 as a way for photographers to get point, but Freestyle Photo resurrected it and is the
into medium format photography cheaply. Then primary supplier of Holgas in the US. Who would
the type of photographs this cheap plastic camera have thought the superiority of a camera lies in its
produced—with light leaks, blur, vignetting and a inferiority as a picture making device.
vintage lo-fi look—became the rage. Today there
are 120 mm Holgas, 35 mm Holgas, panoramic
82 Chapter 7 The Holga

The lens Film

The lens on the Holga 120 mm is a 60 mm The Holga 120 camera takes 120 mm film that will
lens—slightly wide angle for a medium format give either 16 6 × 4.5 cm negatives or 12 6 × 6 cm
camera—and is equipped with a leaf shutter. The negatives by merely switching between two plastic
35 mm has a 47 mm lens. Sometimes the shutter insert masks that are included in the camera box
breaks; sometimes it doesn’t work at exactly 1/100 (the Holga 35 mm does not have a mask). Each is
second as it is supposed to, but this presents no labeled in a corner with a number 12 or 16. With
problem if having fun with the camera is all that either mask used, it is necessary to move the arrow
is expected. on the back of the camera to point to either 12 or
The plastic lens is certainly not corrected for 16 correspondingly. Then it is a good idea to cover
color or focus aberrations nor is it sharp. It gives the red window with a flap of gaffer’s tape because
low contrast and not much shadow detail. The it isn’t necessarily impervious to light. See further
edges of the image will tend to be a bit blurry, but under Taping your Holga.
this is all part of the Holga’s charm. The plastic insert can also be completely
Some Holga aficionados go a step further, removed, which is better for continuous multi-
thinking the lens is too sharp, and they modify the ple exposures while turning the film because the
lens with sandpaper, Vaseline, nail polish, needle- delineations between each exposure won’t be so
scratching, or steel wool. Since the Holga is so pronounced when the sharp edge of the insert
cheap, buy several and modify each lens differently. asserts itself in the image. If the insert is removed,
the film will not be quite so flat in camera and
Focus there may be more blur, but again, this is cultivated
There are four focusing distances only, each by many.
indicated by a charming pictograph: a head and To prevent the film from jamming (this happens
shoulders (3 feet), several people holding hands (6 sometimes because the film take-up spool gets
feet), a group of people (18 feet), and a mountain wound too loosely and then gets too big around
(30 feet to infinity). Focus is somewhat inexact, so it jams), take a piece of cardboard from an end
and easy to forget, but many times the lack of focus of a film box, fold it in half and jam it under the
adds to the charm of the Holga image. film spool on the left bottom side of the camera—
jamming to prevent jamming.
Aperture 400 iso film is probably the best choice of film
There are only two apertures, F8 and F11, and some for a Holga. 100 iso film is ok outside on a sunny
say there is not much difference between the two. day, but it is more common to underexpose with
These are indicated by two more charming picto- a Holga, and 400 iso will help prevent that from
graphs: clouds and sun, respectively. Quite low tech, happening.
but because there are only two aperture choices, Color film in a Holga is especially perfect
exposure might be all over the board. because of color film’s extreme latitude of exposure
(one stop under and several stops over, essentially
Shutter a 5-stop range of screwing up) and because color
There are also only two shutter speeds, a fixed one film gets less grainy with overexposure.
of 1/100 second and a Bulb (B) setting, which allows Another film that works well is Ilford XP2, a
the photographer to keep the shutter open as long black and white film that is actually processed like
as the shutter button is depressed. The shutters color film in C-41 chemistry.
aren’t rocket science, and oftentimes who knows if If it is overcast, use 800 iso film. If indoors,
the shutter is really 1/100 second or not! A test roll is 3200 iso film is best.
always a good thing with every new Holga camera
purchase. If using the B setting, a tripod and a cable
release are recommended.
 Chapter 7 The Holga 83

FIgure 7.4. Time Studies, silver gelatin print from a Holga pinhole negative © Julia C. Martin 2020. Julia C. Martin is a
photographic artist based in Phoenix, Arizona. Her work deals with themes of mortality, ephemerality, and time. In
addition to photography, she also works in printmaking, papermaking, and book arts. To see more of Martin’s work visit
www.juliacmartin.com.

Flash Loading a Holga 120 mm1

The Holga 120fn has a built in flash. Holgas that 1. It is recommended to load and unload 120 mm
have built in flashes require 2 aa batteries. The film in subdued light to prevent any unwanted
Holga 120cfn has a color wheel filter in the flash. exposure.
All other Holgas have a standard hot shoe mount 2. Remove the clips from the sides of the camera
which will accommodate most types of hot shoe to open the back.
flash units. After mounting the flash unit, flip the 3. Select the mask for either 16 images (6 × 4.5 cm)
aperture knob to the “flash” setting. The aperture or 12 images (6 × 6 cm) and insert into the camera.
is now at f8. Shooting without a mask yields 12 images and can
The hot shoe also works with strobes. Use a hot lead to more intense vignetting.
shoe to pc adapter, or even an on-camera flash 4. If the Holga has a built in flash unit, install 2
and photo slaves on strobes. However, with each aa batteries under the film mask on either side.
shutter release, the Holga will trip the flash twice, 5. Slide the arrow on the back cover to point to
once when pressing down and once when releas- the corresponding image count for the mask that
ing. Therefore, with strobes keep holding down the was inserted.
shutter release so as not to damage the strobes by 6. Make sure there is a take up spool on the right
flashing them twice in a row so fast. Just make side of the camera and break the seal on the new
sure that the slaves are close enough to pick up 120 roll of film and insert on the left side of the
the camera’s flash. camera.
7. Place pressure on the bottom of the new roll
Multiple exposure of film and pull out the paper backing. Insert the
Holgas are perfect for multiple exposures because tapered edge into the slot in the take up spool.
it is a manual advance camera, meaning one can 8. Turn the film advance knob a couple of turns
manually advance the roll film as little or as much keeping the film tight to prevent any slack.
as desired. One student calculated that about 1/4 9. Please note that it is important to keep 120 mm
turn of the film advance knob equals 1/2˝ of film, film tight to the spool. This protects the film from
so if the knob is marked with quarter marks (use a exposure since it is not in a canister. If you have
permanent Sharpie) it becomes easier to judge what an older Holga or the foam padding has fallen off,
will overlap in the negative. As said before, multiple insert a piece of cardboard under the film spool
exposure does best when the insert is removed so to keep the film tight. Unlike 35 mm film, 120
the transitions between multiple exposures is soft- mm film has no light-tight canister to protect from
ened. It is easy to forget to wind the film after a
shot, too, but that can be when serendipity happens.
84 Chapter 7 The Holga

exposure; the only guard against the sun is its thin Unloading the Holga 35 mm
paper backing. If your film is not rolled tightly, light 1. When the roll of film is finished, put the lens
can sneak in under the loose paper causing light cap on the camera to avoid any double exposures.
leaks or even fogging. 2. Push down on the film rewind release button on
10. Replace the camera back and make sure the the bottom of the camera.
clips are in place. Put a piece of gaffer’s tape over 3. Turn the film rewind knob clockwise. There
the clips to prevent the back from slipping open. will be some tension while turning the knob. Keep
See further under Taping your Holga. turning the knob until there is no tension, indicat-
11. Turn the film advance knob until the number ing the film is rewound back into the canister.
1 appears in the counter window on the back of the 4. Pull up on the film rewind knob. The back cover
camera. The Holga is ready to shoot. will open and you can safely remove the film.

Unloading the Holga 120 mm Taping your Holga

1. After shooting the last frame, either 12 or 16 Many Holga owners look forward to the character-
depending on the mask used, turn the film advance istic light leaks and anomalies of a Holga camera,
knob until the film and paper is completely rolled but for those who are not a fan, taping up the
onto the take up reel. Holga is the option. The best tape to use is black
2. Open the back of the Holga. The exposed film gaffer’s tape or black photo tape which is readily
should now be in the right film chamber. An empty available at most photo and studio lighting retailers
film spool will be in the left film chamber. Save the and even hardware stores. Gaffer’s tape does not
empty spool, as this is now the new take up reel for leave a sticky residue like other tapes, and it is matte
the next roll of film. black. It is used in multiple ways with the Holga,
3. Extract the full take-up spool from the right side not just to minimize light leaks. Follow these steps
of the camera. Make sure that the film is wound and all will be well.
tightly around the spool. Fold the tapered end 1. Some run pieces of black tape along the seam
under itself as directed on the paper backing and where the back fits onto the body.
then seal the film with the provided adhesive tab. 2. Since the metal strap holders also serve as the
camera back holder, when the camera is set down
Loading the Holga 35 mm on a table, the weight of the camera strap some-
1. There are no masks included with 35 mm times pushes the back holders down and the back
Holgas. To load the film, pull up on the film rewind falls off, exposing all the film. This is not a happy
knob. The back cover will pop open. event. Cover the metal clips that secure the camera
2. Insert a new roll of film in the film compartment back and it will prevent the back from falling off
on the left side of the camera. the Holga.
3. Pull the film out of the camera until the tip of 3. If you have a standard Holga 120 mm and want
the film reaches the take up spool. Then insert the to remove the mask inside the camera, there are
tip of the film into the slot on the take up spool. two holes behind the mask and above the lens that
4. Turn the film advance slightly so that the teeth can cause light leaks. A single piece of tape can
catch the sprocket holes on the film. cover them both. Perhaps for the first roll of film
5. Snap the cover back into place and turn the film taken, don’t tape anything and see how the light
advance knob to advance the film until it cannot leaks perform.
turn any further and then press the shutter. 4. The little red film counter window leaks light
6. Repeat this until the number 1 appears in the notoriously, especially with color film. A little black
frame counter window. The Holga is ready to shoot. flap of gaffer’s tape strategically placed there will
solve this issue, and it can be flipped up quickly in
lower light to see the frame number.
 Chapter 7 The Holga 85

Long exposures will produce white lines on the print; when

Long exposures are easily achieved when using scratching on the bottom/emulsion side of the
the “Bulb” setting. Simply mount the camera on negative, the scratches will remove emulsion
a tripod and set the exposure switch to the “B” and produce black lines on the print. Using the
position. Push down the shutter release button and smallest needle possible produces the most effec-
keep it down as long as desired. Then, release the tive scratches. Even the tiniest scratch marks will
button to close the shutter to complete the picture become greatly magnified during enlargement,
taking cycle. When finished, remember to set the and thus fine lines, carefully executed, are best.
“B” exposure switch back to the “N” (Normal) Watch that the marks are not ragged, because the
setting or you may end up with blurry pictures, marks can appear contrived and elementary. A
which may actually result in more serendipity. quilting “between” needle embedded in a pencil
eraser is a good scratch tool. Some ideas to try:
Tips and ideas scratch words on top of the negative; write with
• If all of a sudden your pictures are overexposed a pencil on top of the negative, and the graphite
and you’ve had the Holga a long time, the shutter density will print lighter; scratch an empty space
spring may have finally worn out. in one negative and sandwich another negative
• There are many Holga modifications that can with it when printing to print the second nega-
be done, and websites devoted to modifica- tive through the cleared area.
tions. There are also many Holga accessories for • Distressing film: step on it, grind it in the dirt,
purchase; see FreestylePhoto.biz. carry it around in a backpack unprotected, or
• The dark corners on a Holga image, vignetting, take a piece of sandpaper to it.
are one of Holga’s many charms. If you prefer less • Bleaching film: Mix enough potassium ferri-
dramatic vignetting try using the 6 × 4.5 cm mask. cyanide in ¼ cup of water until it resembles the
• If pictures are blurry, make sure you don’t have color of Mountain Dew. It doesn’t have to be
the shutter speed left on “B.” exact. With a small brush dipped in this bleach
• Take an old UV, sky, or clear filter and coat it and a hose of running water at the ready, brush
with Vaseline or clear nail polish to get a Holga- on the bleach in areas where image removal is
like effect with a normal camera lens. It is best desired. Watch carefully, being ready to spray
to do so around the edges of the filter and leave water on drips at all times. Fix the negative,
it clear in the center. rinse, and dry.
• Shaking the camera while taking an image gives
it an uncomfortable, eerie feel, especially with a What becomes apparent with the Holga is that the
scene that has strong darks in it. camera is no more than a light tight box, and hardly
• Burning film: with pliers on either end of a film one at that. And the lens, even though plastic, still
strip, the strip can be held over a flame source can lead to exotic images. Having such freedom
such as a candle and pulled from each end with and versatility with a camera and the advantage
the pliers to stretch and warp the film. The strip of medium format is a perfect combination for
should be kept far enough away from the heat experimentation.
source to prevent burning and bubbling of the
plastic, unless this is what is desired. It is best to
do this outside so as not to create plastic fumes.
The final product may need to be printed in a
Endnotes
glass negative carrier if the negatives are not flat. 1.This information is from the Holga manual, a free download
• Scratching film: when scratching on the top/ here: https://www.freestylephoto.biz/static/pdf/prod-
uct_pdfs/holga/holga-manual.pdf
non-emulsion side of the negative, refraction
Figure P3.1-P3.2. Left, Deconstructed 3.9˝ x 4.9˝, gardenia leaves soaked in a developer made from ascorbic acid, sodium
carbonate, and instant coffee, then placed on a sheet of Arista Ortho Litho film, exposed in the sun under glass, then fixed;
right, Canyon Ragweed, leaves of Canyon Ragweed soaked in the developer above, placed onto a sheet of Adox black
and white film, exposed in the sun under glass, fixed, both © Cyd Peroni 2020.
“My photographs explore the concept of Mono No Aware, a Japanese Shinto term, which contains the understanding
that there is joy within the sad realization of the transience of life. I try to see moments and details in nature that are
beautiful, but fleeting, and because of their impermanence hold a deeper significance.”
Cyd Peroni is a fine art photographer working full time from her New River, Arizona studio where she experiments with
alternative and digital photographic processes. Her work has been exhibited in solo and juried group exhibitions at Medium
Festival of Photography, Light Art Space, Eye Lounge, A. Smith Gallery, FOUND:RE, Art Intersection, and Northlight Gallery.
To see more of her work visit www.cydperoniphotography.com.
 PART THREE
Printing Experimentation
Figure 8.1. Study in Silver, chromo print, 8˝ x 10˝© Dani Hatfield 2021
Chapter 8
Chromo

Figure 8.2. Long Beach

Church, 10˝ x 8˝ chromo
silver gelatin print ©
Brenden Scheller 2019.
Brenden Scheller is inspired
by the combination of
abstract and landscape.
He uses experimental
processes to add a layer
of atmosphere to his work.
To see more of his work visit
brendenscheller.com.

I
n the Chemigram chapter I describe a In my former Experimental Photography Workbook
method of deriving black, white, and colors I titled this particular chapter Photo+Chemigram
on silver gelatin paper while using resists. but the chapter title created confusion in readers.
One offshoot of the chemigram process is “chro- Freestyle had come out with their Arista Chromo
moskedasic sabattier” or “chromo” as it has come Activator and Chromo Stabilizer in March of 2009
to be known. The chromo process is often figura- so by 2012 when the book was published most
tive: a negative is exposed to silver gelatin paper everyone was referring to the process as chromo-
in the normal way, but then special chemistry— skedasic sabattier or “chromo” for short.
Chromo Activator and Chromo Stabilizer—is The process has been called by other names,
used to create colors and plated silver on the too—chemogram, painting with light, duotone
paper. Light is not necessary to create the colors solarization, silver mirror printing, chromoske-
and generally resists are not part of the process. dasic duotone pseudosolarization. I have seen a
photographer or two, unaware of the history of
90 Chapter 8 Chromo

the process, think they were the inventors of this all color and reflect black. In the colorful mono-
unique method of silver gelatin printing, and unfor- chrome processes the silver particles are carefully
tunately sometimes this lack of giving credit where managed with different chemicals, with or without
credit is due was intentional. Imagine my dismay, exposure to light, to become different sizes. These
after helping one well-known photographer with different sized silver particles scatter light in differ-
his chemigram prints, to read in his gallery catalog ent ways to produce the different colors. Smaller
description that he invented the process himself. particles will look yellow; larger particles will look
When the Arista Chromo Activator and red. The process becomes even more fascinating
Stabilizer chemistry are used along with normal when bright, shiny metallic silver plates out on the
darkroom chemistry, chemical fog, as opposed to surface of the print where the whites once were—
light fog, can be induced on photographic paper. like a “poor man’s daguerreotype.”
The chemical fog produces colorful monochromes Lam and Rossiter published a two-part article
and one extra benefit if done in a particular way— in Scientific American shortly thereafter which
plated out metallic silver. The chemical fog can be inspired a number of practitioners, two of whom
induced with or without any light exposure to the were Alan Bean and William Jolly.1
paper. This can be easily demonstrated in the dark- Bean read Lam’s article on a plane, got home
room by putting an unexposed piece of black and and tried the process right away. He brought his
white paper into the chromo tray; the paper will prints to Houston’s Photofest, where he met a
plate out with metallic silver in a minute or two. woman from View Camera who then asked him to
The use of Activator and Stabilizer chemistry, write an article on the process.2
(Kodak S2 and S30 at that time) was the result of At about the same time, on the opposite
Dominic Man-Kit Lam’s experimentation. Lam side of the country, a chemistry professor at the
was a professor of Ophthalmology and Director University of California, Berkeley, William Jolly,
for Biotechnology at the Texas Medical Centre in began researching the process. Jolly had seen the
Houston (not a photographer). He was developing 1991 Scientific American article by Man-Kit Lam
silver gelatin pictures of eye images. One of the and Rossiter and surmised that the chemistry,
images had brown stains. Lam was curious about specifically thiocyanate, promoted developmen-
the stain and decided to play with it. He worked tal fog which was responsible for the colors and
out a method of creating these colorful mono- silver, because thiocyanates are in the Stabilizer.3
chromes without giving it a name. Jolly published his results in Darkroom & Creative
In 1989 Dr. Bryant Rossiter, who worked for Camera Techniques (Nov/Dec 1992). Jolly also
Kodak, saw Lam’s prints and suggested that the published an article in July/August 1993 and
colors were the result of the “Mie” effect which is September/October 1993, and then his article
light scattering as opposed to light reflecting. Mie on “Silver-Mirror Printing” in January/February
scattering is named after Gustav Mie who first 1999 (under the magazine’s new name PHOTO
described it in 1908. Lam’s prints were scanned Techniques).4
under an electron microscope at Kodak, and the Jolly concluded one of his articles with this
Mie effect was found to be the cause. Rossiter is statement: “I have not worked out all the details
the one who told Lam he should name the process of this method, but I feel that it is such an exciting
“chromoskedasic,” Greek for “color by light scat- process that I should not delay in letting the readers
tering.” Man-Kit Lam called it “chromoskedasic know about it, even in its present imperfect state.”5
painting,” not solarization or sabattier. It was Jolly’s and Bean’s articles that inspired me to
To explain the Mie effect, a black and white teach this process beginning in 2001 at Montana
print is normally monochromatic because the silver State University.
particles that remain in the print after fixing absorb
 Chapter 8 Chromo 91

Figures 8.3–8.4. After Wolf Kahn, left, hand colored silver gelatin print, 14˝ x 11˝; right, Aspens, chromo silver gelatin print
from the same negative, 10˝ x 8˝ © Christina Z. Anderson 2005 and 2010 respectively.

Discoveries is desired, see the Appendix. In the Appendix are

Silvering out was elusive for me. Jolly’s explana- Bean’s and Jolly’s processes, the latter’s extensively
tion for silver plating was: “The fogging developer described, as well as other practitioners’ methods.
contains thiocyanate, which dissolves the silver
halide by complexation. The complexed silver ion Materials needed
then undergoes so-called ‘physical development’ on All items are available from Freestyle Photo; Arista
the emulsion base, much as silver is plated out on a is Freestyle’s signature brand name. If you can’t
glass surface in the traditional chemical method of locate the chemistry and you are handy with mixing
making silver mirrors. The rate of silver deposition chemistry in the darkroom, I’ve included the msds
is enhanced by making the second developer highly ingredients in this chapter.
alkaline with potassium hydroxide.” 6 Knowing the Arista.edu Ultra or Ilford Multigrade Warmtone
“why” was helpful; a darkroom mistake led to the glossy paper, only
“how.” Arista Premium B&W Chromo Activator
To make a long story short, in the spring of Arista Premium B&W Chromo Stabilizer
2009 I discovered two ways to make the silver LegacyPro EcoPro B&W Paper Developer
plating predictable. One is the use of EcoPro Normal darkroom chemistry
developer instead of Dektol. EcoPro is an ascorbate
developer with no hydroquinone. I have no idea if Image type
the absence of hydroquinone is the ticket, or the Colors only appear where there is white (undevel-
sodium isoascorbic in EcoPro, but it works. Two is oped silver halide) in the print. The image must
the use of warm to hot water in the solution. My have large areas of white or not much color will
chemist friend Alberto Novo from Italy led to the occur. This is easy with digital negatives—fill in
latter discovery when he told me warm solutions areas you want to silver out with white even if they
were used to plate mirrors with silver. With these don’t occur in the original image—or print any
two factors, in twelve years I have yet to have the image with a high contrast filter so that highlights
process fail me. in the image “blow out.”
Following is my fail-safe process I have taught
for over a decade. It is a perfect method for your
first foray into chromo. If further experimentation
92 Chapter 8 Chromo

The chromo tray method This will take up to several minutes. In the dark-
You will be taking an exposed, freshly developed room it will appear as a creeping, massive gray fog.
but not yet fixed silver gelatin print and putting it Look at the print obliquely in the tray to see if it
in a combination of “Activator” and “Stabilizer,” fluoresces silver. It works best when the solution is
in the darkroom only, or in the darkroom and out warm (80–105ºf).
under room light. The Activator is a dilute potas- 3. Remove it and place it face up in Tray 2. If the
sium hydroxide; the Stabilizer is an acetate buffered print looks perfect after Tray 1 there is no need for
thiocyanate. the Tray 2 bath (I actually never use Tray 2).
4. Bring Tray 2 with the print submerged in the
Tray 1 solution out into room light for however long
Note this is an easy to remember formula: 4 parts desired. Color shift will occur—pinks, mauves,
warm water + 2 parts Activator + 1 part Stabilizer peaches, and even blues. This part of the process
+ 1 part EcoPro or 4/2/1/1. moves somewhat slowly. Plan time to nurse the
500 ml warm water (86–105°F/30–40ºC) print along while watching.
250 ml Arista Premium B&W Chromo Activator 5. When done, stop, fix, wash, and hypoclear the
125 ml Arista Premium B&W Chromo Stabilizer print as usual. Never touch the surface of the print
125 ml EcoPro developer stock solution until dry or it will mar permanently! This means
In a liter container, add 500 ml warm water. either separate trays to wash each print or an
1. Add 250 ml Activator. archival washer with individual print slots, and no
2. Add 125 ml Stabilizer. squeegeeing.
3. Add 125 ml EcoPro stock solution (undiluted). 6. Dry face up. Once the print is dry, if it tarnishes
4. Cap and lightly shake. The solution will smell it can be delicately polished with a soft cloth.
strongly of ammonia.
5. At time of use, pour this in a tray large enough The chromo brush method
to allow a print to be picked up by the edges with 10 ml Arista Stabilizer in 90 ml water
tongs. Better yet, use nitrile-gloved hands to move (10% solution; can use 10–20%)
the print from tray to tray. An 11˝ × 14˝ flat- 20 ml Arista Activator in 80 ml water
bottomed tray is best for 8˝ × 10˝ prints. If doing (20% solution; can use 10–20%)
prints larger than this, use a 16˝ × 20˝ tray and two 15 ml EcoPro Developer in 85 ml water
liters of mix. (15% solution)
Assortment of brushes, small to large; fat
Tray 2 (if desired) calligraphy brushes work well
900 ml warm water Three separate plastic cups
100 ml Arista Activator EcoPro is very concentrated. Working strength
1. Add 100 ml Activator to 900 ml water in a tray, is mixed using 1 + 9 parts water. Dektol is less
or enough to be able to submerge the print under concentrated. Working strength Dektol is mixed
a thin layer of solution. using 1 + 2 parts water. Both can be used in the
brush method, but more Dektol stock than EcoPro
Tray procedure stock may be required, e.g. 50 ml Dektol and 50
1. Expose the paper to a negative and develop the ml water.
print in any paper developer until darks are suitably
dark and there is detail in the midtones to lower Brush procedure
highlights—perhaps a minute. 1. Expose and develop a print for about a minute,
2. Drain, rinse in water, and slip face up into Tray or until all highlight detail is present.
1. Agitate for the first 30 seconds or so and then 2. Drain developer off, rinse with water, and bring
watch for silver to plate out over the whole surface. out into room light in a flat bottom tray.
 Chapter 8 Chromo 93

Tips and ideas

• Stick with Ilford Warmtone glossy or Arista
Ultra—they are perfect for the process. After
getting a handle on the process, try out other
papers.
• Temperature is important; if the process is not
going well, increase the Tray 1 temperature by
either pouring back the mix in a jug and putting
the jug in hot water, or putting the tray in hot
water, or using hot water to mix it in the first
place.
• Stabilizer leans toward yellow.
• Activator leans toward orange.
Figure 8.5. Autumn Sun, 10˝ x 8˝ chromo silver gelatin print • Developer leans toward red-brown.
© Dani Hatfield 2021. This image is made from the same
negative as in Figure 8.1, but whereas Figure 8.1 is a tray
• Stabilizer does just that—slows down things.
method chromo print this is a brush method chromo print. • Activator does just that—speeds up things.
• The spectrum from yellow to red is produced
fairly easily with these chemicals. The spectrum
3. Immediately paint a thin layer of 10% Stabilizer from green to blue, a bit more difficult to induce,
over the entire print and watch the darkening print is usually accompanied by silver.
color turn to pale yellow. • Most often, Stabilizer to Activator is in a 1:2
4. After a bit, paint on 20% Activator in places proportion.
where a dark brown shift is desired. It will shift • The more concentrated the solutions, the deeper
slowly. The amount of each solution used will deter- the colors.
mine that—for instance, more Activator and less • The less concentrated the solutions, the paler
Stabilizer on the print, quicker change. If it moves the color.
too quickly, paint on more Stabilizer. • Color obtained is related to pH to some extent.
5. Paint on some EcoPro 15% solution. Usually High pH leans toward the red end of the spec-
silvering out occurs at this point where the three trum and low pH leans toward the blue end of
chemicals are layered on the print. the spectrum.
6. The rest of the process is a repetition of these • Activator increases the pH, hence redder colors.
three steps, with these three solutions. Move slowly • To increase pH use add 10–50 ml Activator to
and pay attention to brush strokes to insure they are the tray or even some sodium carbonate powder.
contributing to the image, and be careful because • To decrease pH add 3–10 ml 28% acetic acid
they will be very dominant. Note: if the Activator stop bath to a tray.
gets dark and grungy, don’t dump it, just replen- • If color forms too slowly, raise the pH (more
ish it with fresh Activator and keep on brushing. Activator).
There’s good stuff in there. Silver deposits will • If color forms too quickly, reduce the pH (more
happen gloriously with the brush method if the Stabilizer).
Activator gets grungy brown. The Stabilizer, for • There is a drastic color shift when the print is
the most part, will stay clear. fixed as well as when the print is dried, just like
7. When the print is done, rinse, stop, fix, hypo- with lumen prints. Drydown is easily a stop
clear, wash, and dry as with any black and white denser. It is easy to see the effect: just wet half
print, being careful with the tender surface. Do not the finished print again and see the difference
squeegee or touch the surface of the print until it between the wet half and the dry half in both
is dry. color and density.
94 Chapter 8 Chromo

Figure 8.6. Pedestal, silver gelatin

chromo © Jessica Hays 2019.
“These images explore trauma
in relationships, loss, and the
experience of overcoming
and regaining power
afterwards.” Jessica L. Hays is
a conceptual photographer,
alternative process printmaker,
and curator from Bozeman,
Montana. Her work focuses
on human relationships, issues
of mental health, trauma,
personal memory, and places
of healing. Born and raised in
Montana, Hays has bachelor’s
degrees in Photography and
Liberal Studies from Montana
State University, and is an MFA
candidate at Columbia College.
To see more of Hays’ work visit
jessicahaysart.com.

• Make sure the Tray 1 Chromo remains fresh or • Mix a solution of 50 ml each of working strength
a layer of amorphous, black, sludge silver will paper developer, full strength Activator, and full
precipitate on the surface of the print. This can strength Stabilizer, and pour it directly on a print
be wiped off gently with dampened cotton balls or brush on a print. It will plate out dark blueish
and alleviated somewhat by chromoing the print silver.
face down; or, use smaller amounts of chemistry • Buy several Aquash fillable pens and fill them
in the tray one-shot, dumping after use. with the chemistry so you can draw with it.
• Try selective development of a print, using a • Polish the surface of a chromo with a soft cloth
brush to paint on developer on only parts of to clean and shine.
the image. This will give more white area for • If an oily fingerprint gets on the silver, the print
the colors to appear. To do this, expose the print will require a brief rinse in rubbing alcohol to
to a negative as per normal, and then place the try and get rid of it, or live with it as the artist’s
print on a level piece of glass. Wet a brush with touch.
paper developer and brush it on in the image
area. When the image starts appearing, brush Chemistry of the solutions
more developer on where it is needed until the EcoPro (pH 10.35)
image is fully there. At this point rinse and either Weight % Chemical Name
place the paper in Tray 1 or brush with Stabilizer 10–25 potassium carbonate
and then bring it out into room light to use the 7–10 sodium sulfite
chromo brush technique. 5–10 sodium isoascorbic
• The wide, white border areas between the darks 1–5 triethanolamine
and the chromo colors are sort of pseudo-Mackie Arista Activator (pH 14)
lines and you can make them more dramatic by Weight % Chemical Name
painting on the chemistry and then hanging 5–10 potassium hydroxide
the print vertically. You will see streaks of color 5–10 sodium sulfite
descending from these wide white areas, another Arista Stabilizer (pH 4.85)
visual element to cultivate. Weight % Chemical Name
 Chapter 8 Chromo 95

15–20 ammonium thiocyanate

5–10 sodium metabisulfite
1–5 acetic acid
Kodak Dektol, for comparison (pH 10.2-10.4)
Weight% Chemical Name
50–55 sodium carbonate, mono
30–35 sodium sulfite
5–10 hydroquinone
1–5 bis (4-hydroxy-N-methylanilin-
ium) sulfate
1–5 Polyphosphoric acids, sodium salts
1–5 potassium bromide
Freestyle can’t ship Chromo Activator and
Stabilizer to Europe, but try making your own
solution of Activator (75 g potassium hydrox-
ide, 75 g sodium sulfite, water to 1000 ml) and
Stabilizer (175 g ammonium thiocyanate, 75 g
sodium metabisulfite, 25 ml glacial acetic acid,
water to 1000 ml).

Chromo sources Figure 8.7. Metaphor, brush chromo © Christina Z. Anderson

See the Appendix for more chromo formulas. 2009
“Brushes with Light; Photographs by Denny
Moers” and “Brushes with Light, Explained” in 1997. https://www.wljollysolarizationchemistry-
Camera Arts, November/December 1981. photography.org/book-solarization-demystified
Lam, Dominic Man-Kit and Bryant W. Rossiter. Jolly, William L. “Silver Mirror Printing and Other
“Chromoskedasic Painting” in Scientific American, Unusual Black-and-White Print Development
November 1991, pp. 80–85, 136–137. Also here: Processes” in Photo Techniques, January/February
http://www.dominiclam.net/LAM_science/ 1999, pp. 32–36.
Chromoskedasic1991.pdf Jolly, William L. “Silver Mirror Printing Update”
Bean, Alan W. “The Black and White Corner. in Photo Techniques, July/August 1999, p. 11.
Chromoskedasic Painting” in View Camera, https://www.wljollysolarizationchemistrypho-
September/October 1992, pp. 40–43. tography.org/
Jolly, William L. “Chromoskedasic Duotone Endnotes
Pseudosolarization Using Development Fogging” 1. Lam, Dominic Man-Kit, and Bryant W. Rossiter.
“Chromoskedasic Painting,” and “Painting in Color without
in Darkroom & Creative Camera Techniques, Pigments,” Scientific American, November 1991, pp. 80–85,
136–137.
November/December 1992, pp. 30–31. 2. Bean, Alan W. “The Black and White Corner.
Jolly, William L. “Dramatic Duotone Solarization” Chromoskedasic Painting” in View Camera, September/
October 1992, pp. 40–43.
in Darkroom & Creative Camera Techniques, July/ 3. Jolly, William L. “Chromoskedasic Duotone
Pseudosolarization Using Development Fogging” in Darkroom
August 1993, pp. 19–21. This article is a sabattier & Creative Camera Techniques, November/December 1992,
technique; see the Sabattier chapter. pp. 30–31.
4. Jolly, William L. “Chromoskedasic Pseudosolarization
Jolly, William L. “Chromoskedasic Pseudo- Update; Popular Technique Improved,” pp. 28–31,
solarization Update, Popular Technique Improved” September/October 1993; “Silver Mirror Printing and other
Unusual Black and White Print Development Processes,” pp.
in Darkroom & Creative Camera Techniques, 32–36, January/February 1999; “Silver Mirror Printing Update,”
p. 11, July/August 1999, all in Photo Techniques.
September/October 1993, pp. 28–31. 5. Jolly, William L. “Chromoskedasic Duotone
Jolly, William L. Solarization Demystified, Black and Pseudosolarization Using Development Fogging,” pp. 30–31.
6. Jolly, William L. “Silver Mirror Printing and Other Unusual
White Chemistry of William L. Jolly (Chapter 6), Black-and-White Print Development Processes,” p.
35.
Figure 9.1. Elenor 01, from the Elenor series, liquid emulsion print © Zachary Begler 2021. “My grandmother,
Elenor, was a private woman who only talked about herself in great detail towards the end of her life.
Over the summer I told myself I was going to visit her at Christmas and give her art I made during the
semester to liven up her home décor. On August 9th, she killed herself. Elenor is a series of eight images,
a repurposing of past photographs translated into a story of who my grandmother was and whom I
believed her to be: a friend, a mother, lively. Who she was and who I want her to be are two separate
entities that hold similar weight. This work explores how she and my idea of her collide. All images
originate from Elenor’s collection of photographs spanning from her early 20s in the 1950s to the last
image I captured of both Elenor and her husband Terrence in 2018. The images were printed in liquid
emulsion on Fabriano Artistico watercolor paper. Transcribed upon the images is a letter I wrote to her
in the months surrounding her passing. The letter creates a story when all eight images are lined up
correctly.” Zachary Begler (b. 1995 Helena, Montana) moved to Bozeman, Montana in 2014 to pursue
a BA in Film and Photography at Montana State University. Midway, Begler took a break, bought a van,
and traveled the West Coast to photograph homelessness and gangs, mostly in the Los Angeles area.
Begler takes pride in getting to know his subjects prior to taking their images. Two exhibits of this series
A Lens to the Streets resulted at the Holter Museum of Art, Helena, Montana, and at the University of
Montana Western, Dillon, Montana. Begler returned to MSU and completed his degree in May 2022.
Chapter 9
Liquid Emulsion and Modern Tintype

Figure 9.2. Elenor 02, from the Elenor series, liquid emulsion print with text © Zachary Begler 2021

L
iquid emulsion is a liquid form of the same There are speed differences between liquid
light sensitive emulsion that is on silver emulsions. Some expose slower and some faster.
gelatin paper. It can be used on all sorts of Liquid Light is slower than the rest, but it does
surfaces to make them photo-sensitive. As a first not require red safelight while the others do. If
foray into liquid emulsion, watercolor paper is your darkroom is not equipped with a red safelight,
easiest. Then explore other surfaces once you are use Liquid Light. Otherwise purchase other brands
familiar with its use. and use red safelight so fogging does not occur.
There are contrast graded liquid emulsions that The brands of liquid emulsion available at the
do not need filters nor respond to filters as they time of this writing are Rollei Black Magic Variable
print at a fixed contrast, usually like a grade 3 paper. Contrast or High Contrast, Rockland Liquid
There are variable contrast liquid emulsions that Light, and Fomaspeed. Rollei High Contrast,
respond to filters and print at different contrasts Fomaspeed, and Liquid Light all are similar to a
from low to high. Choose variable contrast so you grade 3 paper. I prefer Rollei Black Magic because
have choices. it is fast and variable contrast.
98 Chapter 9 Liquid Emulsion and Modern Tintype

Figures 9.3–9.7. Grandmother’s House, crystal drops from a chandelier coated with liquid emulsion, 6.5 x 5.1 cm © Laura
Corrado, 2015. “The pictures are part of a project aimed at creating a portrait of my grandmother’s house, made through
still life photos of the most significant objects I could find in it. Each picture is darkroom printed on a crystal drop taken
from her livingroom’s chandelier.” Laura Corrado was born in Naples, Italy. After graduating from the Academy of Fine
Arts in Rome, she pursued her masters in professional photography. To see more of her work visit www.lauracorrado.it.

Emulsion hardener Gelatin-alum subbing solution for glass

There is no need for a hardener when using liquid A gelatin subbing solution for use on glass or tile
emulsion on paper. However, on other surfaces this is as follows.
may be necessary. Rollei and Fomaspeed both make 2 packets of Knox gelatin (4 teaspoons)
a hardener available for purchase. The Rollei brand 475 ml of water
is called RBM5 and is a glutaraldehyde hardener, 2 g (½ teaspoon) chrome alum crystals
so take care in its use as with any aldehyde. 25 ml warm water
1. Clean the glass in hot water contain-
Surface preparation ing sodium carbonate or Arm and Hammer
If the support is paper or cloth, there is no Washing Soda, then scrub with a cloth.
surface preparation needed. Other surfaces need Rinse well. See how the water flows off the
preparation. surface. It should form a barely visible film, and
Semi-matte or matte (not glossy) non-yellow- not make droplets or bead up. If necessary, continue
ing oil based polyurethane varnish is a good choice scrubbing until the surface is clean.    
for metal . If an opaque coat is desired, oil-based 2. Sprinkle the gelatin on 475 ml of cold water. Let
gesso, primer or paint works. Do not use acrylic— it stand for 15 minutes until dissolved.
the liquid emulsion will not adhere well. Note that 3. Heat gently on the stove until melted, about
some metals react with the photosensitive emul- 140ºf.
sion and fog it; aluminum presents no problems. 4. Meanwhile, add the chrome alum (hardener) to
Copper does. 25 ml warm water and let it dissolve.
Plastic should be varnished, as should wood. A 5. Add this solution to the hot gelatin.
cheap foam disposable brush for painting on the 6. Pour this solution, still warm, over the clean glass
varnish works great because it is disposable and surface, drain thoroughly and allow it to dry at least
saves a brush cleanup step. 4 hours or overnight.
All these surfaces need to be well cleaned before
use. Soap is not a good cleaner—it leaves a resi- Coating
due. Instead, use something like Arm and Hammer Coated paper lasts, just like photo paper, so coat a
Washing Soda and clean and scrub well until water batch of sheets at once and then store.
sheets off the surface instead of beading up, which 1. In the darkroom (do not open up the bottle of
is an indication there may still be a film of oil, liquid emulsion in room light) put the unopened
grease, or something else on the surface. bottle of emulsion in a container of warm water
 Chapter 9 Liquid Emulsion and Modern Tintype 99

at a temperature of 100–120ºf until it liquefies. Exposure

Higher temperatures may fog the solution. It will Reserve one piece of coated paper for test strips.
take about 45 minutes to liquefy a whole bottle, It is also possible to use regular black and white
but if just a little is needed, better to transfer a paper, make a comparison between liquid emulsion
smaller amount of liquid emulsion to another light and that paper, and then use it instead of the liquid
safe container and heat that up, always under red emulsion to test. Black Magic is close to the same
safelight. A smaller amount will probably be heated speed as Ilford mgiv. Liquid Light is up to two
and ready to go within 15 minutes. stops slower (4× the time).
2. Pour out the necessary amount of emulsion first
into a small graduate so the bottle of emulsion can Processing
be recapped and returned to the hot water bath. 1. Develop the exposed print for 2–3 minutes.
Replenish the graduate with the warmed bottle 2. Use an acid stop bath or a water stop bath. There
solution when needs be, but never return poured is disagreement over whether to use an acid stop
out solution to the bottle because it may fog the bath; some say it causes the emulsion to bubble and
entire contents. lift. I recommend a stop bath because if the print
3. Coat the paper/support under red safelight, has any developer remaining in it—which happens
being sure not to touch metal to the solution at without a thorough rinse in between developer and
any time, which may fog the solution. Fogging is fixer—the print will smell like fish and turn brown.
the most frequent problem with liquid emulsion. A The thicker the paper, the longer the stop bath and
soft-haired stitched-ferrule hake brush works well the more rinsing at every single step.
for liquid emulsion. 3. Fix for twice as long as you normally do with
4. Don’t be shy with the brushing. Brush in one regular enlarging paper. It takes a long time for
direction, then the other. Push down on the brush watercolor paper to fix. It is best to lengthen times
to make sure the emulsion sinks well into the for all steps of liquid emulsion except the developer.
surface irregularities, even on hot pressed paper. 4. Hypoclear and wash for 40–80 minutes if hypo
Pop any bubbles that may appear. Glance at the cleared, 60–120 minutes if not.
paper in the light, looking for any stray brush hairs
that may be stuck to the emulsion. Tips and ideas
5. When done coating the paper, let it dry • Don’t shake the bottle because bubbles will
completely in the dark making sure there is no develop that will mar the image. To get rid of
stray light leaking into the darkroom. Tip: use a bubbles, blow on them gently, or poke them
hair dryer on cool to speed it along. When completely with a brush. Or cut emulsion 50% with distilled
dry, mark the uncoated side with an X, and put in a water and coat twice.
photo-safe black bag. Before doing this, to be sure • Do not freeze the emulsion; keep it cool or
the paper is dry, run fingers along the edges because refrigerate it. As it ages, the emulsion produces
that is where a thicker layer of emulsion may bead rich blacks, but too old an emulsion will fog or
up and not be quite dry. turn black. Use it up within 6 months of opening.
6. Agitate the brush in fixer for 5 minutes and • A bottle of liquid emulsion can be reheated
then wash for 10 minutes. If emulsion is left on several times, but after that it may fog.
the brush it can fog the next batch. Black streaks • If you have them lying around from your
and specks in the print can be caused by a previ- analog film days, a plastic film canister holds 1
ously used and unclean brush. ounce (30 ml) of solution and will coat up to 6
8˝ × 10˝s which is about what can be cut out of
a 22˝ × 30˝ sheet of watercolor paper.
100 Chapter 9 Liquid Emulsion and Modern Tintype

• When coating glass, keep it warm on top of a Supplies

heating pad, or blow on it with a hot hair dryer, Rockland Colloid tintype kit
so that the emulsion does not instantly harden (www.rockaloid.com, www.freestylephoto.biz)
when it is poured on the glass surface. Some or
thin the emulsion with water and do two coats Trophy plate aluminum #108 buffed bright or
instead of one on glass. #308 opaque, .025˝ or .020˝ thickness
• Make sure a print is completely dry before flat- (www.maintrophysupply.com)
tening it in a dry mount press. Any moisture or
left in a print will cause it to stick to the press Metal sprayed with flat black spray paint
and rip. Tintype developer
• If the substrate is delicate, buy fiberglass screen- Liquid emulsion
ing from the hardware store and make a cradle Darkroom chemistry (fix, hypoclear, etc.)
for the print with which to transfer the print Oil based glossy polyurethane varnish
from solution to solution when developing.
• Add mica, metallic or colored pigments to the Tintype developer I
emulsion before coating. Some pigments will 1 liter packet of Dektol
change color in the fix, though—red is one that 300 g sodium sulfate
is worthless. Pigment may affect the exposure 125 g ammonium thiocyanate
time of the emulsion. 25 g sodium carbonate
• Make a poor person’s orotone by backing a Rollei Black Magic hardener, if desired
liquid emulsion print on glass or plastic with 1. Heat 3 liters of water to 110ºf.
gold acrylic pigment. 2. Add packet of Dektol and stir until completely
• Try Yupo, a plastic frosted translucent paper. Use dissolved.
hardener in the emulsion, though. 3. Add sodium sulfate and stir until completely
• Use Thai Mulberry paper—spray the back of the dissolved. Cool.
paper twice with Krylon Crystal Clear Matte 4. When room temperature, add ammonium thio-
Acrylic to prevent bleed through before coating. cyanate and sodium carbonate.
5. Pour into a gallon container and add enough
Modern tintype using liquid emulsion water to make 1 gallon.
Tintype is traditionally a wet plate collodion 6. Allow to ripen for a few hours before first use.
process on a blackened metal plate exposed in Working strength developer will last several weeks.
camera. The black background camera negative that 7. Add two capfuls of the Black Magic hardener
results appears positive because it is against black. to each 1000 ml developer at time of use to harden
There are many still practicing the collodion version emulsion if desired.
of tintype. In this chapter the process is done with
liquid emulsion under an enlarger. A positive, Tintype developer II
not a negative, is required for exposure—simple To one liter of working strength Dektol add 75 g
with digital negatives—and the paper developer (about ¼ cup) sodium sulfate and 40 g (about 3
has additives to make it a fogging developer. The tablespoons) ammonium thiocyanate. Stir thor-
fogging developer turns the layer of liquid emulsion oughly until dissolved.
lighter so that it shows up on the black surface.
 Chapter 9 Liquid Emulsion and Modern Tintype 101

Quickie tintype developer brush, spread the emulsion evenly, letting excess
3 parts Dektol pour back off a plate corner into the container. All
1 part exhausted rapid fix of this is done under red safelight only! It may
At time of use add fixer to working strength Dektol. help to dilute the emulsion up to 10% with water
so it spreads better, or brush on two coats, drying
Rockland tintype developer in between. A hair dryer is useful for warming the
1. Heat 3 liters of water to 110ºf. plate before coating, too.
2. Add the packet of Dektol (Part 1) and stir until 8. Dry the plate flat overnight in the dark—the
completely dissolved. longer the better. The emulsion adheres better if
3. Add the Part 2 powder and stir until completely the plate is not exposed right away. It also adheres
dissolved. Cool. better if a hardening fix is used.
4. When room temperature, add the Part 3 liquid. 9. Expose the tintype to the positive. All expo-
Pour into a gallon container and add enough water sure times should be worked out beforehand as
to make 1 gallon. This will last several weeks. discussed in the Digital Negatives chapter. One
5. Add two capfuls of the Black Magic hardener to plate reserved for a Stouffer step wedge is useful,
each 1000 ml developer at time of use if a hardener and you can even clean off the liquid emulsion with
is necessary. hot to boiling water and reuse that plate.
10. Develop in the tintype developer for 2 minutes.
Tintype directions Always have the plate face up. Never touch the
1. Remove the plastic sheet of protective material surface because it is very fragile.
from the trophy aluminum plate. 11. Wash for 30 seconds in water.
2. Buff with 600-grit sandpaper or fine steel wool 12. Fix for 3 minutes in a hardening rapid fix.
if desired. 13. Wash, hypoclear, and wash again.
3. Clean the plate with sodium carbonate, Arm and 14. Dry vertically.
Hammer Washing Soda, or Windex until water 15. Once dry, spray with a coat of Krylon Crystal
sheets off instead of beads off. Dry well. Clear polyurethane varnish, or use the traditional
4. Spray or brush with glossy or semi-gloss poly- varnish recipe below.
urethane oil-based varnish and let dry 6 hours or
longer to enhance adhesion. Lavender varnish recipe
5. Heat the liquid emulsion until liquefied—a 200 ml Everclear or methylated alcohol
crock pot is perfect for this to keep it warm at a 30 g gum sandarac
low temperature of around 110–120°f. Never shake 20 ml oil of lavender
the bottle as this will create bubbles in the coating. 1. Dissolve the gum sandarac in the alcohol.
Pouring smaller amounts in light-safe containers 2. Filter debris out.
is a good idea to avoid reheating and overheating, 3. Add the oil of lavender.
both of which may contribute to fogging of the 4. Store in a glass bottle.
emulsion. 5. Heat before use and pour on.
6. Put the dry and cleaned plate on top of a small
tray (smaller than the plate) filled with hot water Troubleshooting modern tintype
which will keep the plate warm. Have this in • If the tintype is too light, it is overexposed.
another tray so the excess emulsion can drip into • If the tintype is too dark, it is underexposed.
the outside tray. • If the tintype is blueish, it was coated too thinly.
7. When the emulsion is liquid, pour a generous • If the tintype has bubbles, either the emulsion
amount on the plate. With gloved fingers or a was shaken or the brushing was too vigorous.
Figure 10.1. Tacoma Art Museum Parking Lot, lith print on Fomatone MG (current), Arista Liquid lith
developer 150 ml Part A + 150 ml Part B + 3 liters water, print #8 through the developer © Douglas
Ethridge 2021
Chapter 10
Lith Printing

Figure 10.2. Best Friends, Louvre, lith print on Forte Polygrade V using Fotospeed LD20 lith developer, 50 ml Part A + 50 ml
Part B + 2 liters of water, first print through the developer © Douglas Ethridge 2021

L
ith printing is a unique method of print- Papers for lith printing
ing silver gelatin paper wherein the paper The hardest thing about lith printing today is that
is overexposed 2–3 stops and then developed there are few suitable papers for lith. The most reli-
in a highly diluted lith developer for a long period able papers on the market are currently Fomatone
of time. Images result in gritty, grainy blacks with mg Classic 131, 132, 133 and Foma Retrobrom
creamy highlights that are uniquely colored from 151 vc. All other contemporary papers are gener-
pale yellow and pink to deep caramel and terracotta. ally limited to use for Second Pass lith.
With the right image and patience for a slower
development process, lith printing is flexible, infi- Lith developers
nitely variable, and also quite fun. Note that with Arista Premium Liquid A and B Lith Developer
the length of time it takes to expose and develop This developer comes in quart bottles and is very
lith prints, red safelight is best to prevent fogging. [I economical. Mix at a 1:24 dilution. A tray of two
thank Douglas Ethridge for editing and adding his liters of this will lith about 8 prints before snow-
well-seasoned experience to this chapter.] balls appear, in which case mix up a fresh batch.
104 Chapter 10 Lith Printing

Arista Powder A&B Litho Developer 1. Mix chemicals for Solution A in the order given
This developer works well and is a different formula and store in a separate container from Solution B.
than the liquid. 2. Mix Solution B carefully! Potassium hydroxide
Moersch Easy Lith produces heat when it goes into solution—hence
Though it is pricier than Arista Lith, this can be the cold water and slow mixing or it can explode
purchased in smaller quantities from 100 ml bottles in one’s face. Potassium hydroxide is the same as
to 500 ml bottles. It is mixed up 1:15–1:30. Red Devil Lye from the grocery store, a very caustic
Moersch SE5 Master Lith Kit chemical!
This is a four solution mix with two extra additives 3. At time of use add 1A+1B+4 or more parts
to the normal Part A and Part B. If lith printing water. Development times will be 21/2–5 minutes
becomes your process of choice, this is a next step. or longer.
Each developer will provide a different look-
ing result with any given paper, and some paper/ Lith Developer ID 85
developer combinations are more prone to artifacts id 13 is a good developer, but id 85 is even better.
such as pepper fog. Consequently experimenting Where id 13 might not produce a good lith print
with different developers is always good. Two reli- until several have gone through and seasoned the
able combinations are Fomatone mg with EasyLith developer, id 85 has, in my experience, lithed the
and Fomatone mg with Arista Liquid. first print through. The downside to id 85 is the
One important aspect of lith development is use of formaldehyde which is a bit sickly sweet
that the developer is chemically changing with smelling and a known carcinogen (even though it
each print that is run through. As each printing is in all kinds of products). Therefore, proceed with
session proceeds, there will be a gradual but notice- caution in the mixing of this chemistry, as is true
able increase in contrast and this can be offset to of any of the formulas in the book.
some degree by slightly increasing exposure times Solution A
(5–10%) from one print to the next. There will 500 ml water at 125ºf
also be an increase in “grit” or “texture,” and often 36.5 g sodium sulfite
in color. The trend of these chemical changes is 9.4 g boric acid crystals
relatively consistent from session to session. This 28 g hydroquinone
means that, for example, if you like a print that was 2 g potassium bromide
made in the middle of a session, the best chance of Water to make 1000 ml
making a print with a similar look in a later session Solution B
is to make it again in the middle of the session, not 500 ml water @ 90ºf
at the beginning nor at the end. 11 g sodium bisulfite
1 g sodium sulfite
Lith Developer ID 13 37.5 g paraformaldehyde
Some refer to this as Ansco 70. Water to make 1000 ml
Solution A 1. Mix chemicals for Solution A in the order given
750 ml water at 125ºf and store in a separate container from Solution B.
25 g hydroquinone 2. Mix chemicals for Solution B in the order given
25 g potassium metabisulfite and store in a separate container from Solution A.
25 g potassium bromide At time of use mix 4A+1B+10 parts water.
Water to make 1000 ml
Solution B How lith works
750 ml cold water Lith works on the basis of infectious development:
50 g potassium hydroxide (care!) the darker a tone becomes the faster it develops,
Water to make 1000 ml and the faster it develops the darker it becomes,
 Chapter 10 Lith Printing 105

and so on. It may take as long as 25 minutes to get develop longer. If you need lower contrast: increase
to this point, during which time it is necessary to exposure, develop shorter. If you are using a variable
watch development closely, because once infectious contrast paper, applying filters at the far end of the
development takes hold, things can move quickly scale such as Grade 0 and Grade 4 will also make
and the image can easily become much darker than a noticeable difference.
you may like. Snatch the print when you like it This stands to reason—somewhat. If it takes a
and place immediately into the stop bath with no longer time to develop a print it seems logical that
drain time. the highlights would be taking their time printing
The dilution of the developer allows a larger in. Actually, it follows expansion and contraction
window of opportunity for this snatch time. The principles of film exposure and development to a T:
more dilute the developer, the more lith-y the print, to increase contrast, decrease exposure and increase
i.e. the greater difference between the shadows and development. To decrease contrast, increase expo-
highlights. sure and decrease development. Less exposure gives
It is best to use a large volume of developer to higher contrast, more exposure gives lower contrast.
get the biggest window of opportunity. A gallon of
developer in a 16˝ × 20˝ tray for 8˝ × 10˝ work is The lith process
ideal. Keep on hand fresh developer to prime the 1. Mix the lith developer 1A + 1B + 4–30 parts
developer if snowballs appear. water and pour it into the tray. Dilution of devel-
Since the developer is continually aging, lith oper is dependent on the rules above, the paper,
results are not exactly repeatable. This is another and the lith developer brand.
benefit to using larger amounts of developer in the 2. Calculate your standard printing time for the
tray—more consistent results. paper at hand in regular developer and add 2–3
Rule 1: exposure governs the highlights while stops. For instance, if the correct printing time is 10
development governs the shadows. If darks block seconds, adding two stops is 10×2×2=40 seconds,
up before highlights appear, increase exposure 10×2×2×2=80 seconds.
50–100%. If darks don’t show by the time high- 3. Develop the exposed paper in the lith developer
lights are dark enough, decrease exposure. Not all anywhere from 5–30 minutes, with a suggested
papers react this way, but many do. time to shoot for being about 10 minutes or so. This
Highlights determine exposure. If they are too depends on exposure and how much the developer
dark, less exposure is required. If they are too light, is diluted.
more exposure is required. This seems to follow 4. Watch the print closely the entire time,
normal black and white paper. and agitate well. A handy tool is a mini mag
The development length of time relates only to light equipped with a night vision red filter.
the shadows, not the highlights, in the following Unfortunately the color of the highlights are not
way: if the shadows of the print are blocking up very visible in the darkroom so the only thing to
before the highlight detail comes in, more exposure be watching for is the development of the shadows.
and less development is needed, perhaps a 50% or Watch that there is no safelight close to the devel-
100% increase. If development time is too short to oping tray so fogging does not occur.
allow a good snatch point between the darkening 5. As soon as the shadow areas go black as you
of the darkest areas and the midtones, less exposure would like them, pull the print and immediately
and more development time is needed. slide the sheet into the stop bath to stop the devel-
Rule 2: contrast, color, and shadows are opment. Earlier snatches produce softer images,
controlled by development time and exposure: later snatches produce bolder images. Remember—
the longer the development time, the higher the more development, more contrast, because the
contrast. If you need higher contrast: cut exposure, development is making the darks go darker faster
106 Chapter 10 Lith Printing

TROUBLESHOOTING

INCREASE CONTRAST
• Decrease exposure and increase development

DECREASE CONTRAST
• Increase exposure and decrease development

TOO CONTRASTY
• Underexposed

HIGHLIGHTS BLOWN OUT

• Underexposed
Figure 10.3. Note the “snowballs” due to exhausted
developer, lith print on Arista ultra, Arista liquid lith developer
TOO FLAT
© Douglas Ethridge 2022
• Overexposed
• Safelight fogging
• Exhausted developer
Take a previously exposed print and bleach it
BLACKS NOT RICH ENOUGH completely in the Standard Bleach, further. Rinse
• Exhausted developer well and redevelop in a lith developer, just as if
• Wrong exposure doing a lith print from scratch. This is a great way
• Snatched too soon
to use old prints that were not well printed as long
BLACKS BLOCKED UP as they are not too light. If development is carried
• Underexposed too far, the print reverts to a normal silver gelatin
• Overdeveloped
•Snatched too late
print, but if this happens, the print can be lithed
again. When the print is to one’s liking, rinse, fix,
UNEXCITING LITH EFFECT wash, and dry. The process works better on some
•Unsuitable paper
papers than on others. Ilford mgiv does a nice
•Developer too fresh or too strong
•Exhausted developer pink/purple split.
Standard bleach formula
100 g (5 tablespoons) potassium bromide
than making the highlights go darker. 100 g (6.5 tablespoons) potassium ferricyanide
6. Fix the print as usual. When a lith print hits Water to 1000 ml
the fix it immediately appears to lighten drasti- This makes a liter of stock solution. At time of
cally because colors change. Most of the time these use, dilute 1 part stock with 9 parts water (1+9).
colors are not visible in the darkroom, and the true Chemistry doesn’t have to be exact, which is why
color of a lith print doesn’t really appear until the the tablespoon measures are used here.
print is completely dry. 1. Place the print in a tray of working strength
7. Wash, hypoclear, wash again, and dry as per bleach and watch the print while it bleaches.
normal archival procedures. 2. Rinse and redevelop the print in dilute lith
developer.
Second Pass lith 3. Wash as normal for an archival print.
Since the majority of modern papers do not work
for the traditional method of lith printing, Second Bleach-back lith
Pass lith makes it possible to explore this printing A gritty, lith look alike can be achieved by over-
method with many readily available papers. See exposing a print a couple stops, developing it
Tim Rudman in the Contemporary Experimental normally, and then bleaching it back to normal
Artists chapter for examples of this process. density. The print will have slight brown tones.
Fix, wash, and dry.
 Chapter 10 Lith Printing 107

Figure 10.4. Lost in the Trees, lith print on Fomatone MG 131 Classic in Arista Lith 1A+1B+18 water © Emma Culwell 2021

Troubleshooting size larger so that there is less edge turbulence,

• There are several common developer artifacts and make sure the edges of the print are always
caused by exhausted developer. The appearance submerged, because the exposure of corners and
of any of these is a sign to either mix fresh devel- edges of the paper to air may enhance the activity
oper or add extra developer concentrate. These of the lith developer in those areas by increasing
artifacts include pepper fog, tiny perfectly round the rate of hydroquinone oxidation.
pinpoints of black, snowflakes, which are fairly • Fomatone mg starts with warm brown print
good sized spots of white, and snowballs, which results which then move toward bright orange
are white billowy masses. If you see any of these or as Doug Ethridge says, “nuclear holocaust
artifacts near the beginning of a session, it’s a territory.” This is probably a result of the fact
good sign that the paper you are using would be that a used developer gives more color than fresh
a better match for a different developer. so if it is not to your liking use fresh developer.
• Many workers find that the onset of developer • Toning with selenium or gold is excellent; gold
artifacts such as snowballs as well as the gradual will go from red to blue. Selenium toner tones
lengthening of development times can be allevi- shadows first, then highlights; gold tones high-
ated by using a replenishment approach. Mix up lights first, then shadows. Some interesting split
the developer normally, and then reserve 1/4–1/3 tones can happen.
of the mixed developer in a beaker. After each • Two exposed prints can be placed back to back
print, add 80–100 ml of the reserved developer in the lith developer and continually flipped to
to the tray. do two prints at once.
• If edges of a print are darker than the center, • Try higher temperatures of developer, up to
agitate the tray less vigorously, use a tray one 100ºf to shorten the development time.
Figure 11.1. Making the Most of a Pandemic and a Snowstorm, sabattier pinhole image, 4˝ x 6˝ sabattier print
© J. Jason Lazarus 2021
Chapter 11
Sabattier

Figure11.2. Untitled, silver gelatin sabattier, 10˝ x 6.5˝ © Mark L. Eshbaugh 2020. “This print is exposed normally in the
enlarger with a high contrast filter and processed in Sprint chemistry. During the developer stage the print is pulled from
the chemistry at about 30–45 seconds and placed in a dry flat bottomed tray. I then expose the print using a second
enlarger with the aperture stopped down to its limit and re-expose the print with the timer set to 2 or 3 seconds. The
print is then replaced in the developer for about a minute (I pull the print based on visual inspection rather than time).
On rare occasions, I pull and expose the print an additional time, but that either works well or results in too dark of an
image. The remaining processing is done as per normal.” Mark L. Eshbaugh is an artist, author, and musician. His work
has been exhibited in museums and galleries worldwide. Mark teaches photography and digital art at several colleges.
He has written about photographic subjects, and contributed to several textbooks about art. He lives in Massachusetts
with his wife and son. To see more of his work visit www.markeshbaugh.com.

I
n 1862, Armand Sabattier discovered some- to William Jolly, the originator of the process
thing from a mistake. He had accidentally was William Jackson of Lancaster, England, who
exposed his wet collodion plate to light while reported on the process in a letter to the editor
developing it, and noticed the partial reversal of the Journal of the Photographic Society of London,
of tone that occurred. The rest is history. Or so in 1857. And finally, sabattier has forever incor-
Armand Sabattier says. First of all, his name is rectly been referred to as “solarization” throughout
actually spelled with one “t,” not two. That was the photographic community even to this day.
history’s mistake. Second, his first name was not Solarization is when film is subject to gross over-
Armand­—history got that wrong, too. Third, he exposure and density reverses to clear. If the sun
was not the discoverer of the process. According is in an image, for instance, it will result in a clear
110 Chapter 11 Sabattier

spot on the negative which will print black in the Sabattier the quick way
final print. In this chapter “Sabatier” will be spelled Rule of thumb: the longer the initial exposure of
incorrectly as “sabattier” because the horse has left the print, the more positive the final print. The
that barn decades ago, but never referred to incor- shorter the initial exposure, the more negative.
rectly as “solarization.” 1. Expose the paper under the enlarger with a high
contrast filter, and give it about ¼ to ½ stop less
About sabattier exposure than it requires.
A print is exposed to light somewhere during 2. Place the paper in the developer for 1/3–2/3 the
the development process, before fixing. This brief normal development time—around 50 seconds, for
re-exposure of light will have a greater effect on the instance. Make sure the midtones have come up.
highlights in a print than the shadows which have 3. Flash the paper while in the developing tray
mostly developed out. Density will increase rapidly with a 25 watt bulb several feet above the tray for
in the highlights to a full black, the midtones will about 1/10 second. A shorter, brighter flash increases
partially reverse to a lighter tone, and the dark contrast, a longer, dimmer flash reduces contrast.
areas of the print will remain somewhat the same. It is easiest to have this light attached to a timer
Lending to the graphic effect of the image is a to measure time accurately. 1/10 second is a starting
phenomenon called “Mackie lines”—white lines point, but by no means the best time for every print.
that rim objects in the print. These Mackie lines It is also possible to flash more than once. Be sure
occur where light and dark areas meet at the areas there is no other paper out in the open that may
of higher contrast. be fogged by this exposure.
4. Leave the print to develop until the full develop-
Paper and developer to use ment time is complete. Then process it in stop, fix,
Use glossy fiber base paper. In practice, matte etc., as per normal.
papers and warmtone papers do not work as well.
The old method of sabattier employed exhausted Duotone sabattier
developer nicknamed “old brown.” It was thought Duotone sabattier has cold shadows and warm
that old brown was necessary for the process, but midtones and highlights. The print is flashed in
Jolly discovered that sabattier works best in the a second tray of developer that has potassium
absence of hydroquinone, which is depleted in old bromide added to it. Potassium bromide warms up
brown. A fresh, hydroquinone-free developer there- the tones of the print but it also slows development.
fore works beautifully.1 1. Prepare a tray of Dektol or Rainwater.
2. Prepare a second developer tray of Dektol or
Clarence Rainwater’s R77 Rainwater, with 10–50 g potassium bromide added
60 g (8 teaspoons) sodium sulfite per liter of developer. The more bromide, the
13 g (4 teaspoons) catechol yellower and lighter the brown. The less bromide,
48 g (8 teaspoons) sodium carbonate monohydrate the redder and darker the brown. 2 tablespoons
2 g (1 teaspoon) phenidone of potassium bromide per liter of developer works
7 g (1 teaspoon) potassium bromide well.
Water to make 4000 ml 3. Install a light source over the second tray. A
Mix the chemicals in the order given into warm 100-watt light bulb about 2–4 feet above the tray
water, stirring well after each until dissolved. Use works well.
full strength. 4. Expose the print under the enlarger and develop
it in the first tray of regular developer for 50
seconds.
 Chapter 11 Sabattier 111

Thiosulfate sabattier
1. Expose and develop a print for 40–50 seconds,
drain it for 10 seconds, and then transfer it to a tray
containing 200 parts water, 90 parts Dektol stock,
and 35 parts 10% solution of sodium thiosulfate.
2. Develop for 2½ minutes while agitating, and
then expose the print to a 40 or 60-watt light bulb
3 or 4 feet over the developer tray for 3–6 seconds.
Agitate for another minute, and process as usual in
stop bath and fixer. Essentially this fogs the paper
with the addition of sodium thiosulfate.3

Tips and ideas

• Print contrasty: #31/2–#5 filter
• Print bolder subject matter.
• Keep extensive notes; no two prints will be
Figures 11.3–11.4. Top, Birches, silver gelatin print from a exactly alike, but good notes will aid in an
zoneplate camera, 18 x 24 cm © Danilo Pedruzzi 2018.
Bottom, Birches, silver gelatin sabattier print from a
attempt to replicate an effect.
zoneplate camera, 18 x 24 cm © Danilo Pedruzzi 2018. • If the print is overexposed in the enlarger, the
Danilo Pedruzzi (b.1956 Bonate Sotto, Italy) opened image will not reverse much but will have the
his photographic studio in 1991. Over the years he has
Mackie lines and tonal gradation in the high-
experimented with many alternative processes as well as
pinhole photography. Pedruzzi is a member of Rodolfo lights. If the print is flashed later on in the first
Namias Group, Italy, since 2008. His works have been development time, this will hold true, too.
published and are held in museums and private collections. • The longer the developing time before re-expo-
To see more of his work visit danilopedruzzi.blogspot.com.
sure to light, the stronger the Mackie lines, but
the greatest sabattier occurs earlier in develop-
5. Remove the print from the first tray of devel- ment. The shorter the initial exposure, the less
oper and place in the bromide-enhanced developer pronounced the Mackie lines, the less detail
tray; agitate 15–20 seconds and then let it set in in the blackened highlights, and the print will
the center of the tray. While submerged in the be less contrasty. If a normally exposed print is
bromide-enhanced developer, flash the tray for flashed too early in the first development, this
5 seconds. The lower the bromide in the second will hold true, too. Let the image completely
developer, the shorter the flash. The higher the appear in the first development time before
bromide, the longer the flash. flashing.
6. Leave the print in the tray until development is
complete and the brown tones look good, and stop, Endnotes
1. Walker, Sandy, and Clarence Rainwater. Solarization.
fix, hypoclear, wash, and dry. Garden City New York: Amphoto, 1974.
7. The print can be toned with Kodak Rapid 2. Jolly, William. “Dramatic Duotone Solarization” in Darkroom
and Creative Camera Techniques, July/August 1993, pp.
Selenium toner, diluted 1:7 for 5–10 minutes to 19–21.
3. Jolly, William L. “Silver Mirror Printing and Other Unusual
develop the color more fully, if desired.2 Black-and-White Print Development Processes” in Photo
Techniques, January/February 1999, pp. 32–36.
Figure P4.1. Swan, from the series Ghosts of Love, silver gelatin print handcolored with pastel and
pencil, 24˝ x 32˝ © Kate Breakey 2018. Kate Breakey is internationally known for her large-scale,
richly hand-colored photographs. Since 1980 her work has appeared in more than 120 one-
person exhibitions and in over 60 group exhibitions. A native of South Australia, Breakey moved
to Austin, Texas in 1988. She completed a Master of Fine Art degree at the University of Texas
in 1991 where she also taught photography in the Department of Art and Art History until 1997.
Her collections include the Houston Museum of Fine Arts, the Center for Creative Photography,
Tucson, The Australian National Gallery, The Wittliff collections, and the San Diego Museum of
Photographic Arts, as well as various private collections. She has resided in Tucson, Arizona for 22
years. She regularly teaches workshops nationally and internationally. To see more of her work
visit www.katebreakey.com.
 PART FOUR
Finished Print Experimentation
Figures 12.1–12.16. Bentley Snowflakes, 8˝ x 10˝ silver gelatin mordançage prints © Christina Z. Anderson 2010. Over a
century ago a nineteen-year-old Vermont farm boy named Wilson Alwyn Bentley began a 46-year love affair with the
typology of snow crystals. Summer 2010 the Jericho Historical Society granted me permission to use Bentley’s archives.
Bentley’s snowflakes with their black backgrounds were perfect for mordançage. The backgrounds would veil and
dissolve in the caustic bath—a fitting visual metaphor for the floating and ephemeral nature of a snowflake. Because
each mordançage print is completely unique, how equally fitting to the uniqueness of snowflakes. I created contact
negatives from 52 of the 5000+ snow crystal images, which I then printed onto silver gelatin paper. Bentley’s snow crystals
are beautiful in their pristine, white, perfect surfaces. The beauty of my work lies in their darkened imperfections.
Chapter 12
Mordançage

Figure 12.17. Changer la

Femme Version I, mordançage
on 11˝ x 14˝ silver gelatin
paper © Elizabeth Opalenik
2016. For more of Opalenik's
work, see the Contemporary
Experimental Artists chapter.

T
he bleach-etch process, now generally that film positive was colored with dyes. Liesegang
called mordançage, dates from the late was the discoverer in 1897 (see Bibliography). Then
1800s. It has had various other names, too: Andresen improved upon Liesegang’s formula in
etch-bleach, gelatin relief, and reverse relief. The 1898 by substituting hydrogen peroxide for the
process was originally used on film, not paper (see ammonium persulfate in the original formula.
the Appendix for further formulas). It was a way Hydrogen peroxide is still what is used today.1
of reversing a film negative to a positive, and often
116 Chapter 12 Mordançage

I saw my first mordançage print in 1999 at accept dye. Denis Brihat said the process should
Savannah College of Art and Design. My guess really have been called grignotage because the
is the student who created the print learned from bleach-etch solution “nibbles” away at the print
Craig Stevens, who knew the master of mordan- instead of mordants it. However, that horse has
çage, Jean Pierre Sudre. Stevens met Sudre in 1981 long left the barn and mordançage it is.
and was introduced to the process along with other Mordançage is probably the most difficult
photographers, one being Elizabeth Opalenik. process to use effectively. It is visually dominant.
Sudre started using the process on prints instead The process can command more presence than
of film. His protégé Elizabeth Opalenik carried the image. The image should be well chosen
his process further when she chose to retain the for the process and the two integrated into one
delicate gelatin veils on the surface of her prints, whole. Couple this visual dominance with a certain
the first to do so. Since meeting Sudre and being amount of lack of control (sometimes serendip-
introduced to this process, it has been Opalenik's ity) while doing the process, and it becomes even
signature life work. Because of Sudre, Opalenik, and trickier. Nevertheless, with forethought, practice,
Stevens, bleach-etch/now mordançage was turned and patience, it is unrivaled.
into an art form and is much more widely practiced In the mordançage process an acidified copper
today. Sudre died in 1997, but his memory, process, bleaching solution is used to simultaneously bleach
and prints live on. and dissolve away parts of a silver gelatin print,
When I saw those prints at SCAD I began my leaving behind a relief-maplike texture. The dissolv-
mordançage treasure hunt, wanting to teach the ing occurs proportionately to the darks—the darker
process to my Experimental Photography class. My the area, the more dissolution. With a little rubbing,
research was made easier by generous people such the solubilized metallic silver gelatin layer lifts off
as Jon Bailey, Judy Seigel, Nate Apkon, and others of the print and leaves behind whites in reverse
on the alternative process list-serv who directed me relief where the darks once were. Then with rede-
to patents and articles as well as shared their own velopment, toning, or dyeing, the image reappears.
mordançage notes. The chemical reaction that is taking place is that
Jean-Pierre Sudre is the one who originated the gelatin in contact with metallic silver is chemi-
the term mordançage. This term confused my initial cally “etched,” or dissolved away, by the hydrogen
research, because the French word translates to peroxide. “Hydrogen peroxide gives up its oxygen
“mordanting” as in making a print (or fabric, etc.) when reacting with the silver, and this nascent

Caution! Caution! Caution! Caution! Caution!

This caution applies to film as well as paper, and to copper sulfate as well as copper chloride: this process requires
excellent ventilation, and must be done outside. Do NOT breathe in the fumes. Use this process at one’s own risk and mix
chemistry exactly as described and in the order described. If hydrogen peroxide is poured on copper chloride powder,
toxic chlorine gas will result, which is why copper chloride is first added to water. The solution is caustic and will eat through
a stainless steel sink so store in plastic bottles and nowhere near metal. Always protect eyes from splashing. Wear old
clothes or an apron, because the solution will discolor and ruin fabric. Wearing gloves is an absolute must. Latex gloves
are permeable to chemicals, so nitrile gloves are the best choice. Remember: AAATW—always add acid to water, never
water to acid! Consult the MSDS documentation before using any chemical. It is the reader’s responsibility to find the
necessary information about a chemical before using it. It is the reader’s responsibility to take any appropriate measures
of caution in respect to the health and safety of themselves and anyone around. Chemicals no matter how innocuous
should always be treated as if dangerous. Avoid contact with skin, eyes, mouth, and other body parts. Do not ingest any
chemical. Glacial acetic acid is 99% pure acid and should not come in contact with skin. It is corrosive. It is also irritating to
the mucous membranes, eyes, and respiratory system so do not splash it or breathe it in. Copper chloride is a strong oxidizer
and corrosive. Avoid light, air, and moisture. If you are unable to follow any part of this caution, do not do this process.
 Chapter 12 Mordançage 117

oxygen attacks the colloid.”2 Copper chloride is without saying. Most importantly, mix the chem-
in the formula to bleach and to increase hydrogen istry exactly and only as described by adding each
peroxide’s oxidizing potency. The more oxidiz- chemical to water, one by one, stirring thoroughly
ing power the solution has, the faster and greater before adding the next, and AAATW—always add
amount of dissolution happens. Increasing either acid to water. I can’t imagine why anyone would do
hydrogen peroxide or copper chloride will speed this, but if you were to pour hydrogen peroxide
things up, but too much is overkill and will dissolve on dry copper chloride powder you would release
most of the print. toxic chlorine gas that would kill you. That hope-
There are choices at every stage of the process. fully puts the fear of God in you and in this process.
One of the first choices is whether to rub the This is why I always mix the formula in front of
surface of the print after the bleach-etch bath my students while they watch or else they are not
wholly, partially, or not at all. If the print is rubbed allowed to participate in the class. I also have all
wholly, any black areas that have dissolved will be sign a release waiver if they want to do the process.
removed. Upon redevelopment, those areas remain One can't be too cautious.
white and the print looks more negative than posi-
tive. If the print is rubbed partially, the image will Coote formula3
be some measure of positive and negative. If the Solution A
print is not rubbed at all, and you are careful to 750 ml water
leave the gelatin veils intact, the veils will create 10–30 g copper chloride (1–2 tablespoons)
a beautiful flow to the image and the image looks 80–110 ml glacial acetic acid (can also substitute
more positive. These veils, tenuously attached to the 10–20 g citric acid; can also substitute 300 ml 28%
points of contrast between highlights and shadows, stop bath in place of 220 ml of the water; make
upon drying will re-adhere to the print surface and sure the stop bath is not colored)
stay put. Most often, the highlights and midtones Water to make 1000 ml
remain unaffected by the chemistry. Always protect eyes from splashing and always
The process can be used on any silver gela- wear gloves. Latex gloves are permeable to chemi-
tin print (untoned), whether years old, freshly cals; nitrile gloves are your best choice. Remember:
processed, or even right after developing and before AAATW—always add acid to water, never water
fixing. to acid!
The best images for this process are ones with a 1. Add copper chloride slowly to the water and stir.
good measure of deepest black, such as black back- 2. Add acetic acid slowly to this mixture and stir.
grounds or intricately detailed patterns like black 3. Add water to make 1 liter.
lace or wrought ironwork. It is easy to add black to 4. Store this solution, correctly labeled POISON,
an image digitally, even if there is none, so today is in a plastic liter container—never metal. This solu-
the best of both worlds, analog and digital, for the tion is usable indefinitely.
mordançage process. Solution B
Mordançage is not a process for beginners but 10–20 volume hydrogen peroxide
for those who have good knowledge and employ- Peroxide is mixed in equal proportion to Solution A
ment of safety measures. For one, the solution is at time of use. Regular strength drug store peroxide
caustic, pH below 3. Two, the process requires excel- will work fine. It is about a 3%/10 volume solu-
lent ventilation. I only do it outside, in my garage tion. If the process is slow to bleach-etch, keep on
because of its potential causticity to the lungs and hand a 20v (6%) hydrogen peroxide from a beauty
I would never recommend it be practiced in an supply store (buy the clear kind, not the creamy)
enclosed, poorly ventilated darkroom. Wearing and prime the working tray solution with a glug. I
eye, clothing, hand, and skin protection goes used to also buy 40v (12%) but I never use it now;
20v is even a bit much.
118 Chapter 12 Mordançage

Figures 12.18–12.20. Westminster Abbey, from left to right, rubbed mordançage, mordançage with veils, and mordançage
with sun exposure "redevelopment," 8˝ x 10˝ silver gelatin prints © Alyssa McKenna 2021

There is no need to use a stronger hydrogen peroxide. Mordançage process

Some formulas call for 135v hydrogen peroxide. I Wear gloves at all times! Do the process outside!
used to be able to buy it at the beauty supply store, Have I said this already? Do I seem like a broken
but it is hazardous, explosive, the container will record?
bulge at the bottom as it expands, and you just 1. Mix Solutions A and B together in equal parts
generally don’t want it around. When 135v hydro- to produce the amount of working solution needed.
gen peroxide is used in a formula it is always used 500 ml in a flat bottom tray works well. Once A
in small amounts in the water, and it is just as easy is mixed with B, this working mixture will last
to use more hydrogen peroxide of a lesser strength. a number of days, though it is best to mix right
before use. If it weakens, add more or stronger
Papers to use hydrogen peroxide; also, add more glacial acetic
All brands of papers work. However, the easiest acid if the pH has gone above 3.0. A box of pH
paper to etch is Ilford mgiv glossy because it strips are invaluable. I have stored old solution and
dissolves rapidly. reactivated it with hydrogen peroxide and it works
rc paper has some advantages in this process, fine. Precious chemistry is not wasted. Remember
despite its inherently unpleasing plastic quality. It to store this working strength solution in its own
rinses quickly between steps, and remains more labeled plastic jug, not metal.
impervious to the chemicals, so it doesn’t have the 2. Set up trays, from left to right in this order:
yellowing problem that fiber paper sometimes does. mordançage solution, plain (warm) water, work-
However, veils slip off easily and are hard to control. ing strength or weak developer, plain water, toner(s)
It is easy to rub too much emulsion off with too if desired and a final tray of plain water for rins-
vigorous rubbing, so be careful. ing. Have sheets of Plexiglas on hand to transport
delicate prints from one tray to the next if desired.
3. Bleach a wet or dry print in the mordançage
solution for twice as long as it takes to fully bleach.
This can take from 1–15 minutes, depending on
the print, paper, strength of hydrogen peroxide and
 Chapter 12 Mordançage 119

Figures 12.21–12.22.
Mordançage Gelatin
Silver 7, © Brittany Nelson
2021. Left, original. Top,
installation. For more
of Nelson's work, see
the Contemporary
Experimental Artists
chapter.

amount of copper chloride. The more hydrogen 6. Rinse well in this tray, especially with fiber paper.
peroxide, the greater dissolution. The more copper Be cautious with the veils that float around. Never
chloride, the faster the bleaching. Papers used to touch the surface of the print with tongs. If the veils
take this long but lately Ilford mgiv takes a minute are too delicate, it may be that rinsing well is not
or so to complete the bleach-etch. possible, should you desire to leave veils attached.
4. Nudge a dark area of the print to see if it is lift- Should you desire to remove veils, it is at this point
ing off and bubbly. If the darks dissolve too much, you rub off the disintegrating emulsion carefully
use the weaker strength hydrogen peroxide. If the with cotton balls. Do this under water, with the
print bleaches too fast before it etches, decrease the print on a piece of Plexiglas if the trays are not
amount of copper chloride.4 flat-bottomed.
5. Take the print carefully out of the bleach-etch 7. Redevelop the print in any of the following:
tray and place it in the next tray of water to rinse • Paper developer, either working strength or
off as much chemistry as possible before it goes diluted up to 1:5
into the developer. The water in this tray can be • Part B of a sepia or thiourea toner
hot (Coote recommends 120ºF5). The hot water • Film developer such as Pyro or D76
cleans the print of chemistry more effectively, and or
it speeds up the bleach-etch immediately. It also Expose the print to direct and strong sunlight
allows one to do mordançage in the garage during for as much time as it takes for an image to
winter. If the bleach-etch solution gets too cold it appear fully. This will give warm tones such as
slows down or stops working. With hot water, voilà. pinks, magentas, and red-browns.
120 Chapter 12 Mordançage

11. Once dry, drymount-press between two dedi-

cated pieces of mat board so as not to contaminate
the dry mount press. A great aid is a couple Teflon
sheets placed on top and underneath the print in
the dry mount press; the softened gelatin will not
stick on the press or the mat board.
12. Scan the print at high resolution on a flat-
bed scanner to preserve a digital copy of it (if it
is too big to scan, take a photograph of it). It is
improbable you will achieve the same mordançage
twice and this way you can make multiple copies
if desired.
13. Take the print outside and spray it with one or
two coats of Krylon Crystal Clear Non-Yellowing
Acrylic Varnish. The varnish does two things for the
print: It evens out the non-glossy and glossy parts
of the image to one glossy whole, and it protects
the image from the environment by reducing the
amount of air that can get to the print. I have heard
of prints losing their beautiful ruddy tones over
time. That has not happened to me and I surmise
Figure 12.23. Liminal III, silver gelatin print from a
mordançaged film negative © Jace Becker 2016
the Krylon prevents that from happening.

Mordançage negatives
8. Remove, rinse carefully and fully, and inspect. If Even though mordançage’s original purpose was
the print needs more dissolving, repeat the bleach- for use on the negative, I have found it difficult to
etch bath and redevelopment again. Sometimes the use the Coote formula on negatives. The negative
gelatin may not budge until it hits the developer dissolves and sloughs off from its plastic base in
for the first—or second—time. It is rare with this seconds. Speck’s formula, which uses the milder
formula to have to re-bleach and redevelop, espe- copper sulfate in place of copper chloride, works
cially with Ilford mgiv paper, unless the print has great. Copper sulfate is cheap and available at a
been previously toned or if the bleach-etch bath garden store. The process proceeds the same as with
is too cold. prints, above, but the negative has to be watched
9. Wash. If there are veils attached, the print will cautiously.
be difficult to wash well. It is best to use a separate
tray for a finished print to sit and carefully soak in Speck formula I7
plain water; change the water a number of times I’ve written the formula easier than the original. All
over the course of an hour. cautions in this chapter must be followed.
You can use the following bath for one minute, 750 ml water
followed by a short rinse, if desired, to return the 33 g copper sulfate
print's acidity to normal. 10 g potassium bromide
Baker’s Neutralizing Bath6 4 ml glacial acetic acid (or 13 ml 28% stop bath)
1 part sodium bicarbonate (baking soda) Water to make 1 liter
16 parts water 1. Add copper sulfate to 750 ml water.
10. Dry. Don’t use a normal drying cabinet because 2. Add potassium bromide to the water.
the print will contaminate the screens. 3. Add acetic acid to the water.
 Chapter 12 Mordançage 121

F i g u r e 1 2 . 2 4 . Trees III,
silver gelatin print from a
mordançaged film negative
© Jace Becker 2013. Jace
Christian Becker, 38, of
Pittsburgh Pennsylvania died
peacefully on November
4, 2021. Jace was talented,
funny, smart and creative. He
received his BA in Photography
from Montana State University
and an MFA from Arizona State
University. Jace was honored
with many accolades and
awards for his creative work. His
thought process in his approach
to everything in life, whether
artistic accomplishments or
scaling a difficult mountain,
always took a different route.
His way of visualization led
him to scale El Capitan and
mountains all over the world
as well as develop new and
creative artistic concepts. He
wanted to explore the route
never taken. Tales of Jace’s
exploits will live long after him.
He laughed loud, never slept,
and conquered heights. His
approach to his art and his
life can be summed up in his
favorite quote…. “Be excellent
to one another!” Climb High,
Jace!

4. Add water to make 1000 ml. Troubleshooting—the paper is stained

5. At time of use mix equal parts of this formula Fiber paper can stain yellow to brown in the high-
with hydrogen peroxide strength of choice. First lights and borders of the print, which is beautiful,
try drug store strength and if necessary use 20v. in my opinion, but if this look is not desired, try
6. Immerse the negative in the solution. Softening the following steps.
of the emulsion takes place in approximately 11/2 • Rinse the mordançage solution off very well
minutes at room temperature. before redevelopment to prevent chemical stain
7. Wash the negative for a minute in 110ºF water resulting from contamination between copper
to wash off the softened gelatin, if desired, or leave bleach and developer.
it veiled. • Reduce the copper chloride in the solution. The
8. Redevelop in toner, developer, or dye. Complete lowest I’ve seen is 5 g copper chloride per liter.
rubbing will make the negative positive. • Use the lesser strength hydrogen peroxide—10v
or 20v. The higher the volume of peroxide, the
122 Chapter 12 Mordançage

more it softens the gelatin and helps it to accept with a pH strip and add more glacial acetic acid
developer in places you may not want it to go. if necessary (or citric acid also).
• Mordançage under dim light. • Paper used to be so stubborn I had to heat the
• If the print has been rinsed really well, so that print in a dry mount press before using it in the
there is no chemistry left in the paper and the process, a practice recommended in one patent
print has returned to a less acid/more neutral (heating the film to 180ºf made the gelatin more
state, you can fix the print. Some of the litera- malleable).
ture doesn't say to fix after the mordançage • Be sure your print has not been previously toned
process, some do. I no longer fix because when as the chemistry doesn’t work as well or at all
the print goes into the fix it releases a sulfurous with previously toned prints.
smell that is not good and even possibly toxic.
When I heard that, coupled with the contra- Tips and ideas
dicting advice in the literature, I decided to no • Spray paint a clear gloss stencil design on top
longer use fix. Do not use fixer if you are doing of the print before the process. The spray paint
the process indoors. will protect areas from disintegration.
• Make a print and develop it, but do not fix.
Troubleshooting—mordançage not working Rinse briefly, and put it in the bleach-etch bath.
If the mordançage is not dissolving as it should, Remove from the bleach-etch bath, rinse in
there are a number of causes to address: water, and turn on the room light. Either rub
• Give the print more time in the mordançage the emulsion off at this point and then put the
solution. print back in the developer with the room light
• Make sure the mordançage solution is room still on, and redevelop. Or, redevelop, and then
temperature. When the bleach-etch gets cold, rub off the emulsion. This produces a completely
the hydrogen peroxide slows down doing its black and white negative image of the original.
“thing.” • After mordançaging a print, instead of rede-
• Use hotter water after the mordançage bath, up veloping, put it out in direct sun like a lumen
to 120ºF. print to turn colors. You can also use a small
• Use a stronger volume of hydrogen peroxide. brush with developer and develop only parts of
Instead of drug store 3% use 20v from a beauty the image.
supply store.
• The hydrogen peroxide may have exhausted so Endnotes
1. Wall, E. J. Practical Colour Photography, 2nd edition.
add a glug of a stronger volume of hydrogen Boston: American Photographic Publishing Co., 1928, p.
peroxide to the mordançage bath. I keep a gallon 90–94.
2. Ibid.
of 20v on hand. A shot of that stuff will revive 3. Coote, Jack H. Ilford Monochrome Darkroom Practice: A
the soup. The stronger the hydrogen peroxide, the Manual of Black and White Processing and Printing, 3rd ed.
Oxford: Focal Press, 1996, pp. 299–304.
greater the softening of the gelatin (the greater 4. Marriage, A. “Notes on Etch Bleach Baths” in British Journal
of Photography, April 21, 1944, p. 142.
the risk of stain on fiber paper, though). 5. Coote, p. 302.
• The acidity of the mordançage solution needs to 6. Baker, E. N. “Photoink Printing”, Patent #2,058,396, March
13 1933.
be between 2.6 and 3.0,8 so measure the solution 7. Speck, Robert. “Photographic Relief Image,” Patent
#2,494,068 Jan 10, 1950, called by Robert Speck, assignor to
Eastman Kodak Co, Rochester, NY.
8. Ibid.
Figure 12.25. Very Large Array, Soccoro, New Mexico, mordançage print, 11˝ x 14˝© J. Jason Lazarus 2020, J. Jason
Lazarus is an Alaska-based photographer and educator who creates narrative-driven photographic work utilizing a
wide range of alternative and historical photographic processes. Lazarus has served as a photographic educator at
the University of Alaska Fairbanks since 2005, teaching and developing a wide range of courses in digital, alternative,
and traditional darkroom photography. His alternative process work ranges from abstract chemigram prints that
discuss the complex historical legacy left behind by World War II to darkroom-printed mordançage images that
show a fragile Western American landscape decaying under the pressures of resource development, economic
failures and climate change. To see more of his work visit obscura-works.com.
 Figure 13.1. 3A.2015, from the
Fabrication of Space series,
19˝ x 23˝ © Andrew Sovjani 2015.
“The Fabrication of Space series is
an investigation into our perception
of space and light within the unified
surface of the two-dimensional silver
gelatin print through a combination
of photographic imagery and
post-exposure photochemical
mark making. I create and
photograph arrangements of
white paper using a view camera
and monochromatic film. The
corresponding straight silver
gelatin print then becomes the
launching point for spatial play,
illusion, and interpretation by
employing unique toning methods
and hand drawn chemical line
work in an iterative bleach/
redevelop process that embraces
chance and premeditation
simultaneously. I have chosen
to retain the purity and integrity
of the print surface, constraining
the mark making to those that
only alter the silver particles
within the surface of the print. By
maintaining the unified surface,
I am placing the photographic
imagery on the same plane as
the post-exposure alterations. This
self-imposed limitation encourages
the development of new ways
and tools to work the print, blurring
the lines between photography
and printmaking. Each final print
is a unique record of this printing
performance.
"All work in this series uses the
following process: Either one or
two B&W negatives, sometimes
sandwiched together, are exposed onto silver gelatin paper. An additional exposure is often given through masks to create dark
shapes. The print then goes through multiple selective iterations of bleach/thiourea tone/fix/redevelopment using calligraphy
pens, paper shape cutouts, brushes and rags. The final print is often selectively gold toned.” Andrew Sovjani (b.1967) is a visual
artist recognized for blurring the boundaries between photography, printmaking and painting. Raised in a family of working
studio artists, Sovjani has drawn from his life experiences in the scientific world and living in Asia to create transcendent bodies
of work that are often quite peaceful. His award-winning photographs have been shown in exhibitions throughout the United
States, Europe and Japan and are held in public and private collections. He has won awards of distinction at top fine arts festivals
in the nation and has been a finalist for multiple Critical Mass book awards. To see more of his work visit andrewsovjani.com.
Chapter 13
Bleaching and Bleachout

Figure 13.2. 4A.2015, from the Fabrication of Space series, 19˝x23˝ © Andrew Sovjani 2015

P
hotographic bleach is a most useful tool in 2. Add the potassium ferricyanide to the water and
the darkroom. For one, it can be used to stir until dissolved.
correct a too dark print. Two, it can be used 3. Add more water to make 1000 ml total.
to lighten selective areas of a print for emphasis. This is a stock solution. At time of use take 1 part
Three, it can be used in more creative ways, in a bleach and mix with 9 parts water to make a work-
unique line-drawing process called “bleachout.” The ing strength. 1 liter of stock will make 10 liters of
bleach formula is so easy to mix, doesn’t have to be working strength bleach.
exact, and lasts forever, so mix up a liter and keep
it on your shelf at all times. Bleach as a corrective or selective tool
Bleach can be used as a corrective tool or in more
Standard bleach formula creative ways. For instance, it can be used selectively
100 g (5 tablespoons) potassium bromide on parts of a print you want to stand out.
100 g (6.5 tablespoons) potassium ferricyanide 1. Have a hose of water directed right below where
Water to make 1000 ml the bleaching is to be done.
1. Add the potassium bromide to 750 ml water and 2. Load a calligraphy brush with the work-
stir until dissolved. ing strength bleach solution and with the print
126 Chapter 13 Bleaching and Bleachout

supported on a piece of Plexiglas at an angle,

paint the bleach on the area with the brush in
one hand and the running water from the hose
directed exactly below the brushed area to catch any
unwanted drips and prevent streaks below the area.
3. Bleach for a bit, not until completion, and then
Figure 13.3. Pentel Aquash pen. The blue plastic barrel can
fix the print. Assess the bleached area—if it is still be filled with the bleach solution. Just squeeze the flexible
too dark, a good thing, go back to the Plexiglas and plastic to feed the solution to the nylon fiber tip. The pen
do the process again. comes with a variety of tip sizes.

4. Bleach and fix the print bit by bit, slowly light-

ening the area in baby steps. Bleachout
5. Stop bleaching just before it looks perfect This technique is merely drawing on a print with
because the final fix will lighten the bleaching a permanent ink of some sort and bleaching away the
bit more, and if it looks perfect before bleaching it photographic image in part or in whole. The final
will be too light when fixed. image is part drawing and part photograph or all
If at any time the print has been over-bleached, drawing and no photograph.
return it to a paper developer before fixing and the 1. Expose, develop, dry, and flatten a print in a dry
bleached-but-not-yet-fixed silver will redevelop. mount press if it is fiber. The surface should be very
Once it is fixed, this is no longer possible because flat for drawing.
the rehalogenated silver has been removed. 2. Use a Sharpie ultra permanent pen (the kind
that is permanent on glass or plastic), an India ink
Farmer’s Reducer bleach formula pen, or a permanent ink tech pen for the drawing.
Farmer’s Reducer is a mixture of bleach and fix Test the different pens to make sure the bleach does
in one solution. The good news is that fixing of not remove them, as it does some permanent inks.
the print goes along with bleaching of the print so While the print is going through wet processing,
at the end the print just needs to be hypocleared, the marks should not be touched. Tip: the subject
washed, and dried. The bad news is there is no abil- matter of the print can be followed accurately with
ity to turn back and redevelop a print when you the drawing, or other subject matter that is not in the
have accidentally gone too far with bleaching like image can be added.
there is in a two-step bleach/fix process. Farmer’s 3. When the drawing is finished and the ink is
Reducer uses two separate solutions mixed at time thoroughly dry, bleach the print by either brushing
of use and discarded after the session. working strength bleach on with a soft brush and a
Part A 20% Thiosulfate gentle touch or submerge the whole print in a tray
100 g sodium thiosulfate of working strength bleach.
500 ml water 4. When enough bleaching has occurred, rinse the
Add the sodium thiosulfate to the water and stir print in water, fix, hypoclear, wash, and dry.
until dissolved. Store this in its own separate bottle. 5. Touch up any lines that may have weakened in
Part B 10% Potassium Ferricyanide the wet stages with more permanent pen.
50 g potassium ferricyanide
500 ml water
Add the sodium thiosulfate to the water and stir
until dissolved. Store this in its own separate bottle.
1. At time of use mix equal parts of A and B and use
immediately. It only keeps working for a short time.
2. A weaker solution of this is mixing 100 ml of
Solution A with an equal volume of water and then
add 5 ml of solution B.
 Chapter 13 Bleaching and Bleachout 127

• Overexpose a print, develop, stop, fix, and wash

as usual. Then bleach it to the desired lightness
and fix, wash, hypoclear, and wash again. This
produces tones from blacks to browns in the
print, and works well with grainy images.
• Overexpose a print and bleach out only what you
want to highlight.
• After bleaching, rinse the print well until all the
yellow stain of the bleach has disappeared. Put
the print flat on a piece of glass or Plexiglas, pat
gently with a paper towel to remove as much
moisture as possible, and with a paintbrush
filled with either Part B of a sepia toner, or just
regular paper developer, selectively brush parts
of the image so that those parts reappear. The
sepia toned parts will come back in shades of
brown; the paper developer parts will come back
in shades of black. This is easiest carried out in
room light. When done, fix, etc., as usual.
• Use pencil/graphite and draw on the print before
bleaching; the drawing acts as a resist.
• Stencil bleach on a print. Either buy or make
a stencil out of plastic or removable sheets of
frisket film which has low tack adhesive on one
Figure 13.4. Sunflower, bleachout © Maddison Fritzler 2019 side. Alternately, use rubber cement on one side
of the plastic to make it adhere to the print if you
don’t have frisket film. Then, with a full strength
Tips and ideas bleach take a minimally soaked brush or sponge
• If the print is too dark overall, it can be bleached and pounce the bleach onto the print through
lighter in stages as follows: first soak the print the stencil. Be careful that it does not get under-
in water for 10 minutes. Then transfer it to the neath the plastic or the pattern will be sloppy.
bleach tray for 5–10 seconds with continuous When done, immerse the whole print in fixer,
agitation. Check to see if it has lightened enough stencil and all. Rinse, remove the stencil, and
by pulling it out and rinsing it off with a hose. finish processing.
If not, give it 10 more seconds. Keep doing this • A print can be scratched wet or dry, but a wet
back and forth until the print looks almost light print is easier. Soak the print in water for 5–10
enough and rinse well. Fix (it will lighten up minutes and then squeegee. Take a sharp instru-
somewhat in the fix), wash, hypoclear, and wash ment such as a needle, an Xacto blade, scalpel,
again for 30 minutes. etc. Scratch the print surface to distress the print.
• If there are black spots in a print, they can Watch that scratches aren’t ragged and ugly, but
be bleached out with a tiny brush dipped in fine and appropriate. Color can be rubbed into
the bleach formula. Once the black spots are the scratches for emphasis once the print is dry.
removed, the print must be fixed again because • With an Xacto knife, cut and peel away parts of a
the silver that has been bleached becomes print from the paper base below. RC paper is best
re-sensitized to light. Or use the Aquash pen for this technique. See Leah Schretenthaler in
pictured above which can be conveniently filled Contemporary Experimental Artists for another
with bleach. take on this, using a laser etching printer.
Figure 14.1. Untitled #255 from the Day’s End series. 16˝ x 20˝ © Mark L. Eshbaugh 1999. “The fractured imagery reminds
of the limitations of the medium and the limitations of our own memories. We cannot capture a complete moment of
time with a photograph, just as we can never remember a complete moment of time accurately. As time moves on
memories are either romanticized or denigrated. This series of work is shot with a pinhole aperture. The multiple rolls of
120 mm film were shot simultaneously in the camera I designed and built specifically to be able to load multiple rolls of
film at once. This image is printed on Ilford Warmtone fiber-based paper and then split-toned with selenium 1+10. Using a
hake brush soaked in distilled water it was then selectively toned with Copper toner (Pt. A: copper sulfate 7 g, potassium
citrate 28 g, water to 1 liter and Pt. B: potassium ferricyanide 6 g, potassium citrate 28 g, water to 1 liter). I wring the
brush out, dip it into the copper toner and paint it over the areas I want to change color. It takes several applications
alternated with gently running water from a hose to feather the color into the image naturally.”
Chapter 14
Toning

Figure 14.2. Untitled #281 from the Day’s End series, 14˝ x 10˝ © Mark L. Eshbaugh 2001. “This image, like the one left, is shot
with a pinhole camera loaded with multiple rolls of 120 mm film. The image is printed on Agfa Classic fiber-based paper,
split-toned with selenium 1+10. The image was then partially bleached, and then toned back with the thiourea 3 g and
sodium hydroxide 6 g to 1 liter of water. The print was then washed for 30–45 minutes and dried. To get the red tones the
print was then soaked in a saline bath (1 tablespoon salt to 1 liter water) and then put into GAF 231 gold toner. The center
area that shifts back to a slate gray was created by using a medicine dropper to put a 1% gold chloride solution directly
on the print surface. This step is done carefully with gently running water from a hose at the ready. If the gold solution is left
on the print too long it will cause permanent stains.”

T
oning a silver gelatin print has traditionally As far as color goes, warmtone (chlorobromide)
be used for two primary reasons: to make papers show the toner color more than coldtone
the print more archival and/or to alter (bromide) papers. Ilford mgiv in selenium, for
the print color. Silver gelatin prints react to sulfur instance, shows little color change. Ilford warmtone
in the atmosphere and deteriorate over a period in thiourea toner shows noticeable color change.
of time. Toning with selenium, sepia, thiourea, or However subtle the color change is, though, the
gold changes the chemical makeup of the silver toner has still done its work of making the paper
to a more stable form which resists deterioration. more archival.
130 Chapter 14 Toning

One bath vs two bath toners Prints can be selenium toned in room light
Selenium, gold, copper, and blue toning are all one because no silver in the process is resensitized/
bath toners. Sepia and thiourea are two bath toners, rehalogenated.
with the first bath being some sort of bleach and Selenium toner can be reused numerous times.
the second a redeveloper. We will cover both kinds Dilute the toner to the desired strength, pour it
of toners in this chapter. into the tray, and immerse the print in the toner
for 3–8 minutes or much longer if desired. Keep
Print preparation for all toning another copy of the same print next to the tray to
• Prints first need to be archivally processed in see the change occur because it can be subtle on
all chemicals with great care toward cleanliness. some papers. When done toning, return the diluted
• Prints can either be toned right away, after the toner to a plastic storage bottle and label it with
final hypoclear and wash, or toned years later. the dilution.
• If a fiber print is dry, soak it in water for a good Selenium-toned prints should be washed,
10 minutes to get it thoroughly and evenly wet; hypocleared, and washed again because the toner
rc paper only needs a several-minute soak. contains fixer (ammonium thiosulfate, sodium
• It is best practice to have a good border around sulfite along with sodium selenite) which has to
the image area because tong marks or gloved be removed.
fingers can leave evidence. Otherwise, hold the
print with gloved hands only by its edges when Split toning with selenium
transferring it from tray to tray. Selenium begins toning the shadows first and then
• For some toning processes, it is best to print a the highlights. At a certain point, the highlights
bit darker before toning: thiourea, sepia, copper are still cool gray when the shadows begin to shift
can lighten a print ⅓–½ stop. to the characteristic warm red-brown of the toner.
• For some toning processes, it is best to print a At this very point the print can be snatched from
bit lighter for toning about ⅓ stop: selenium and the toner and immediately immersed in a tray of
iron blue for example. water to preserve this cool/warm split. Split toning
gives the prints a subtle 3D effect that is hard to
Selenium toning describe. Unfortunately, the papers that split tone
well are dwindling, but you can always try for the
effect anyway, with warmtone papers being your
Warning: Wear gloves! Toners, like selenium, can be
toxic and should not come in contact with skin. Also,
best bet. I have heard Ilford MG Art 300 works
unexposed enlarging paper should always be kept well. If you want to achieve this effect watch the
in its black plastic bag when sepia/sulfide toning print continuously as it tones for that snatch point.
because sulfide fumes fog unexposed paper.

Bleaching after selenium

Bleach doesn’t have as much effect on silver sele-
Selenium is easy. It comes in liquid form, and the nide as it does on silver halide, and thus a bleached
only requirement is to dilute it. Selenium toners selenium toned print reveals the reddish tones of
on the market are made by Berg, Ilford, Moersch, the selenium that are usually masked by the larger,
and Kodak (Rapid Selenium Toner or krst). dark, incompletely toned bromide molecules. It is
Selenium can be used full strength for maximum ruddy and quite beautiful. Note: you cannot bleach
effect but most photographers dilute it from 1+5 to before selenium toner because the fixer in the toner
1+9 (1 part toner + 9 parts water). For archivalness, will fix away the image permanently.
a 1+9 or stronger concentration should be used for
a minimum of three minutes at room temperature.
 Chapter 14 Toning 131

Standard bleach formula • If there is a milky residue on a finished print,

100 g (5 tablespoons) potassium bromide soak the print in a normal stop bath and swab
100 g (6.5 tablespoons) potassium ferricyanide gently with cotton balls to remove the residue.
Water to 1000 ml
This Standard Bleach is something that should be Gold toning
on hand in the darkroom always because it is so As can be imagined, gold is expensive. One gram
useful for many different processes. It doesn’t go of gold chloride is $49 at the time of this writing.
bad. This makes a liter of stock solution. At time However, it is used in a 1% solution in such small
of use, dilute 1 part stock with 9 parts water (1+9). amounts that one gram goes far. It is so easy to
Chemistry doesn’t have to be exact, which is why mix your own gold toner that there is no reason
the tablespoon measures are used here. to buy it, especially since commercial gold toner is
1. Fully tone a print for 15 minutes in a strong 1+5 pricey. The stock 1% gold chloride solution below
selenium dilution. The print should show toning is kept on hand separately and then mixed with
throughout the shadows and the highlights. Rinse other chemistry at time of use.
well.
2. Place the toned print in a tray of working 1% gold chloride solution
strength bleach and watch the print while it This is the basis for all gold toning formulas.
bleaches. 1 g gold chloride
3. It is helpful to remove the print from the bleach 100 ml distilled water
and rinse from time to time to check the prog- 150 ml plastic or glass container
ress. If too much detail has been removed from the 1. Pour 100 ml of distilled water into the container.
highlights for some reason, it is always possible to 2. The gold chloride comes in a small glass vial.
return the print to paper developer to redevelop the Remove the cap carefully, empty the gold chlo-
print back to normal. It is also possible to redevelop ride into the container of water, and dump both the
the print to normal in sepia or thiourea toner. vial and the cap into the water also. This way any
4. The print can be bleached again, redeveloped little speck of gold chloride stuck to the cap or
again, rebleached again, and so on and so forth vial will go into the solution. The vial and cap can
until it looks right. stay there forever, clinking around, or be removed
5. Fix the print if the print has not been rede- later, if desired.
veloped to completion in either sepia, thiourea, or
paper developer, because there may be remaining Gold sodium bicarbonate toner1
rehalogenated silver in the print that will be light Mix only the amount you need because it doesn’t
sensitive. keep.
6. Wash, hypoclear, and wash again as normal for 5 g (1 teaspoon) sodium bicarbonate
an archival print. Hypoclear is always necessary 7 ml 1% gold chloride solution
after selenium toning to rid the print of the fixer 500 ml distilled water
chemistry in the toner itself. 1. Just before a printing session, add the sodium
• ¸If selenium toning results in stains, this can be bicarbonate to the water and stir.
because a) there is remaining acid in the print 2. Add the 1% gold chloride solution to the water
from fixing, b) the print was not fixed well, or c) and stir.
the print was fixed in exhausted fixer. Make sure 3. Test the acidity of the solution with a litmus
to process prints archivally, and to do a 2-minute strip. It should be slightly alkaline, about an 8 pH.
hypoclear before toning. If it is alkaline enough the toner will be clear in
color. Immerse the print in the toner and agitate
it until it reaches the desired tone, 3–15 minutes.
4. Wash and dry as usual.
132 Chapter 14 Toning

Gold thiocyanate toner2 8. Solution is ready for use immediately, but also
This two-solution gold thiocyanate formula keeps well.
produces beautiful orange-reds when used to 9. Immerse the print in the toner and agitate it
tone a previously toned sepia/thiourea print. It until it reaches the desired tone, 3–15 minutes.
uses a 0.2% gold chloride solution (one fifth the 10. Wash, fix, wash, hypoclear, wash, and dry as
strength of the 1% described earlier) but more of usual.
it, in equal proportions with a 2% ammonium thio-
cyanate solution. Solutions, stored separately, last Blue toning
indefinitely. Blue toning comes in a number of brands by Foma,
Solution A Berg, or Photographer’s Formulary. It is good in
1 g gold chloride combination with sepia. The toner is mixed in a
500 ml distilled water one-liter solution. A print is submerged in the
1. Mix the gold into the water as instructed previ- toner until the desired depth of blue is achieved.
ously. This is a more dilute formula than a 1% gold The print can be toned again if it is not blue
so if you have 100 ml of 1% gold chloride solu- enough, and even washed longer if it is too blue,
tion on hand dilute it with 400 ml water (or 10 ml so it is a loose and forgiving toner. Three caveats:
diluted with 40 ml water, etc.). • Agitate carefully and don’t touch the surface
Solution B while toning because it mars
10 g ammonium thiocyanate • Wash carefully until the yellow is gone but don’t
500 ml water overwash or all of the blue will wash out
2. Mix the ammonium thiocyanate into the water • Although entrancing, blue toning is not archival.
and stir until dissolved. Blue toner is mixed at time of use and discarded
3. At time of use mix equal parts of A and B and after a toning session; I do store old solution and
brush on a print or submerge the print in a tray. continue to use it for experimental purposes.
4. Wash, hypoclear, wash, and dry as usual.
Iron blue toner
Gold thiourea toner An easy to mix one-bath iron blue toner.3
12 ml gold chloride (1% solution) 8 g ferric ammonium citrate
12 ml thiourea (1% solution) 8 g potassium ferricyanide
12 ml tartaric acid (10% solution) 75 ml glacial acetic acid (or 265 ml 28% acetic acid
5 g sodium chloride like a Kodak stop bath)
Distilled water to make 500 ml 1000 ml distilled water
1. Make the 1% gold chloride solution by adding 1 1. Add the ferric ammonium citrate to the water
g of gold chloride to 100 ml distilled water. and stir until dissolved.
2. Make the 1% thiourea solution by adding 1 g of 2. Add the potassium ferricyanide to the water and
thiourea to 100 ml distilled water. stir until dissolved.
3. Make the 10% tartaric acid solution by adding 3. Add the acetic acid and stir until mixed.
10 g of tartaric acid to 100 ml distilled water. 4. Pour into a tray.
4. At time of use, add 12 ml of the thiourea solu- 5. Soak finished prints to be toned in water until
tion to 12 ml of the gold chloride solution and stir saturated.
until the precipitate that forms is dissolved. 6. Place the prints one at a time in the toner.
5. Add the 12 ml tartaric acid solution to 150 ml 7. Tone until the print looks good, 3–15 minutes.
of the distilled water. Agitate continuously and don’t touch the surface
6. Add the gold/thiourea solution to the tartaric while toning because it mars. Watch carefully
acid/water solution and mix thoroughly. because if left too long in the toner, uneven stains
7. Add the 5 g sodium chloride and water to make can result, also if too many prints are run through
a final 500 ml. the solution.
 Chapter 14 Toning 133

Figure 14.3. Punk Rock Blues, blue-toned silver gelatin print from a QTR digital negative, 10˝ x 8˝ © Danika Wolf 2021. Danika
Wolf is pursuing her BA in Film and Photography and BFA in Graphic Design at Montana State University, with an expected
graduation of 2023. Her photographic style runs the gamut from analog to digital practices.

8. Transfer the print to a tray of water and rinse immediately and is discarded after the toning
until the yellow in the highlights clears, but watch session, though for more experimental toning
that you do not overwash or the blue can wash out. methods I have stored it for later use.
9. Hang the print to dry. 1. Soak finished prints to be toned in water until
saturated.
Copper toning 2. Pour equal parts A and B into a tray and mix.
Copper is a one bath toner just like blue toner and 3. Place the prints one at a time in the tray of toner.
behaves in much the same way. The longer the 4. Tone until the print looks good, 3–15 minutes.
print is left in, the more toning occurs, to the point Agitate continuously and don’t touch the surface
that the shadows of the print become velvety and while toning because it mars. Watch carefully
plated-out. Copper results in colors from slightly because if left too long in the toner, uneven stains
pink to deep red-orange. can result, as they do when too many prints are run
Two brands of copper toner are Formulary and through the solution.
Berg. Copper toner is mixed according to package 5. Transfer the print to a tray of water and rinse for
directions and stored in two parts, A and B. The 15 minutes and hang the print to dry.
parts are mixed into one solution in equal portions
at time of use. Once mixed, the solution is used
134 Chapter 14 Toning

Figure 14.4. Taiwan Abode, silver gelatin print toned with copper and blue toners, 8˝ x 10˝ © Brenden Scheller 2019

Ferguson’s copper toner Part B

This toner gives colors from pale brown to deep 5 g potassium ferricyanide
red-orange.4 Toning is done after fixing or to a 24 g potassium citrate
previously dry and completed print. Sodium citrate Water to 1000 ml
can be substituted, too. 4. Add the potassium ferricyanide to the water and
Part A stir until dissolved.
6 g copper sulfate 5. Add the potassium citrate to the water and stir
24 g potassium citrate until dissolved.
Water to 1000 ml 6. Store in a liter container, marked Part B. The
1. Add the copper sulfate to the water and stir until container does not need to be light tight.
dissolved. 7. At time of use mix equal parts of Part A and
2. Add the potassium citrate to the water and stir Part B and pour into a tray. Once Part A and Part
until dissolved. B are mixed together, the combined solution does
3. Store in a liter container, marked Part A. The not keep past one toning session.
container does not need to be light tight. 8. Immerse the print in water until evenly soaked.
9. Drain the print and immerse in the copper toner.
 Chapter 14 Toning 135

10. Tone until the color desired is reached, which

can be anywhere from a few minutes to really long
(30–90 minutes). Some fun stuff can occur with
long toning if you desire, such as plating out of
copper on the print. However, watch carefully and
don’t leave the print unattended or staining can
occur.
11. After toning, rinse the print for 15 minutes in
running water and dry.

Tea toning
Toning with tea is not a proportional toner. It’s more
of a staining toner, not a true toner, giving an evoca-
tive, antique look to a print. Different teas give
different colors. Darjeeling tea is yellow orange,
Ceylon orange red, Assam dark red, Kenya bright
red, and green tea pink.
1. Immerse a print in water at least 10 minutes
to thoroughly and evenly wet it. This ensures the
print tones evenly.
2. Boil 750 ml water and pour over one tea bag.
Steep the tea bag for a few minutes, add some cool
water up to a liter, and the toner is ready. This toner Figures 14.5–14.6. Mollie Lake Reeds I and II; top, untoned silver
should be used “one shot” and discarded after a gelatin mordançage, bottom thiourea-toned silver gelatin
mordançage, 13˝ x 9˝ © Christina Z. Anderson 2005
print is toned. Otherwise staining or uneven toning
of the next print can occur. One tea bag per print
is not too great an expense. Walnut or other nut toning
3. Immerse the print in the tea solution all in one Walnut husks can be purchased where basket
fell swoop so it tones evenly. Agitate continuously. making supplies are sold, because they are often
4. Watch the print as it tones. Take it out of the used to dye baskets.
toner when it looks half there and put in a tray 1. Put a scoop of walnut husks in water to cover
of water. Tea toning darkens considerably upon and boil for a while until the water turns dark
drying. Toning may take seconds to minutes, brown. Remove from heat and let the liquid cool.
perhaps even up to one half hour. The longer the 2. Drain the liquid from the husks into a container
toning the greater the effect. (husks can be frozen and reused).
5. Once the print is fully toned, remove it and rinse 3. Presoak the print in water for 10 minutes so it
well and dry. is fully and evenly wet.
4. Place the print rapidly in the walnut husk
solution.
5. Just as with tea toning, agitate vigorously and
continuously and remove the print before it looks
sufficiently dark because it will darken when it dries
down.
136 Chapter 14 Toning

Sepia toning
Sepia is the one toner most people know
about, with one drawback: a rotten egg odor
from the sodium sulfide (think sulfur). It can
also fog unexposed paper. There is a non-
smelly brown toner made from thiourea that
is much more pleasant to work with (shared
further on) and is the one I use.
Bleaching can be done fully, until there
is only a faintly visible yellowish image left.
The more the bleaching, the warmer the
sepia tones will be in the final print. The less
the bleaching, the blacker-brown the print
will be. A slight bleach that lightens just
the highlights of the prints without affect-
ing the blacks will give a subtle, lovely split
tone effect.
Sepia is a “tone to completion” toner,
meaning the toner will tone until it is done
toning all silver that has been resensitized
by the bleach bath, and at that point the
print will go no darker even if the print is
left in the toning bath for hours. No worries
about toning time, therefore, as long as it is
enough.
Part A Standard Bleach
100 g (5 tablespoons) potassium bromide
100 g (6.5 tablespoons) potassium ferri-
cyanide
Water to 1000 ml
At time of use, dilute 1 part stock strength
solution with 9 parts water (1+9).
Part B Toner
50 g sodium sulfide
Water to make 1000 ml
Figure 14.7. Just One More On Top, from the Off the Shelf series, 15˝ 1. Bleach the print for 2–5 minutes, until
x 23˝ © Andrew Sovjani 2016. “For me, physical books are the poster-
child for things that are on the verge of disappearing as we adopt only a faint image remains. It is not possible
more technological devices. The side effect is that we are losing many to over bleach. Ilford papers take long to
multisensory experiences. An old book has many visual qualities as bleach.
well as a certain heft, a memory inducing smell, a texture in the paper
acknowledged by our fingers while turning each page, etc. This series
2. Rinse the bleached print in a tray of water
pays respect to the book experience. Large format black and white until the yellow stain is gone—about 2–10
negatives are exposed onto silver gelatin paper. The print then goes minutes.
through multiple selective iterations of bleach/thiourea tone/fix/
3. Place the print in the toning solution, and
redevelopment using calligraphy pens, paper shape cutouts, brushes
and rags.” tone until completion or when noticeable
image change stops, usually 1–2 minutes.
4. Wash for 30 minutes and dry. There is no
need to hypoclear after sepia toning because
no fixer is used.
Figure 14.8. Trophy Man, toned gelatin silver print on Ilford paper from a 4˝ x 5˝ negative, 16˝ x 20˝ © Melanie Walker 1995.
“This image is part of a group of images made using artifacts that I have collected and photographed over the years.
Arrangements of old objects on textured backgrounds serve as metaphors for human emotions and psychological states.
Inspired by “object reading,” the supposed ability to discover facts about an event or person by touching inanimate
objects associated with them, the objects photographed are intended to transcend their material nature and evoke the
mysterious presence of the past. After printing this particular image, I experimented with Berg copper and blue toners
along with potassium ferricyanide bleach. I went through a number of bleaching and toning steps, finally settling on an
image that was mostly bleached out and not fixed.”
Melanie Walker has been a practicing artist for over 50 years. Her expertise is in the area of alternative photographic
processes, digital and mixed media as well as large scale immersive photographic installations and public art. In her
photographic practice she has been driven by contemporary sensibilities as applied to historical photographic processes
and hand-made prints along with new ways of presentation. Her work is a collision between installation, photography,
sculpture, textiles, puppets and sometimes sound. Her practice is haptic and multi-sensory, being born visually impaired.
In recent installations she works with images on sheer fabric to emulate the double vision she experiences with her visual
challenges. She lives between sight and blindness hoping to serve as a bridge to empathy and compassion. To see more
of her work visit melaniewalkerartist.com.
138 Chapter 14 Toning

Thiourea toning 3. Bleach the print in the standard bleach bath,

Thiourea toner is a brown toner just like sepia, but diluted 1+9.
without the rotten egg odor. It uses the same bleach 4. Rinse the print in water until all yellow of the
step as other two-part indirect toners, but Part B bleach is gone (about 2–10 minutes).
of thiourea toning has two solutions that can be 5. Tone in the Part B1/B2 thiourea/sodium
mixed in varying proportions to enable colors from hydroxide/water bath until no more change occurs
yellow-brown to red-brown. It requires three sepa- (1–3 minutes).
rate liter containers, one for the stock bleach, and 6. When toning is complete, wash fiber prints for
one each for Solutions B1 and B2, but all solutions 30 minutes, RC for 4. There is no need to hypoclear
last indefinitely until mixed together. after thiourea toning.
Part A Standard Bleach
100 g (5 tablespoons) potassium bromide Clay Harmon’s one-shot thiourea toners
100 g (6.5 tablespoons) potassium ferricyanide Steps proceed as above under thiourea toning.
Water to 1000 ml Formula I (medium brown tone): for the bleach,
1. Add potassium bromide to 500 ml water and stir. mix 7.5 g potassium ferricyanide and 7.5 g potas-
2. Add potassium ferricyanide to the above solu- sium bromide in 1000 ml water. For the toner, mix
tion and stir. 3 g thiourea and 100 g sodium carbonate in 1000
3. Add water to make 1000 ml. ml water.
4. At time of use, dilute 1 part stock strength solu- Formula II (cooler purple-brown): for the bleach,
tion with 9 parts water (1+9). mix 20 g potassium ferricyanide and 10 g potassium
Part B1 Thiourea Solution bromide in 1000 ml water. For the toner, mix 3 g
100 g thiourea thiourea and 9 g sodium hydroxide in 1000 ml water.
Water to 1000 ml
1. Have 750 ml water in a graduate, and slowly Selective toning
add the thiourea. Stir carefully with a plastic rod, Selective toning is simply toning only parts of an
and then add the remaining water to bring the photograph. Tools to have on hand to make the
amount up to 1000 ml. Store in its own plastic process go smoothly are a hose with a continu-
liter container. ous water supply and a piece of Plexiglas or glass
Part B2 Sodium Hydroxide Solution propped up at a 45º angle to support the print.
100 g sodium hydroxide Also, triangular cosmetic wedges, Q-tips, cotton
Water to 1000 ml balls, brushes, and masking solution can be used.
Caution with mixing this chemical: always add Bleach is applied to the print in certain areas.
acid to water (AAATW)! Have water cold because The hose is kept running just underneath the area
sodium hydroxide gives off heat (exothermic) and to be bleached at all times to catch any drips that
the cold water suddenly gets warm. Also, sodium run outside the bleaching area. If drips occur, rede-
hydroxide spatters and burns if it touches the skin. velop the print in paper developer and start the
I learned that the hard way! bleaching process again. Once the area is suffi-
1. Slowly add the hydroxide to 750 ml water in ciently bleached, sepia or thiourea toner is used.
a graduate, protecting eyes, body and clothing. It will tone the bleached area only. You can mask
Stir carefully with a plastic rod, and then add the the untoned area surrounding the bleached area
remaining water to bring the amount up to 1000 with masking fluid prior to bleaching, and then
ml. Store in its own plastic liter container. when the print is finished the masking fluid can
2. At time of use, mix a combined 120 ml of Parts be rubbed off, but masking fluid will leave a sharp
B1 and B2 per every 1000 ml water. The more B1, edge. Nowadays you can buy masking pens like
the yellower the brown; the more B2, the redder Masquepen or bottles of masking fluid with non-
the brown. clogging tips.
 Chapter 14 Toning 139

Multiple toning Part B:

Experimentation begins with multiple toning. Here 20 g sodium thiosulfate
are some possible combinations of toners: 11 g thiourea
• Sepia/thiourea then selenium 250 ml distilled water
• Sepia/thiourea then blue Add the thiosulfate to the 250 ml water. Add the
• Sepia/thiourea then gold (oranges) thiourea and mix completely and store.
• Sepia then gold then blue 1. At time of use: mix equal parts of A and B
• Selenium (strong) then bleach then sepia together in very small amounts. A little goes a
• Selenium then blue long way.
• Selenium then gold 2. Use a warmtone paper such as Ilford warmtone,
• Copper then blue and semi-matte or matte if the print will subse-
• Blue then copper quently be hand colored.
• Bleach then paper developer then sepia 3. Tone the print first in a two step process sepia or
Favorites are a combination of warm and cool tones thiourea toner as instructed in this chapter. Wash
of thiourea and blue. It is best to warm tone first well, and squeegee excess water off the surface. Lay
and blue tone next. flat on a piece of glass.
The one caveat: after a bleach bath a print can 4. Mix a small amount of equal parts of Part A
not be directly toned in selenium. Selenium toner and Part B together, starting with perhaps 10 ml
contains fixer and will fix the print to a nice blank. of each. With a small watercolor or calligraphy
brush, apply to the area to be toned. Keep reap-
Mortensen’s metalchrome plying, having on hand a water source to pour on
William Mortensen named this toning process top of the print to stop the process when it looks
“metalchrome” because of gold chloride—the metal complete. If the toner seeps outside the lines of
part—and watercolors—the chrome part. However the area being selectively toned, immediately douse
fancy the name may be, it is really only selective the area with water to stop the toning. The process
toning with gold chloride over a previously sepia/ moves slowly enough that there should be time to
thiourea-toned print. The gold toner changes the think and adjust.
warm browns of the sepia toner to a pale peach 5. When finished gold-toning, rinse, hypoclear,
to deep orange tone. Watercolors (optional) can wash for 30 minutes, and dry.
be used to tone down the intense peach tone if 6. The print can be hand colored with a neutral-
necessary. The peach tone is perfect for flesh or izing color to tone down any areas that may have
Southwestern landscapes where red clay abounds. become too orange. Only a very thin wash is neces-
Part A: sary, if at all. The intensity of the peach tone is
1 g gold chloride proportional to the depth of the tone in the print,
250 ml distilled water and highlights are rarely too peachy.
Gold chloride solution keeps indefinitely. Take the Endnotes
little glass vial with the gold chloride powder, uncap 1. Harrison, W. Jerome. “The Toning of Photographs,
Considered Chemically, Historically, and Generally” in The
it, and put the entire vial in the bottle of distilled Photographic Times and American Photographer, Vol. XXI.
water to make sure to get every grain of gold New York: The Photographic Times Publishing Association,
1891, “Alkaline Toning Baths,” Ch. VII, pp. 243–244.
powder out of that vial and into solution. Leave 2. Rostagni, Jean-Christian. “French Photographer Denis
Brihat: Spiritual Heir to Edward Weston” in Photo Techniques,
the glass vial in the bottle permanently. This is just January/February, 2003, pp. 27–29.
a more dilute form of gold chloride than the 1% 3. Anchell, Steve. The Darkroom Cookbook, 3rd ed.
Burlington, Massachusetts: Focal Press, 2008; 4th ed. New
recommended in this chapter, so you could merely York: Routledge, 2016, p. 303.
4. Jones, Bernard E., ed. Cassell’s Cyclopaedia of
add 15 ml water to 10 ml 1%. Photography. New York: Funk & Wagnalls Company, 1912,
pp. 414–415.
.
Figures 15.1–15.3. Clockwise from top left, Arrangement #3,
Arrangement #12, Arrangement #14, handcolored silver
gelatin prints © Aline Smithson 2005. “With my Arrangement
in Green and Black series, I am using hand painting in a more
contemporary way, not the typical landscapes and children
in bonnet images that were popular in the 1980s. I have been
greatly influenced by the Japanese concept of celebrating
a singular object. I tend to isolate subject matter and look
for complexity in simple images, providing an opportunity
for telling a story in which all is not what it appears to be.
The poignancy of childhood, aging, relationships, family,
and moments of introspection or contemplation continue
to draw my interest. I want to create pictures that evoke
a universal memory. The most joyful part of the journey is
making the work—having time to play and experiment. It’s
important to make messes and revel in the creative process.”
Aline Smithson is a visual artist, educator, and editor based in
Los Angeles, California. She is best known for her conceptual
portraiture and a practice that uses humor and pathos to
explore the performative potential of photography. She has
exhibited widely including over forty solo shows at a variety of
international institutions. Smithson’s work has been featured in
publications including The New York Times, The New Yorker,
and PDN. She is the Founder and Editor-in-Chief of Lenscratch,
a daily journal on photography. The Magenta Foundation
published her monograph, Self & Others: Portrait as Autobiography. The Smithsonian Air and Space Museum commissioned
her to create a series of portraits for the upcoming Faces of Our Planet exhibition. In 2018 and 2019, Smithson’s work was
exhibited in the National Portrait Gallery in London as part of the Taylor Wessing Prize. Kris Graves Projects commissioned
her to create a book on Los Angeles, LOST II: Los Angeles and Peanut Press will be releasing her monograph, Fugue State,
in Fall 2021. To see more of her work visit www.alinesmithson.com.
Chapter 15
Applied Color and Abrasion Tone
Figure 15.4. To Stand Sturdy,
from the Shadows and Stains
series, handcolored silver
gelatin print © Aline Smithson
2008. “In the Shadow and Stains
series,work created with a toy
camera where I can extend the
frame, I break all the rules of the
darkroom—cutting negatives,
overlapping images, adding
text. I create the collages in the
dark and have a typed phrase
ready to place as the top layer
to my efforts. Later I instinctively
add washes of color with oil
paint. This is the opportunity
for play and for failure in the
darkroom. Losing precision in
the darkroom was liberating
and took away the onerous
task of creating perfection.
Not knowing the outcome was
much more exciting.”

T
he hand colored black and white photo- other places. There are several sets at different price
graph possesses a unique aesthetic. In the points. The larger kit is the one to buy if commit-
very beginnings of photography when ting to the process long term. The oils last forever.
color film and paper did not exist, there was a Freestyle sells their brand of photo oils called
strong tradition of hand colored black and white Arista Photo Oils (freestylephoto.biz). The oils are
prints, because that was the only way to achieve made by Gamblin and come in little jars instead of
realistic color with a photograph. With the advent tubes as do the Marshall oils.
of color film and paper, the need for hand coloring It is possible to use regular oil paints for hand
dwindled to the purview of fine art photographers coloring, the ones that are high quality and highly
who appreciated the muted, retro look. Some pigmented, but the amount of color needed is
handcolorists follow the photograph carefully and so minimal—the size of a pea—that having a
subtly. Some color only parts of the image—selec- whole set of little tubes of Marshall’s paint is very
tive coloring. Some use color sumptuously with economical, with far more color choices than if one
a velvety application. Some obliterate much of had to buy normal sized tubes of oil paint.
the photographic information with very painterly The cleaning solution with the Arista kit is
markmaking. With no longer the need to merely mineral spirits and not the Marlene solution that
represent reality as in the 1800s, hand coloring is comes with the Marshall’s kit. Marlene is trichlo-
wide open for experimentation. roethylene, a chemical that dries instantly with no
There are few brands of photo oils on the residue. It is apparently used in the dry cleaning
market now. The original (my favorite) is made by industry. It is a miracle cleaner with hand coloring
Marshall and is available from dickblick.com and because it removes pigment instantly and leaves
142 Chapter 15 Applied Color and Abrasion Tone

Once the print is completed, it is easiest to dry-

mount it onto an archival mat board so it will stay
flat for the handcoloring process or, at least, tape
it to a support that can be rotated.

Supplies
100% cotton balls (real cotton is a must)
Q-tips
Toothpicks
Marlene, naphtha, Arista cleaner, or mineral
spirits
Extender (if desired)
Krylon Crystal Clear glossy acrylic spray
Wax paper
Frisket removable film
Antistatic cloth or disposable antistatic sheets
Figure 15.5. Dancer I, handcolored silver gelatin print, 16˝ such as Pledge Grab-its
x 16˝ © Brigitte Carnochan 2003 White vinyl eraser to clean up small areas
The P.M. Solution, Duolac Varnish, and drier that
no oily residue behind to muck up the rest of the come in the kit are not particularly necessary. The
pigment on the photograph. Unfortunately, trichlo- drier, mixed 1:2 with the oils, dries the paint in
roethylene is banned in many states for its toxicity. less than 24 hours. The P.M. Solution is used by
In future times it may be that the only available hand colorists who color with pencils. They coat the
cleaners are mineral spirits or naphtha. If hand entire print with a layer of P.M. Solution, wipe it
coloring becomes a process of choice it would be almost dry, and then let it absorb and evaporate for
wise to stock up on Marshall’s Marlene. Or, make a bit. It prepares the print to receive the pencil or
friends with a dry cleaner and see if it is possible to paint in a less grabby fashion. After applying the
get some from them. Otherwise naphtha or mineral pencil, the marks are rubbed with cotton to blend.
spirits will have to do. Alternatively, the pencils can be dipped in the P.M.
Starting with photo oils and then a matte Solution while coloring the print.
or semi-matte paper will make the hand color- P.M. solution can be used to clean the entire
ing process easy. Glossy photo paper has such a print if the coloring process is not working well and
slick surface that the paint does not grab enough. one needs to start over, but mineral spirits will do
Whether the paper is rc or fiber doesn’t matter that as well. Otherwise, Marlene is used to clean
as much as whether the surface is matte or glossy. up small parts of a print while in process of hand
Some print a bit lighter (1/3 stop) and lower coloring or at the end of the process to clean up
contrast, because if the image is too dark or minute highlights or areas where the color looks
contrasty, the oils can appear muddy. Some don’t messy. Marlene leaves a perfectly clean, dry surface.
do this. In either case, the print should have good P.M. leaves an edge halo as the oil/turpentine
detail in both highlights and shadows. mixture creeps into other colors and dissolves them.
Second, if possible, toning the print warm with Extender is used to extend pigment to a weaker
a mild sepia toner or even split-toning the print color. It makes the paint greasier, and pigment can
so just the highlights are brown but the shadows be made weaker by merely rubbing it off with
stay black makes the final print look better. Oils on cotton balls. I personally never use it.
top of warmer tones look better than oils on top
of cooler tones.
 Chapter 15 Applied Color and Abrasion Tone 143

Figure 15.6. Nude with

Camelia, handcolored
silver gelatin print,
16˝ x 16˝ © Brigitte
Carnochan 1997.
More of Carnochan’s
work and process is
in the Contemporary
Experimental Artists
chapter.

Steps 3. Prepare a makeshift paint palette. Tape a double

Plan on hand coloring the print from start to finish thickness of wax paper onto the table to use as a
in one sitting. If this is not possible, put the partially disposable palette. Make this about 4˝× 6˝ at least,
hand colored print in a sealed plastic bag to keep large enough to mix colors on. Freezer paper works
it from drying out. The sooner the print is finished well for this, too.
the better, because trying to color over partially dry 4. Prepare the paints. Squeeze out colors onto the
paint creates unevenness. If it dries partially before palette—for larger areas use the size of a pea, for
completion, better to let it dry completely (3 days smaller areas such as lips use just a smudge from
to a week) before working on it again. the top of the tube. It is easy to replenish the palette
1. Prepare the print. Mount a fiber base print onto with more paint, but once the colors are squeezed
archival mat board so it will remain flat. rc paper out, they will dry overnight and be unusable. It is
usually remains flat so this dry mounting is optional possible to cover the pigments with another piece
for rc. of wax paper to keep them moist longer, but if a
2. Protect the print. Cover the white borders with skin forms on top of the pigments, it can leave bits
cut strips of Frisket film to preserve the whites and of crud in a handcolored layer.
save on cleanup time. Don’t use tape—it’ll rip parts 5. Mix the colors either on the wax palette or on
of the print off upon removal unless it is a low-tack the print itself by dabbing the different colors
variety such as Kleenedge brand tape. Frisket Film where they will belong and then mixing them with
is low tack and removes nicely. It is worth its weight the cotton. Flesh tones should probably be mixed
in gold, and Frisket strips can be reused after the on the palette first, and then bits of yellow, blue, and
excess paint dries on them.
144 Chapter 15 Applied Color and Abrasion Tone

red can be added on the print to warm up or cool 11. Whenever shading an object, use its comple-
down highlights and shadows. With skies, walls, or ment in the shadows—a blue box, for instance,
other larger areas just layer the colors on the print could be shaded with orange mixed in with the
directly and then rub gently together. blue. In fact, using a complement of a color will
6. Start the color application. When applying tone down a too bright or too raw color and make
colors to the print, remember to over-color at first it appear more natural (yellow/purple, blue/orange,
and then rub down to the desired strength. If the red/green). This all follows color theory. Hand
initial color application is too dark, it can always be coloring a photograph is the same as painting a
rubbed down with cotton to a lighter shade. canvas.
7. The hand coloring mantra: Go from larger to 12. Some suggestions for color combinations are
smaller, top to bottom (if possible), messy to clean. as follows:
Translated, this means to color the skies and back- • Blonde hair: raw sienna, white, and Verona
ground larger areas first, without worrying about brown; or try khaki. Blonde hair is actually ash
overlapping color into smaller areas. Since the next toned and thus leans toward green.
application of color will displace and, in essence, • Brown hair: Verona and sepia for the highlights.
clean the messed up color from that area (within • Black hair: neutral tint.
reason) do not worry about edges much in the • Red hair: Verona brown and burnt sienna.
beginning. When the background larger areas are • Gray hair: sepia and white.
complete, work on the next smaller areas and on • Skin: there are several different flesh paints. One
down, until the last elements that are hand colored leans more towards red, one more towards yellow.
are such things as gold rings, lips, eyes, fingernails, They range from light to dark, but straight flesh
etc. tone is an unpleasing Band-Aid tan, and must
8. Painting is begun with larger tools and finished be highlighted with other colors as said above.
with smaller tools: cotton balls at the beginning, Example: basic flesh and white for midtones,
then Q-tips, and then finally small details are straight flesh for the shadows (or use Verona
colored with toothpicks wrapped in teeny bits brown), and add raw sienna for the highlights.
of cotton. To make the latter, wet the end of the • Darker skin: Verona brown and red.
toothpick, pick up a smidgen of cotton, and wrap • Darkest skin: Verona brown and flesh.
it around the moistened toothpick by spinning the • Eyes: use a toothpick and make sure not to cover
toothpick. up the catchlight; wipe it clean with Marlene or
9. Color with variety. The secret to hand coloring dot it with titanium white at the 11:00 or 1:00
is twofold: don’t use large areas of unmodulated, position. A tad of cheek color in the corner of
straight color but mix, mix, mix with a pinch of this the eye white will warm up the eyes. Use neutral
and a pinch of that. (The second secret is perfect tint on the pupil, never black. Or use a touch of
cleanup, discussed below.) Avoid using solid color a black pencil for the pupil.
which can be boring, too “raw,” or amateurish • Lips: for men’s lips use Flesh 3, for women’s lips,
unless carefully done. Thus, a sky might contain Lipstick Red in the Marshall’s kit.
several blues along with a bit of yellow or sepia • Grass: oxide green or tree green mixed with
if warm is desired, or Payne’s gray, neutral tint or browns, blues or reds for shadows and yellows
purple if cooler tones are desired. for highlights.
10. The same goes for water. Water has ultramarine • Skies: mix extender in with the blue oil if need-
blue and purple and viridian and chromium oxide ing to dilute the color. Keep the horizon sky area
green and cadmium yellow and red and Payne’s less blue and grade to more blue toward the top
gray—all kinds of colors. Flesh is never just straight of the print. Rub color over the complete sky,
flesh tone, but flesh mixed with white or yellow, or even over tree branches; afterwards, just color
red to warm it in touchable areas, or a tad of blue branches right over the blue, and even use
or brown for the shadows. colored pencils to do tiny detailed branches and
 Chapter 15 Applied Color and Abrasion Tone 145

Figure 15.7. Common Raven on Lace, digital archival inkjet print hand-colored with pencil and pastel, 36˝ x 24˝ © Kate
Breakey 2022. “Several studies have found that bird populations are rapidly declining. In North America alone we have
lost 1/3 of all birds in 50 years—3 billion of them. The primary cause is habitat loss, but window collisions, vehicles, power
lines, communication towers, domestic cats, pesticides, and extreme weather events due to climate change are all
responsible. As pollinators and insectivores, birds are utterly essential to a functioning ecosystem. Their disappearance
is an indicator, a clear and sobering signal, that what we have done spells immeasurable trouble for the health of our
planet, and therefore our own wellbeing. Can we imagine a world without birds? Quite apart from everything else,
without them, our souls would surely die.”

leaves. Remember, as things recede they get bluer or lights. Blue and red are hard to remove so these
due to atmospheric perspective; thus, distant two colors should be carefully applied.
mountains are bluish and closer mountains will 15. Dry prints at an angle leaned against a wall
appear greener and warmer. face side down so that dust will not collect on the
13. When the coloring is complete, the final and surface and dry into the paint. Another idea is to
most important step is cleanup. How good a hand dry the print inside a dust free plastic bag with a
colorist is can be told by the attention they pay to cardboard bridge to keep the bag from touching
cleanup. Any mistakes become even more notice- the surface. Or dry inside a box.
able if published in books. 16. When completely dry, wipe off the print with
14. Investigate the print with a loupe, scrutinizing the antistatic cloth and spray with a coating of
it closely for any bit of color that is out of place. Krylon Crystal Clear glossy acrylic spray. This will
Take a toothpick with cotton, dip in cleaning solu- even out the glossy and non-glossy areas of the
tion, and clean the stray color up. Rub the area print and deepen and enrich the colors. It is amaz-
lightly with a dry cotton-covered toothpick to clean ing how nicely the spray makes the finished print
off the cleaner (oily residue from mineral spirits, or look. It glows!
the little dot of color left by the Marlene). Clean
up eye whites, teeth, any highlights such as catch
lights in the eyes and specular highlights on jewelry
146 Chapter 15 Applied Color and Abrasion Tone

Tips and ideas razor blade and then toning the print by rubbing
• Don’t color the whole print, but color selectively such colorants as pencils, chalk, and pastel into the
to establish a focal point. scratches. He also scratched off entire parts of the
• Use titanium white to put highlights in the print, photograph. I will share a much simpler method
create delicate almost invisible patterns, or to that doesn’t require abrading; think of it as merely
recede areas of unimportance to make the focal hand coloring a print with pastels. I will outline his
point pop out more—a kind of false atmospheric complex process for posterity.
haze.
• Experiment with colors not natural to the Abrasion tone (without abrasion)
image—green skies and pink trees. • Ivory black and burnt sienna pastels, ground to a
• Hand color liquid emulsion on water color paper. powder in a blender or coffee grinder. Use high
Watercolors are perfect for this. pigmented pastels or conté chalks. Mix in a 2:1
• Color with pastel, charcoal, pencil, gouache. proportion of ivory black to burnt sienna.
• Create stencil patterns with a fabric pattern as • Graphite pencils or graphic powder, if desired
the basis. With a piece of mylar or other form of • Erasers such as kneaded gum and pencil
plastic sheeting, and an electric pen from a craft • Cotton balls and Q-tips
store, the fabric pattern can be traced onto the • Gelatin silver, matte-surface print
mylar and burned out. Place the fabric under- • Krylon Crystal Clear matte/gloss acrylic spray
neath a sheet of glass, the plastic sheet on top Merely use the colorants such as powdered pigment,
of the glass, and trace the design with the heat pencils, etc., and erasers to add tone to the print,
pen tool. without scratching. Graphite give a beautiful silvery
• Coat the paper with a thinned solution of shellac shimmer to the print surface. Then fix with the
and methylated spirits of alcohol. Shellac is an Krylon spray to seal the pastels/handiwork.
actual natural substance created out of ground
up beetles that has an odd smell and looks like Mortensen’s abrasion tone
a transparent cockroach color. Thinned with • Ivory black and burnt sienna pastels, ground to a
methylated spirits, it is a unique antique yellow powder in a blender or coffee grinder. Use high
color, and accepts waxy colored pencil and oils pigmented pastels or conté chalks. Mix in a 2:1
quite well. proportion of ivory black to burnt sienna.
• Erasers such as kneaded gum and pencil
The bottom line is, hand coloring is no longer • Carton of powdered pumice
some prissy old fashioned portrait technique, but • Cotton balls and Q-tips
a contemporary method of fine art making. It can • Architect’s drafting brush
be subtle or strong, kitschy or elegant. Most impor- • Print spotting solution and spotting brush
tant, it is just plain fun! • Carbon drawing pencil, BB (carbon black, not
shiny gray graphite)
Abrasion tone • Xacto knife and blades of the sharpest, pointy
William Mortensen was an avid print manipula- kind, or a traditional razor blade
tor from the first half of the 20th century. Today • Silver gelatin, matte surface print
he might be termed a post-visualizer. Mortensen • Krylon Crystal Clear matte/gloss acrylic spray
did kitschy work at a time when Ansel Adams and 1. Dip a cotton ball in the powdered chalk/
straight photography reigned. In fact, Adams was pigment, shake off, and rub over the entire print
highly critical of Mortensen. so that the print is completely covered with a spare
The abrasion tone process was Mortensen’s layer of the pigment but not noticeably darker.
creation. His version of abrasion tone consisted 2. Take another cotton ball and wipe the surface
of laborious print abrading with pumice and a evenly so that there is no loose powder showing.
 Chapter 15 Applied Color and Abrasion Tone 147

Figure 15.8. Contemplate, infrared, hand-colored silver gelatin print,13.25˝ x 10.25˝ © Christina Z. Anderson 2007

With the kneaded eraser, remove the pigment 8. Blend the carbon pencil with a cotton ball and
from the light areas of the print. Don’t worry about pumice. Brush off.
unevenness at this stage. 9. With the Xacto knife, using a gentle, ⅛˝ long
3. Sprinkle a small amount of pumice over these stroke, scrape away bits of the emulsion to remove
lightened areas, and with another cotton ball, blend or lighten or even take parts of the image away. Do
in the unevenness with the pumiced cotton ball not dig into the paper, but gently scrape, with the
until the edges between light and dark are blended. blade held at a 90º angle to the print, and scrape
4. If there is pigment in the previously lightened away from one’s body in tiny strokes, with the blade
areas, clean up again with the kneaded eraser in the continually moving back and forth so that it does
very lightest parts of the lightened areas, in essence not scrape in one place for so long that the print
creating a greater tonal range. gets gouged. Blow off any resulting crumbs.
5. Add specular highlights with the pencil eraser. 10. Spot any corrections with photo spotting solu-
6. Sweep off remaining pumice and pigment with tion and a brush.
the drafting brush. 11. Spray with Krylon Crystal Clear matte or
7. Take the carbon pencil and add touches of dark gloss acrylic varnish to protect the print and mark
in larger areas and the deeper midtones. This step making.
can be used for enhancement of darker areas or
correction of unwanted light tones or details. Do
not use the pencil as a line drawing tool but a tone
adding tool.
Figure 16.1. Lace Robe, 7˝ x 9˝ silver gelatin print with encaustic © Leah Macdonald 2018. More of Macdonald’s work
and process are in the Contemporary Experimental Artists chapter.
Chapter 16
Encaustic, Collage, Photomontage

Figure 16.2. Flower Girls, 7.7˝ x 7.8˝ silver gelatin print with encaustic © Leah Macdonald 2021

E
ncaustic is a method of painting with wax Supplies
that is extremely archival. Different colors • Unrefined beeswax: this comes in blocks that
of encaustic paint are derived by mixing are yellowish in color, available at most hardware
powdered pigment into wax. Encaustic supplies are stores. Unrefined beeswax still has pollen and
available for purchase or can be made with a few propolis in it, which gives it its characteristic
supplies. This chapter will touch on the creative use yellowish color. Refined white beeswax, sold in
of encaustic specifically in relation to photographic pastille form, has the pollen removed.
images (e.g. encaustic was first and foremost a paint- • Encaustic medium: encaustic medium is a
ing technique). Even something as quick and easy mixture of beeswax and dammar resin. You can
as saturating a photograph in beeswax acquires a make your own, or buy it readymade from the
beautiful translucence and antique feel. sources included in this chapter.
150 Chapter 16 Encaustic, Collage, Photomontage

• Heat gun: the heat gun bonds, fuses, heats, and Medium tech encaustic
reheats layers of wax which are added one after • Dip the whole print in wax first to get it impreg-
the other. If a heat source is not used to fuse nated with wax through and through, and then
each layer together, the encaustic will not work. heat, drip, palette knife, or brush more wax on
With the heat gun, wax can also be reheated top. Each additional layer of wax will have to be
and moved around at any time after application. fused to the layers below with a heat gun.
Heat guns now come with digital temperature • Buy powdered pigments and add them to the
readouts, and multiple temperature settings from wax. A little goes a long way. Don’t add too much
low to high, also attachments to direct the heat because it’ll become too opaque.
flow as well as variable fan speeds. A heat gun, • Use metallic powdered pigment for shimmer.
an essential tool for encaustic, represents some • “Glazing” is done by mixing very minimal
investment. amounts of pigment into a layer of wax for mere
• Frying pan or griddle: this is used to heat up hints of color.
wax paint and keep it warm. • You can mix oil paint with wax, but this will
• Muffin tin: this is a handy tool to place on top take longer to dry, depending on how much oil
of the heat source, in which different colors of pigment is added.
pigment can be stored and heated all at once.
• Brushes: natural bristle brushes are the ticket; The encaustic process
synthetic bristles cannot be used; they melt. A Most of the information in this chapter comes from
good brush would be a Japanese hake brush. the wonderful website rfpaints.com.
• Palette knives 1. Purchase encaustic paints and mediums read-
• Paper or other support: many encaustic artists ymade from the sources in this chapter, a wood
use cradled wood panels as their support. panel, and pva glue. If you want to make your own
Photographs can be affixed to these supports medium, have 2 parts Dammar resin + 9 parts bees-
with pva archival glue or acrylic gel medium, wax ready to go.
and dried overnight. A photograph can also 2. Glue the photograph to the wood support with
be the support because paper absorbs wax. pva and let it dry overnight.
Whatever the case, the final encaustic has to stay 3. To make your own beeswax/resin, heat the bees-
rigid because flexing will crack the wax. wax only in a pan until melted at about 160ºF. Then
• Other: if really pursuing encaustic, there are lots add the Dammar resin and bring the mixture to
of tools specifically designed for hot painting 180ºF, stirring well. Cool.
such as brass bristle brushes and hot wax pens. 4. Melt either the purchased or homemade
These are beyond the scope of this book, but an dammar/wax medium and apply a first layer with
excellent description of these tools is in Rankin’s a brush, palette knife, or by pouring or dripping.
book cited under Sources in this chapter. Let cool.
5. Heat and fuse the layer with the heat gun.
Low tech encaustic 6. Apply the next layer of medium, then heat and
• Soak smaller photographs in wax heated up in fuse it to the layer below, and so on and so forth
a frypan until the paper is impregnated with with each layer. The thicker the layers of wax, and
wax through and through. Remove and let the the cooler the wax applied, the more important
wax harden. The print will look more translu- it is to properly fuse each layer to the one below.
cent and antique, especially if natural beeswax Otherwise they will separate down the road. It is
is used. This simple encaustic works well with best to do thinner and more frequent layering.
water color paper. Try soaking liquid emulsion 7. When the encaustic is finished and completely
on water color paper in wax. cool, it is done and requires no further work other
than a mild buffing. Do this with a soft cotton cloth.
 Chapter 16 Encaustic, Collage, Photomontage 151

The ivorytype
The ivorytype is a handcolored photograph that is
affixed to a piece of glass with warm wax. The glass
is first cleaned and then warmed, then covered with
a layer of melted white beeswax or the Dammar/
beeswax encaustic medium. While the wax is hot
and evenly layered on top of the glass, the print is
carefully lowered and embedded into the heated
wax, from middle of the print to the edges. A flat-
edged ruler or similar tool is used to press and
smooth down the print to the glass plate. Hopefully
there will be no air bubbles trapped in the sandwich
Figure 16.3. Circles, 6.8˝ x 5.3˝ silver gelatin print with or it’ll have to be reheated and sandwiched once
encaustic © Leah Macdonald 2021 again. When the ivorytype is dry it is backed with
something white to make it brighter and framed.
8. Cleanup: most tools can be heated and the wax
wiped off. Mineral spirits can be used for cleanup as Tips and ideas
well. It is best, though, to dedicate a set of tools to • Encaustic medium contains 8–15% Dammar
encaustic, eliminate the use of mineral spirits, and resin and produces a harder layer and more shine.
keep them cleaned with just heat and paper towels. • Dammar resin is not the same as Dammar
9. For several months after the last melting of varnish, which is the resin mixed with turpentine.
the paint, the wax/resin will go through a curing • The addition of Dammar resin to encaustic paint
process in which the surface continues to harden. raises its melting point, allows the wax to cure
During this time moisture or other impurities that and harden over time, adds gloss, and prevents
have gotten into the paint while hot may work their bloom which is a whitish haze caused by hydro-
way to the surface and cause a slight haze. Buffing carbons in beeswax. Encaustic paint made from
will restore the high polish. beeswax without resin can develop this bloom, or
10. Encaustic does not need to be varnished or clouding, which can only be removed by reheat-
protected by glass. A temperature of 40–110ºf ing the wax, so this is why it is best to use resin
(4–44ºc) is fine. Do not put an encaustic in in the mix or buy an encaustic medium that
sunlight or a hot car in the summer or it will melt. includes the resin already.
On very hot days in a house the paint can soften • Because wax is an adhesive, encaustic can be
somewhat, but no real damage will occur. If any impregnated with papers, foils, strings, fabric, or
dulling occurs, the surface can be buffed when the found objects of almost any material. Objects
encaustic is cooler. can be placed in layers on top of each other, or
11. In very cold temperatures wax will shrink they can be separated by layers of wax to give the
slightly. If layers have not been fused well they effect of floating.
will separate or crack. If any parts break off, add • Fabric can be saturated with wax and integrated
more wax and fuse again. In fact, you can return to with the photograph.
the encaustic years later and do additional work if • The preservative quality of wax allows the use of
desired, or even heat and scrape off any previous organic materials, protected from deterioration
work and start anew. when imbedded in the wax away from oxygen.
Newspapers will not yellow, for instance.
• The melting point of beeswax is about 145ºF.
152 Chapter 16 Encaustic, Collage, Photomontage

• The melting temperature of R&F encaustic paint Possible supports

is approximately 162ºF (72ºC). The working • Untempered hardboard like Masonite
temperature does not need to be much higher. • Cardboard
• If too high a temperature is used, the wax • Bristol board
and pigments will be adversely affected and • 300 lb watercolor paper and watercolor board
fumes can result. Keep the palette temperature • Poster board
around 200°F (93°C). The paint should be well • Mat board
melted and fluid. If it does get too hot (about • Archival foam core
275°F/ 148°C), the beeswax will start smoking. • Stretched canvas and canvas board
Too high a sustained temperature can decom- • Photographs
pose the wax and some pigments, making them
toxic. Possible materials
• Fabric
Sources • Purchased papers: bond, charcoal, color-coated
For encaustic paints check out: (Color-Aid), printmaking, rice, metallic leaf, foil
Rfpaints.com; DickBlick.com; • Found papers: from delicate toilet paper to
Fineartstore.com; EvansEncaustics.com; roofing paper; consider all the junk mail and
Encausticsupplies.com. Two recommended magazines
books are The Art of Encaustic Painting by Joanne • Prepared papers: painted, silk-screened, drawn
Mattera and Encaustic Art: The Complete Guide to • Color or black and white photocopies
Creating Fine Art with Wax by Lissa Rankin. • Photographs
• Rubbings
Collage and photomontage • Typefaces: from magazines, books, newspapers,
Collage and photomontage are methods of image Xerox, posters, bulletins, stamps, labels, calendars,
making that have been around for over one hundred flyers, ticket stubs, candy wrappers, can labels
years. Even though the terms are often used inter- • Organic material: sand, leaves, flower petals,
changeably, there are differences. Historically, twigs
collage differs from photomontage in that glue is
used (the name collage comes from the French coller Adhesives
or “to glue”), it doesn’t have to be photographic, • White glues (pvas) like Wilhold, Elmers, Sobo,
and its construction is not necessarily hidden. wheat paste, wallpaper paste, Yes™ glue
Photomontage is photographic, doesn’t have to be • Acrylic gloss medium (used as an adhesive and as
glued, and its construction is often hidden. the first protective coating of the support)
In practice collage is like a treasure hunt, find- • Acrylic matte medium (used as an adhesive and
ing beauty in cultural fragments. An indispensable to make the final collage non-glare)
modern convenience is acrylic medium which
doubles as a glue and a protective coating. With Tools
that, a few magazines, and a piece of watercolor • Brushes, small and large
paper for support, collage is a fun and inexpensive • Scissors
way to make art. • Xacto knife
• Plastic container for water
• Towel
• Freezer paper is handy
• Old wooden spoon to rub pieces in place
• Tapes, brayers, sponges, scrapers, and sandpapers
 Chapter 16 Encaustic, Collage, Photomontage 153

Five steps to collage Tips and ideas

1. Coat the support on both sides with undiluted • Wax paper or the waxy side of freezer paper
gloss medium (or gloss gel thinned 50/50 with provides a perfect place to coat pieces with matte
water). Let dry. medium and dry.
2. Coat the support again with matte medium and • Encase pieces of collage in matte medium: coat
let dry. one side on top of freezer paper, let dry, peel
3. Arrange collage pieces and adhere them with off of the freezer paper and coat the other side.
matte medium. Wipe off excess medium. Let dry. Dust pieces lightly with cornstarch when dry for
4. Seal the completed collage with a coat of gloss or storage to prevent sticking together.
matte medium or gel. Dry thoroughly. Put weights • Use stick pins to keep pieces in place.
on top to flatten. • Sort and store different colors in Ziploc baggies;
5. Before storing, dust the finished collage with sort according to color, subject matter, or texture.
cornstarch. • 2 l-shaped pieces of mat board work great to
frame the image while working out compositions.
Photomontage • Heavier materials may require a mixture of
Photomontage, layering photographic imagery, acrylic modeling paste/gel medium mixed half
preceded collage. Almost as soon as photography and half.
was discovered, images were layered in camera or in • Yes™ glue will not wrinkle magazines or photos.
the darkroom. Layering has continued in full force • Use matte medium for a final coat on the collage
into the 21st century with the advent of Photoshop. to cut down on glare.
It is so easy to combine images in Photoshop that • When done with the collage, lightly dampen the
doing it the “old” way in camera or in the darkroom back of the support with a sponge and water,
is unnecessary. However, combining bits of images weight it overnight with books, and flatten.
by hand still has merit. • Rinse brushes continually before any acrylic
1. Cover the work area with protective paper such hardens in the bristles.
as freezer paper or newsprint. • Coat the neck of acrylic medium jars with a bit
2. Choose a support for the background such as of Vaseline to keep them from sticking.
watercolor paper or a photograph as a base. • Text often dominates the image and structures
3. Cut out the elements that will be added to the its meaning—text trumps image in other words­.
background, making sure to do smooth, continuous Its use in collage can provide humor and irony.
cuts with the scissors. Use an Xacto blade in smaller Add text with pencils, markers, colored pencils,
areas. Cut at a canted angle, slanted in toward the inks, crayons, paints, pastels directly onto the
back of the piece, so the paper base of the photo- print.
graph will not show white around the object. If • Add magazine words pasted on with acrylic
dry mount tissue and a dry mount press are to be medium.
used, the elements must be affixed to the dry mount • Use words printed out on transparency and
tissue before cutting. sandwiched with the image while exposing.
4. Color the cut edges to match the piece or the • Use words written on the negative directly,
background it will be placed on. If the background or scratched into the negative, or added in
is white, don’t color. Photoshop to a digital negative.
5. Apply adhesive to the pieces. If spraying little • Text can be suspended above the paper while
pieces, pin them down before spraying so they don’t enlarging to make it less distinct.
blow around. • Try exposing a print through a personal letter.
6. Working from top to bottom, affix the pieces • You can also write words on the object being
to the support. If using dry mount tissue, use the photographed.
tack iron to tack them to the background and then
dry mount the whole image when all pieces are
attached correctly.
Figure 17.1. St. John’s Baptist Church, Stotesbury, West Virginia, bromoil print, 8˝ x 12˝ © David W. Lewis 2010
Chapter 17
Bromoil

Figure 17.2. Star Mine, Burke, Idaho, bromoil print, 12˝ x 8˝ © David W. Lewis 2018. David Lewis is a master of oil, bromoil
and transfer. For much of his 50+ year career his work has centered upon de-industrialization throughout North America.
Lewis documented the loss of rural farming communities such as Keppel Township from the 1970s to 1980s, many long
abandoned industrial sites, permanent closures of North American forestry and mining industries (coal, gold and silver
mines), and current resource companies. This five-decade long journey has resulted in the preserving of an important
part of culture and reflects on the humility of our society. Lewis manufactures materials required for the bromoil process
including bromoil non-supercoated paper, brushes, and pigment inks. To see more of his work or purchase products,
visit www.bromoil.com.

I
n the bromoil process a silver gelatin print is the bromoil, the silver gelatin print is soaked first in
bleached away and replaced with oil-based ink. a tray of water. The softer highlights absorb more
During the bleaching, the gelatin surround- water and swell more than the harder shadows. This
ing the silver grains is tanned and hardened by results in a differential rejection of oil-based inks.
the chemistry, specifically potassium dichromate. The more water accepted into the print, the more
It is tanned proportionately to the amount of silver an oil based ink is rejected. The less water accepted
present. The shadow areas of the print containing into the print, the more the ink is accepted. It
more silver are the most tanned and hardened and stands to reason, then, that the shadows will be
the highlights containing less silver are the least ink accepting, the highlights ink rejecting, and a
tanned and hardened. When it comes time to make proportionately tonal print will result.
156 Chapter 17 Bromoil

There are two tools used to ink up the print: Paper choices
brush or brayer, or a combination of the two. Silver gelatin papers today are surface-hardened so
The brush method is the traditional method that they don’t scratch. Fixer often has hardener added
produces a softer, sometimes grainier and certainly to prevent print surfaces from damage during the
more painterly image. The brayer produces a more wet processing. Both of these add up to a paper
photographic image with less texture, so much so that is difficult to ink up. It is best to use non-
that it can be hard to tell if the print is a silver hardened papers and non-hardening fix where
gelatin print or a bromoil. The brush method takes possible. A bromoil paper is available from David
more time and less ink. The brayer takes less time Lewis (bromoil.com). It is not terribly expen-
and more ink—too much if one is not careful and sive—at the time of this writing, around $1.25 an
the print will take months to dry. Either method 8˝ × 10˝. Lewis’ paper is about 1 stop slower than
becomes personal preference. Ilford mgiv, and a fixed grade 2; keep in mind that
With bromoil there is an infinite range of results graded papers don’t respond to filters like variable
possible. An image can be coarse or fine grained; contrast papers. You can also use Ilford mgiv or
detailed or painterly; monochrome or colorful; low Ilford Warmtone matte or semi-matte.
contrast or high contrast; subject matter minimally
altered or drastically altered; and so on and so forth. Other supplies
That is the fascination of bromoil—the print is not • Lithography ink such as Graphic Chemicals
locked into one look. Senefelder’s Crayon Black litho ink #1803
Even though bromoil seems a bit daunting (stiffer) or Graphic Chemicals #1796
at first, it has many benefits, such as this one: it Lithographic Black (softer)
is possible to print and bleach a large number of • Palette knife
prints in a darkroom session and then save them for • 6˝ cheap glazed ceramic tiles, 2 or more
inking up later, even years later. Some bromoilists, • Brayer, 2˝ hard rubber and 4˝ hard rubber
in fact, do all the darkroom work in a day or two • Brushes: men’s old-fashioned shaving brush cut
and spend the rest of the year inking! flat and on an angle like a stag foot, David Lewis’
There are three good books on bromoil: The Art bromoil brushes available at bromoil.com or
of Bromoil and Transfer by David Lewis; Bromoil 101 other brushes like stencil brushes, pastry brushes
by Gene Laughter for a loose method; and Bromoil: • Soft, white, 4˝ foam brayer with rounded edges
A Foundation Course by Derek Watkins which has • Cosmetic foam wedges or 1˝ flat nylon brush
good instructional images. This short chapter on • Chamois cloth (synthetic from auto supply store)
bromoil is an introduction to the process. These • Naphtha, lighter fluid, mineral spirits or Simple
books are important to have if wanting to progress Green to clean the brush and tiles
to the next level of expertise. • Bromoil bleaching kit from Bostick and Sullivan
An easy way to get into bromoil is to buy a or 100 g copper sulfate, 100 g potassium bromide,
bromoil bleaching kit from Bostick and Sullivan and 10 g potassium dichromate
(www.bostick-sullivan.com). It is very easy to mix • Large piece of glass to support the print
the three solutions and they keep indefinitely. • Distilled water
Two caveats: one, the process is a bit messy with • Blotting paper
its use of lithographic ink. Simple Green™ is a • Paper towels
perfect nontoxic cleaner for brushes and the work
area. Two, the process takes time to perfect. It may
take a couple hours to make one print and a life-
time to be an expert. Start small— a 4˝× 5˝ or 5˝×7˝
print on 8˝×10˝ paper at first—for less frustration.
 Chapter 17 Bromoil 157

Bromoil bleach formula 3. Wash, hypoclear, wash again, and dry thoroughly
Mix and store these three solutions separately: as with any normal print.
100 g copper sulfate (5 tablespoons) added to a 4. Heat the print when it is completely dry in a
total volume of 1000 ml distilled water dry mount press at 250ºF for 2–3 minutes. This is
100 g potassium bromide (41/2 tablespoons) added termed super-drying and is said to soften the gelatin
to a total volume of 1000 ml distilled water and to make inking easier. If you don’t have a dry
10 g potassium dichromate (11/2 teaspoons) added mount press, skip this step.
to a total volum of 1000 ml distilled water
At time of use mix: A bit quicker bromoil
• 70 ml of the copper sulfate solution It is possible to make the print, above, and bleach
• 70 ml of the potassium bromide solution it in the bromoil bleach bath after the stop bath
• 30 ml of the potassium dichromate solution (without rinsing) and before fixing. In other words,
• 830 ml distilled water. expose and develop the print, then stop bath for 10
One liter will bleach/tan ten 8˝ × 10˝s. seconds and place the print directly into the bromoil
bleach bath. Bleach for 10 minutes, rinse for 5, and
Making the print for bromoil then fix, wash, and hypoclear as per normal. This
When printing for bromoil, be sure to leave at least is the “short form” of bromoil and saves time. The
a 1˝ border around the image for ease of picking up enlarging and bleaching steps all occur together
the wet print during the inking process. in the darkroom and then the matrix is complete.
The first tricky part is to find the correct Some, even, take the wet print from the darkroom
exposure for the print that gives full detail in the and begin the inking process immediately!
highlights and full detail in the shadows when light
is transmitted through the print, say, on a light box. Bleaching the print
When the print is viewed by normal light, it will Insure temperatures of the baths do not exceed
look dark, dull, and unacceptable. If highlights don’t 70ºF. If the initial water soak is too warm, the print
have detail they will swell too much with water and will absorb too much water and the surface will
not accept pigment. If shadows don’t have detail reject ink. Unfortunately it will always return to
they will accept too much pigment and block up. this “blow out” stage when resoaked.
The increase in exposure needed to make a print 1. Soak the print in water for 5 minutes.
this way is image and paper dependent but easily 2. Mix a liter of the bleach (use distilled water; one
done with digital negatives. Just think, dark and liter of bleach will do a dozen 5˝ × 7˝ prints) and
dull and full detail everywhere. Flat. A starting bleach the print for 8–20 minutes, but normally
point may be 1/2 stop more exposure (divide your 8–10 minutes. It is fine to bleach two at once back
standard exposure time by .7) and one contrast to back with continuous agitation as long as the
grade softer filter. (a 0 or 1 filter). You can use a prints are always submerged under the bleach solu-
normal digital negative and make these two adjust- tion. If the print is not bleaching completely, it has
ments with variable contrast paper. been printed too dark, so expose less next time.
1. Overexpose the print the decided amount of 3. Wash the print for 5 minutes, fix for 5 minutes,
time and one contrast grade softer so that there is wash again for 5 minutes, hypoclear for 5 minutes,
complete detail in the highlights and shadows even run the print through a final 10-minute wash, and
if the print looks dull. dry (generally just like the normal print cycle).
2. Develop for the full three minutes with constant 4. Super-dry the print once more in the dry-mount
agitation, stop bath for 30 seconds, and fix in a non- press at 250ºF for 2–3 minutes to make inking
hardening fixer. If the print is fixed in a hardened easier.
fixer, it has a harder surface so it will ink up too
easily. However, it will still work.
158 Chapter 17 Bromoil

Inking the print with the brush 6. Remove the print from the water, blot the back
The bleached print is now referred to as the of the print with the damp, wrung-out chamois,
“bromoil matrix.” place it on blotting paper and gently blot the face
1. Soak the matrix for 10 minutes in 68º–70ºF of the inked print free from all water and visible
water. Some papers require a longer soak, some a wet spots.
shorter soak. This will be found by trial and error. 7. Take the non-ink-charged brush and hop the
If a paper is soaked too much for that particular surface of the print to move the ink around a bit.
paper, the highlights will swell too much and not The ink will be picked up from the highlights and
accept as much ink as they need to. If the paper is repositioned into the shadows.
not soaked enough, the highlights will accept too 8. At this point, charge the brush with ink again,
much ink and be dull. Some papers will show a stipple the print with ink, charge and stipple/
gelatin relief on the surface where the highlights pounce until the print is completely inked, and
swell greater than the shadows with the intake of return to the water for another 2-minute soak.
water. Highlights will also feel more slippery and 9. The inking and wetting process is carried out
shadows more “grabby.” as many times as is needed to fully ink the print.
2. While the paper is soaking take a pea size of In low humidity there will be more need to return
the ink and work it with the palette knife onto to the water. In high humidity, the opposite will
one of the tiles to soften it up a bit. Ink should be true. Time from start to finish can be as quick
remain surprisingly stiff, barely workable with a as 7 minutes to as long as hours for a large print.
palette knife. After working the ink, use the knife The walkabout that is first done is done only once;
to spread a thin 3˝ square of ink on the tile. the hopping and stippling is done together and in
3. Use the 2˝ brayer and brayer a layer of the ink that order every time the print is removed from the
onto another tile. This is the paint that will be used water, dried and inked up again. Hopping should
to ink the brush or the 4˝ foam brayer. The only only take about 45 seconds. Stippling will take
part of the brush that is inked is the toe; the heel longer.
of the brush is never used in the inking process, 10. The very last step is to take a cosmetic wedge
and the brush is inked by lightly stippling it on the or a small, flat ½˝ or 1˝ nylon bristle brush and
brayered ink square. gently, under water, remove all pigment from the
4. Remove the print to blotter paper and let it set white borders of the print. Then hang the print
to dry for 90 seconds, during which time use the to dry. The print will dry in several hours but the
wet chamois to gently pat away moisture. When ink will still be wet perhaps for several weeks, so
ready to ink there should be no visible wet spots. It allow the bromoil time to dry before dry mount
is easy to spot these when the print is viewed at an pressing and matting. With the brayer process or
oblique angle. If any wet spots are visible on either when using more ink on the print than necessary,
the front or back, blot again with the chamois. the print can take months to dry. I found this out
5. Put the print on the glass, and do what is called a the hard way with my first ever brayered prints.
“walkabout”: brush ink on with a press-drag down- 11. Clean all tools and tiles with cleaner of choice.
ward motion from top to bottom of the print and
then from side to side. Re-ink the brush and do this Inking the print with the brayer
again and again until the whole surface is covered 1. Ink the 4˝ foam brayer lightly, and ink the print
with a very thin layer of ink. Turn the print 90º and in one direction with the brayer, rotate the print,
do this again, and again and again until the print inking again, and rotate twice more so the print has
has been inked four times and looks like a gray been fully inked in all four directions. If the print
square. Return to the water for a 2-minute soak. dries out, resoak it and blot it as above.
 Chapter 17 Bromoil 159

Oleobrome
The oleobrome process is a variation
of bromoil, invented by F. J. Shepherd
and F.F. Renwick. A soft rubber roller
and a hard gelatin coated photo-
graphic paper is used. The bleached
and dried print is inked up while it
is dry, with a roller, leaving an overall
grey ink deposit on the paper. Then
it is put in a water bath tray with a
flat bottom (or a piece of glass on the
bottom of the tray) and a soft foam
roller is used to gently “develop”
the print under water by rolling it
back and forth on the surface of the
submerged print. The ink will adhere
in the swelled, shadow areas of the
print better than the unswelled high-
light areas as per above. If it is not
dark enough, ink again out of the
water and redo the rolling process
Figure 17.3. Ocean of Baseness, from the Hereafter series, bromoil print, 10˝ in the water until enough density is
x 10˝ © Rebecca Sexton Larson 2014
built up. The print can also be initially
inked up and left to dry a couple days
2. Clean off the brayer on a bare tile, and brayer and then soaked and rollered.
with a non-charged brayer to remove excess ink
from the print. Then ink again with a charged Bromotype
brayer. Instead of bleaching and fixing to make the bromoil
3. With a brayer that is not loaded with ink, matrix, the print is bleached and then returned to
pigment is removed when brayering and contrast the developer to develop to completion. The print is
is increased. With a brayer that is inked, pigment then fixed, washed, hypocleared, washed, and dried
is placed and contrast is decreased. as per normal, and then soaked and inked as if it
4. If brayer marks develop they can be brushed/ were a normal bromoil matrix, except this time the
pounced/hopped out with a brush. image is completely visible. The added ink rein-
5. Repeat this process of brayering, soaking, and forces the image, but can also be used to introduce
blotting, until the print looks complete. a completely different color to the image.1
6. Clean up the edges of the print carefully with a
damp cosmetic wedge or a flat 1˝ synthetic nylon Troubleshooting bromoil
brush. • If the print is not looking good, resoak, clean off
7. Clean all tools and tiles with cleaner of choice. all ink under water, and start over.
8. Let the print dry in a dust-free environment for • If there is no deposit of pigment during the first
several days to several weeks for a correctly inked stage of the walk about, the ink is too hard, so
bromoil print. If too much ink has been deposited, soften it with a slight drop of linseed oil.
it will take far longer than this. • If the print is accepting ink too readily, the ink
160 Chapter 17 Bromoil

may be too soft so stiffen it with some magne- in the bleach face down, the second face up, and
sium carbonate powder or powdered pigment so on until 8 are in the bleach bath at once. Then
such as a warm brown to warm up the black. interleave continually.
• White spots all over the print surface are from • The soaking temperature and time of immersion
water that rises to the surface of the print during in the water bath varies, depending on the degree
the pouncing or hopping of the brush and/or of hardness of your water, but a temperature of
a brush that has gotten wet. Return the print 68ºf for 10 minutes is an excellent starting point.
to the water tray and give it a good soak and • If the print does not look like what is envisioned,
try again, after having towel-dried the brush or don’t toss it. Keep working with it and it may
switched to a dry one. become something completely unique.
• A blotchy bromoil print is caused by too much • If there is no non-hardening fix available, buy
ink or too much pressure. some sodium thiosulfate crystals and mix up a
• If the water dripping from a print streaks it, the 10% solution for fix. 2 liters of this divided into
water temperature is too high or the ink too soft. 2 trays will fix ten 8˝ × 10˝ prints.
• Brighten up a print with a damp cotton ball
Tips and ideas under water as a final step before drying.
• Williams Sonoma sells a round pastry brush that • Believe it or not, a dried bromoil print can be
with a little trimming to get it flat-bottomed, inked again. Re-soak the print and ink as per
works great. normal. If one wants to vignette the print, for
• Home Depot sells a Ralph Lauren fitch brush instance, it is easy to pounce ink around the
in the faux finish section which is great for edges.
hopping, according to bromoil expert Jill Skupin • Prints can be spotted with the same ink color,
Burkholder. thinned with a touch of naphtha, mineral spir-
• Dick Blick sells Escoda natural bristle brushes its, or lighter fluid. Moisten the brush with the
that are also cheap (dickblick.com). naphtha and then dab it in the ink and then the
• The traditional bromoil brush is one that is cut ink to the print.
like an angled hoof. The full bottom of the brush • Prints can be retouched to remove ink with a
bristles is never used for inking, just the toe. hard pencil eraser or the tapered rubber end of a
• To trim a brush, soak the brush in a solution of clay shaper tool (tip from Derek Watkins).
bone glue in warm water several times to build • Gene Laughter was known to use steel wool
up a coating. Let dry until hard. Trim the brush judiciously to remove pigment and add texture!
shape with something like a mini circular saw on • Bromoils can be hand colored, once dry, with
a Dremel tool. Once the brush is shaped to one’s oils, pastels, or other coloring agents.
liking, it can be soaked in warm water to dissolve • Lewis has a great technique for printing a clean-
the bone glue and return the brush to softness. edged border when making a print from a digital
This is an old Dutch technique. negative: he selects the image, then chooses Edit/
• Simple Green diluted with water is a great brush Stroke/10/Inside/Opacity 100% and foreground
cleaner; use and no need to rinse. color set to black. It creates a nice clean very
• Ink and hop with the toe of the brush and do not minute border of black around the image which
pound away on the matrix; re-soak frequently as will accept ink readily and contrast with the
the matrix dries out quickly unless there is very borders of the bromoil print that remain white.
high humidity.
• Use continuous agitation in all baths. Endnotes
1. Watkins, Derek. Bromoil: A Foundation Course. Lewes, East
• When bleaching a set of prints, put the first print Sussex: Photographers’ Institute, 2006, p. 153.
Figure 17.4. Curiouser and Curiouser, from the Hereafter series, bromoil print, 10˝ x 10˝ © Rebecca Sexton Larson 2014.
“Hereafter echoes the contemplation of the impermanence of life. Frequently dark and isolated, the photographs
draw the viewer into reinvented landscapes reflective of an implied narrative. The objective is not to directly document
physical surroundings but to imagine environments we have yet to understand or see. The deep contrasting tones of
the works illicit a darkly romantic and somber mood mirroring the passage of time, environmental space, and mortality.”
Rebecca Sexton Larson is a Tampa based studio artist working with photographic processes. Sexton Larson has been
awarded three Florida Individual Artist Fellowships (1998, 2002, and 2008). In 2006, she received an Artist Enhancement
Grant from the State of Florida and, in 2005, was commissioned by the City of Tampa as its Photographer Laureate. As
Photo Laureate, she documented from her perspective the visual poetry of Tampa using a pinhole camera combined
with one-of-a-kind hand-painted black and white photographs. Sexton Larson’s photographs are in numerous significant
collections throughout the country, including Polaroid; Progressive Corporate Art; Graham Nash (Crosby, Stills, Nash &
Young); Museum of Fine Arts (St. Petersburg); the Tampa Museum of Art (Tampa); and Historical Museum (Santa Fe). To
see more of her work visit sextonlarson.com.
Figures P5.1–P5.10. Burnt Out, hand colored chemigrams © Maisy Hoffman 2021. “The concept of a photograph has
always seemed very straightforward, but when introduced to chemigrams my idea of what is a photograph changed. A
photograph can be anything that captures a specific moment in time, and these specific moments in time were initially
captured in my high school journal. With red paint as a hard resist, and lighting the edges of the photograph on fire with
a torch, I was able to use the chemigram process as part of my therapeutic journey.” Maisy Hoffman is an alumna of
the School of Film and Photography at Montana State University. Hoffman uses personal experience in her work to talk
about complex and sensitive topics dealing with the realistic portrayal of life and emotions.
 PART FIVE
Contemporary Experimental Artists
Figure 18.1. #6, lith print, 12˝ x 16˝ © C. Reid/Bianco Negro. Chris Reid came to Australia from Belfast, Northern
Ireland in 1994. His darkroom experience began in the Netherlands in 1989 and he has been in the dark ever
since. Reid has been running Blanco Negro since January 2000 and recently relocated to an off grid darkoom
in the Lower Hunter Valley four years ago. His main occupation has been specializing in all aspects of silver
gelatin fine art exhibition printing. From lith printing to the liquid emulsion process his skills also emcompass toning
techniques as well as teaching these processes. Blanco Negro works for most of Australia insitutions as well as
many fine art photographers, both local and international. His Devere digital enlarger also allows the printing
from digital files onto traditional silver gelatin papers. Reid continues to expand his knowledge in historical
photographic processes and by taking on commissions that challenge his skill sets.
Chapter 18
Contemporary Experimental Artists

Figure 18.2. Man in Glass, from the Circus of Memories series, bromoil print, 9˝ X 6˝ © Jill Skupin Burkholder 2004. Jill Skupin
Burkholder is a photographer/artist whose work includes handcrafted techniques such as bromoil and encaustic. She
began working with photography in 1985 and studied both traditional and digital photography, experimenting with
various alternative photography techniques. Recent work includes the series, Hidden Worlds, ethereal photographs of
animals taken using a motion-activated trail camera. She teaches workshops across the country and in her home in
the Catskill Mountains of New York. Her prints are included in private and public collections. To see more of her work visit
www.JillSkupin.com.

E
ach artist who appears in this chapter was I thank these artists for taking time out of
sent a questionnaire asking about the hows their lives to share their passion, as I know it is yet
and whys of their process of choice. When one more commitment in their already busy lives,
editing their questionnaire I intervened minimally and with no remuneration besides the pleasure of
in their words to preserve their characteristic voice seeing their creative talents come to fruition in
and syntax. Artists are presented here democrati- print. There were many more artists that I would
cally, in alphabetical order, in 2-, 4-, or 6-page have liked include in this book, but the page count
spreads, length dependent on how much they wrote was limited and the subject matter in the how-to
and how many images they submitted. portion of the book is very broad.
  I resisted the temptation to highlight all the tips
and ideas in these pages; suffice it to say there are
many!
Figure 18.3. Geometry 136, unique oxidized gelatin silver cliché-verre print with ink, 8˝ x 10˝© Patricia A. Bender 2018
Patricia A. Bender

Figure 18.4. Geometry 218, unique oxidized gelatin silver photogram with colored pencil and pastel, 9˝ x 8˝© Patricia
A. Bender 2018

Creative process 8˝ × 10˝ view camera in order to teach myself how

I am strictly an analog photographer, both film to use the camera without going bankrupt buying
and paper. For the past several years I have been 8˝ × 10˝ film. I discovered that I loved the look of
experimenting extensively with new ways to work paper negatives and the way that the texture of
with silver gelatin paper. It began when I decided the paper can become an interesting and beautiful
to use silver gelatin paper as my negative in an part of the image. I then began to experiment with
168 Chapter 18 Contemporary Experimental Artists

Lately, I have begun to experiment with sewing,

painting, folding and drawing on the gelatin silver
print itself. As you can tell, each experiment has
opened the door to a new one. Who knows where
this will lead next.
In all these experiments and iterations, I gener-
ally oxidize my final print, as I like the look of age
this lends to the image. To oxidize a print, you
expose your image and place it in the developer as
normal. Once it has developed, you take the print
out into the light. This exposure to light, either
natural or artificial, will gradually change the high-
lights from white to a peachy orange to brown and
finally to a deep purple. The blacks will continue to
darken a bit as well. You then return to the dark-
room and stop and fix the print as normal. The fix
will lighten the overall effect of the oxidization.
Oxidization is a process you have to play with
over time in order to learn how to achieve the effect
you are looking for, as the gelatin silver paper you
use, the strength and type of light you expose the
print to, and the length of time you leave your print
in the light will determine the final results.
Figure 18.5. Enso, unique oxidized gelatin silver photogram My go-to papers are Ilford Warmtone semi-
created by spinning glass, 4˝ x 6˝© Patricia A. Bender 2017 matte and Ilford Art 300, both multigrade fiber
papers. I particularly love the tones and texture of
the Art 300 paper. When I first began darkroom
using papers of all types, shapes and sizes to create photography nearly twenty years ago, there was a
photograms. I have stacked, folded, torn, rolled and plethora of interesting papers to choose from. With
mangled papers, burned papers, and then placed the advent of digital, those papers rapidly disap-
them on top of the gelatin silver paper for exposure, peared from the market. As a result, I collect, horde
sometimes with glass on top, sometimes not. I have and use sparingly any and all old photo papers I
also experimented with moving the papers during can get my hands on. Because I only create unique
exposure to see what kind of layering and depth work, I am happy to use expired papers just to
this movement can create. discover what might happen. If the paper doesn’t
My experiments with photograms next led me work because it is too old or because it has been
to try drawing on paper and then using that draw- previously exposed to light, so be it.
ing as a negative in the darkroom. Again, I use I primarily use Ilford and LPD paper develop-
many different types of papers and drawing media ers, though I’m happy to experiment with other
to create the drawings for my negatives. Each paper developers that may come my way. I also experi-
and each tool for drawing—pencil, pen, charcoal, ment with various dilutions, and with reusing spent
etc.—has its own unique look. While I initially developer that I juice up with new. I like to experi-
thought of these images as photograms too, I later ment with staining my prints with natural liquids
learned they are more accurately considered to be like coffee, fruit juices, tea or wine. One day I’ll
cliché verre prints. give Kool-Aid a try.
 Chapter 18 Contemporary Experimental Artists 169

Photograms: I want to see what everything you stumbled upon at a flea market will produce
looks like as a photogram, so I collect objects, an interesting image (it can!). What will happen
papers, plants, you name it, bring them back to if you place crumpled wax paper on top of gelatin
my darkroom, place them on top of gelatin silver silver paper during exposure? I have found that the
paper in various arrangements, expose them to light mad scientist approach works well for me, always
and see what emerges in the developer bath. I have leading me down new and interesting paths of
a kind of mad scientist approach to photograms, discovery and creativity.
constantly trying new things and experimenting to I have found that many of the “problems” I’ve
see what will happen. I float things in water under encountered are not really problems, they are actu-
the enlarger. I spin objects during exposure. I get ally road maps to a new discovery. For example,
the gelatin silver paper wet before placing objects when I first began creating cliché verre prints I
on it and exposing it to light. Anything goes in discovered that using a graphite pencil to draw
my darkroom because you never know where it negatives resulted in rather blurry, diffuse lines
will lead you. when the drawings were contact printed onto gela-
Cliché verre: I make a drawing using any combi- tin silver paper. I was not happy with this look, so
nation of paper and drawing media to serve as my I began to go over the graphite lines in my draw-
negative in the darkroom. The drawing is placed on ings with ink pens. This resulted in photographic
top of the gelatin silver paper and exposed to light prints with crisp lines that had a kind of halo effect
to produce a contact print of the drawing. It is then around them. I loved this look.
processed as you would any black and white print. I Through an ongoing process of experimenta-
sometimes use different filters and diffusion screens tion, I have learned how to combine many types
while exposing the print to achieve certain effects, of drawing media with different papers to achieve
and I have experimented with layering drawings to the look I want in my final cliché verre print. If
create “double exposures.” I also combine the cliché you embrace your “mistakes” and try to work with
verre paper negative with photogram objects to them rather than against them, it frequently leads
create a hybrid image of both. Again, I am willing you in unanticipated directions with interesting and
to try just about anything to see what will happen. exciting results. The trick is not to get discouraged.
When I first began to experiment with drawing
Creative practice on my gelatin silver prints I quickly learned that
I think one of the most important discoveries I the plastic like coating on the print causes many
have made while creating this work is to give myself inks to smear and some graphite not to adhere. To
permission to go wild in the darkroom. Nothing is overcome this problem, I experimented with sand-
off limits or too crazy to try. When you first learn ing areas of the print before drawing on it. I also
the photographic process you are overwhelmed by tried embossing and debossing the print and then
the rules. Develop your film this amount of time. drawing on the raised or lowered lines. I experi-
Invert the development tank so often. Make sure mented with many pencils, pens, inks and paints
the water temperature is exactly so many degrees. and discovered some actually worked. I love this
Develop your print for this many seconds. These process of experimentation and discovery. It’s one
are things you must learn and master. But once you of the things that keeps me coming back for more,
have done so, it is important not to let these rules day in and day out.
hold you back from trying new things. Maybe that Curiosity, a willingness to embrace chance and
expired paper developer you were going to throw serendipity, and an openness to experimentation are
away has some oomph left in it, and will result in the critical elements in my creative practice because
something strange and interesting if you just give they allow me to lose myself in my work and be
it a try. Perhaps that old, moldy gelatin silver paper surprised by what I create.
170 Chapter 18 Contemporary Experimental Artists

I am a strong proponent of mastering your craft. When I create an image of a simple circle bisected
Once you have done so, the real fun begins. You by a line I have no understanding why it moves me
can test the limits of what you’ve learned, break all or others, but it can. I love the cryptic nature of
the rules you’ve been taught and set out on your the conversation between abstract art and emotion.
own unique path of artistic expression. Along the In the work presented here, I explore geometric
way, drink up all the art you can see, read, hear abstraction. The process is completely intuitive. I
and experience. Some of it will leave you cold, but add and subtract objects, shapes and layers until
much of it will inspire you to think in new ways somehow it feels complete. A simple circle can
and try new things. spawn endless images. Seems I’ll be at this for some
I keep a journal/sketchbook with me at all times time to come.
for recording ideas, quotes, sketches, the names of
artists that inspire me, the titles of books I want to Biography
read, and, in this day and age, links to the Instagram Patricia A. Bender is a photo-based visual artist
pages of artists, galleries and museums. A jour- living and working in New Jersey and Michigan.
nal allows me to create something new every day, She began studying photography in the early
because I believe a daily practice, no matter how 2000s, and was hooked from the moment she
small or inconsequential an entry may be, is critical shot and developed her first image. She works
to artistic growth. exclusively in the darkroom with black and white
media, and personally creates each image from the
Artist statement moment it is conceived through the finished gela-
From the first day I began to make photographs tin silver print. She has recently added drawing
seriously, I was drawn to creating abstract images. to her artistic practice, and often uses her draw-
Using black and white film, I initially photo- ings as paper negatives in the darkroom to create
graphed in the manner of Aaron Siskind and Harry unique cliché verre prints. Bender has exhibited in
Callahan, seeking the abstract in reality: weather- solo and group exhibitions throughout the United
worn rocks, torn bits of paper stapled to telephone States and internationally. She is an artist on the
poles, bare twigs breaching deep snow. curated White Columns artist registry, and is the
In the past several years I became restless; no recipient of numerous awards for her work, includ-
longer content hunting abstracts in the real world, I ing being named to the 2018 Critical Mass Top
wanted to create them myself. Drawing and cliché 50 and as a 2020 Critical Mass Finalist. Bender’s
verre prints, where my drawings serve as the nega- work has been published in Harper’s Magazine,
tive in the darkroom, seemed the perfect fit for The Hand Magazine, Lenscratch, The O/D Review
this pursuit. I could experiment with lines on paper and Analog Forever Magazine, among others,
and light in the darkroom to construct my own and is held in the permanent collection of the
abstractions. To paraphrase the artist Dorothea Philadelphia Museum of Art and Michigan State
Rockburne, I wanted to create images that were of University, as well as many other public, corpo-
themselves and not about something else. rate, and private collections. To see her work, visit
The mysterious ability of abstraction to move www.patriciaAbender.com.
the human heart and mind has always fascinated
me. When I photograph a beautiful tree I under-
stand why people respond. It’s a beautiful tree.
Figure 18.6. Untitled 131, unique oxidized gelatin silver
photogram created with paper and ribbon, 4˝ x 6˝© Patricia
A. Bender 2017
Figures 18.7–18.8. Japonica Collage I and Japonica Collage II, lumen on film washi, 10˝ x 8˝ © Annemarie
Borg 2021
Annemarie Borg

Figure 18.9. Blues

in the Night,
cyanolumen on
film washi, 5˝ x 4˝ ©
Annemarie Borg 2021

Creative practice denying facts. I present talks and workshops on

I am French Swedish based in the United Kingdom. ocean preservation illustrated by my live music and
I studied business law and maritime law in Paris, visual art or films. This has brought me to many
opera and psychology in London. I am a composer, places and conferences around the US and Europe.
performance coach, visual artist and ocean preserva- On one of these trips, this time to Fairbanks,
tion speaker, as well as a Fellow of the RSA. What Alaska, my encounter with alternative processes
has this to do with photography and alternative happened. At the University of Alaska, Fairbanks,
processes? Nothing and everything. I am essentially l was introduced to Professor J. Jason Lazarus by
an observer and a maker. Our natural world is the Dennis Moser, also a professor there. This encoun-
main focus in all I do. These last fifteen years I ter started my journey into cyanotype and lumen
have been trying to express my concerns about how processes. They allowed me to realise that I could
important it is to show the beauty and generosity actually print with a modicum of space and mate-
of nature. I have, for a long time, realised that there rials and have a physical representation of what I
is a feeling of information fatigue concerning how was seeing and imagining. I had a natural feel for
damaging our behaviour is to our environment. I this new adventure in visual arts.
made the decision to focus more on the beauty I stayed with cyanotypes for a few months and
of all we could lose instead of harassing people then discovered lumen printing. Another door
with depressing facts. My approach is more about opened. Different papers, different approaches,
what to do than about guilt and reproach, without different exposure times were producing such
174 Chapter 18 Contemporary Experimental Artists

print would take it. This idea

of colour led me to wonder
about a cyanotype-lumen
combination, sometimes
printing from wet and with
organic materials, or dry
with digital negatives. Then
I wanted to see what would
happen if I combined a digital
negative and organic material
on the same black and white
paper coated with cyanotype
solution, leaving it wet and
applying a piece of cling film
under glass to create various
shapes and lines, or bubble
paper which left some unusual
markings, or letting the solu-
tion dry off before creating a
print. So many options were
fascinating and the results
very varied and exciting, espe-
cially when I found a source
of vintage black and white
photographic papers online.  
What I enjoy in this
Figure 18.10. Try a Little Tenderness, lumen on film washi, 4˝ x 5˝ © Annemarie Borg combination is its spontane-
2021
ous style. I have found it very
stimulating because of how
different results—how exciting! In Bellingham, you use your imagination and intuition to experi-
Washington, we frequented a particular photo- ment. It has something fairly unpredictable and
graphic shop where I was offered a box full of that is part of the adventure, at least for me. Can I
expired black and white photographic papers— exactly reproduce them? Not really, though there
different provenances, different sizes, different ages. are constant parameters to respect to get a certain
This started me on a deeper quest into what was result (paper, how to coat, let dry, or not, how to
possible with the lumen process. expose, elements to add, exposure time, etc.). But
On my return to London I set up my small no cyanolumen for me will be exactly the same.
photographic studio, taking over a spare bathroom Each has its own uniqueness.
in my apartment. I stayed with the cyanotype and Late 2016 I began investigating another type of
lumen processes separately until early 2016 when “paper,” film washi produced in France by Lomig
it occurred to me that I was missing colour. I had Perrotin. I have always loved washi in general, its
started painting discreetly in a rather Japanese style thinness and fragility, the different and unusual
over my lumen prints, adding some other colours or textures. My curiosity was rewarded by some lovely
sponging some intaglio ink when the surface of the results, colours coming alive before fixing and after.
 Chapter 18 Contemporary Experimental Artists 175

Figure 18.11. Summer

Extravaganza, cyanolumen
composite of four tiled sheets
of Ilford MGIV RC Glossy Deluxe
intertwined with a small square in
the center, coated and exposed,
12˝ x 12˝ © Annemarie Borg 2021

I had to investigate how cyanolumen would take Biography

to film washi as well—tricky because of the nature Annemarie Borg is a Fellow of the Royal Society
of the paper, tricky to coat and to handle without of Arts. She is a professional musician, classically
tearing the print, but very rewarding. trained singer, and ambient music composer with
I have since added one or two elements to the five album releases. For Borg, visual art is a natural
cyanolumen process. l call it au doigté because it extension of her passion for music and the environ-
involves the idea of finger manipulation. With ment. Her work encompasses theatrical and street
the addition of finely distributed encre de chine in photography, landscapes, wildlife, and black and
droplets and a layer of cling film, I create shapes white macro photography in a series entitled The
by moving the ink in the fold of the film. It is Intimate Language of Flowers. Borg approaches her
a very intuitive and spontaneous way of almost visual work and professional commitments with a
finger painting your vision onto the cyanotype deep passion for Nature. Through trial and error she
coated photo paper. I compare this to improvisation finds her way through these processes, from cyano-
in jazz, and yet it follows certain rules. It is a process type to lumen, and her personal combination of
which would be good in art classes, especially for cyanolumen. Her experimentation with cyanotype
young children, to learn how to use their imagina- continues, now introducing ink as well as different
tion freely. Like music, it enhances the ability to substrates, which she terms au doigté. Borg believes
concentrate and enjoy learning and creating. After creativity and imagination are tools for change, and
all, learning should be fun and exciting. that to be static is not an option. To see more of
her work visit https://www.antara-project.com/
annemarie-borg/.
Figure 18.12. Hydrangea, hand colored silver gelatin, 16˝ x 18˝ © Brigitte Carnochan 1999
Brigitte Carnochan
variations in tone give life to an image. Fortunately,
the photo itself gives you most of the clues you
need to adjust. Knowing the relationships between
dark and light colors—dark colors recede and light
colors come forward—or between cool and warm
colors can be learned by trial and error, by taking a
painting class, by visiting galleries and museums,
by learning color theory.
These painted images start out as silver gelatin
prints on Agfa 118 paper. Deciding when and how
to paint an image is intuitive for me–some images
lend themselves to the transformations of oil paint
and others don’t. Using cotton swabs of varying
sizes, I apply paint and remove bits of it with an art
eraser to create highlights and other effects. There’s
a magic for me in applying the paints—moving
Figure 18.13. Dryad, hand colored silver gelatin, 16˝ x 16˝ them around on the image, layering them, deepen-
© Brigitte Carnochan 2001 ing the shadows and opening the highlights.

Biography
Creative process Brigitte Carnochan (b. 1941) came to the United
When I make silver prints for painting, I print States in 1947, where she fell in love with ballet
them as I would ordinarily—not lighter and not and the idea of being a dancer. Instead, she became
sepia-toned. I mount the flattened print with paper a high school and later university teacher and
corners to mat board so I can turn it on an angled administrator with a love of gardens and gardening.
drawing table when I’m painting. I mask the image When her interest in photography, dating from the
with quick-release tape because I like the look it childhood gift of a brownie Hawkeye, culminated
gives edges—paint gets pushed under the edges, in a decision to make photography her career, flow-
builds up irregularly in the different colors used in ers and dancers’ bodies became her natural subjects.
the image, and makes for an interesting “frame.” Carnochan’s photographs are represented nationally
The most important aspect is the choice of color and collected globally by museums and corporate
palette. After I’ve settled on a color scheme (which and private collectors. She has had solo exhibitions
I almost always alter or refine) I squeeze paints onto in Latvia, Italy, Chile, and Hong Kong as well as
a palette of waxed paper in a plastic container with in New York, Albuquerque, Houston, Boston, Palo
a tight-fitting lid (found in art supply stores). This Alto, Los Angeles, Santa Fe, Ketchum, Woodstock,
allows paint to be stored in the freezer between Albuquerque, Carmel and San Francisco. There
painting sessions, where it stays wet and reusable. are five published monographs of her work, Bella
I began using Marshall’s photo oils but discov- Figura (2006), Shining Path (2006), Floating
ered that many kinds of oil paints are effective. World (2012), Imagining Then (2012), and Brigitte
When I begin applying paint, I almost always Carnochan (2014). Carnochan taught workshops
begin with the background and work to the fore- and classes at University of California Santa Cruz
ground. I find that my backgrounds (even if they’re and Stanford University. To see more of her work
black) play an important role. Not only color but visit www.brigittecarnochan.com.
Figure 18.14. Nazaré # 8 © Douglas Collins 2019
Douglas Collins

Figure 18.15. 70914 ©

Douglas Collins 2014

Creative practice paper. It soon dawned on me that I could draw

I came to cameraless photography from a back- with markers on acetate, set these drawings under
ground in etching. The style I was most attracted the enlarger over a sheet of photo paper and expose
to was to use as subject matter the physical line or it. That worked like a charm. I found these were
mass itself, rather than images pulled from daily life called clichés verre and had a rich history dating
in the external world. When a studio colleague of to the Barbizon school of French painting in the
mine suggested I might want to try doing some- 19th century. I discovered, to my astonishment, an
thing in an abandoned darkroom on our premises, artistic legacy of photograms and luminograms and
just for the fun of it, I was intrigued. It brought other inventions that went back to the Bauhaus
back long days developing film and making photo- in 1920s Berlin and even earlier, all using basi-
graphic prints as a young man in a makeshift closet cally light and shadows to create images. I studied
darkroom in Brooklyn, and I relished the thought these techniques and soon incorporated them into
of possibly reliving those experiences. my work. I was off and running into the world of
The darkroom had an enlarger, trays, tongs, cameraless.
running water, a timer, a safelight, and even photo One day a student—I was teaching these meth-
paper, rather outdated, a curse which later would ods then—came to me and asked if we could bring
turn out to be a blessing. But without a camera, I color into the mix, a reasonable request. I began
seemed to lack a way to deliver an image to the experimenting with gum bichromate. Wonderful
180 Chapter 18 Contemporary Experimental Artists

I lay the paper on a work table, exposing it to

light. Depending on the paper, it will begin to color
slightly—rose, lavender, beige, or then it may not—
but it will not turn completely dark until immersed
in developer, which I will prevent until a moment
I select, by applying a resist to all or part of the
Figure 18.16. Pierresque # 3 © Douglas Collins 2011 paper. The use of resists in this connection is a key
technique in chemigrams of the type exemplified
and moody though it was, it was too literal for my by Pierre Cordier’s work, and represents a signifi-
tastes, and too difficult as well. Looking further, I cant advance because resists give you a way to create
stumbled on what a Belgian photographer named figures and shapes, since we are going to carve into
Pierre Cordier had dubbed chemigrams. The images the resist.
I was presented with oozed with mauves, oranges, Although I’ve experimented with an endless
reds, blues, ochres. This was it. The chemistry in variety of resists, my workhorse is Golden MSA
the development of exposed paper was being (mineral spirits acrylic) varnish. Apply it in a well-
somehow subverted and sent on other errands to ventilated area; it has a strong smell. Application
produce these colors. I resolved to find out how, can be done with brush or sponge brush and you
and how I could exploit it. I pored over textbooks should let it dry for at least an hour, depending on
of photographic chemistry and patents as well as how thick a coat of varnish you put down. You can
early descriptions by Cordier himself. I ran experi- use it right from the can, or you can thin it up to
ments for a full year trying to reverse engineer what 50% with mineral spirits or paint thinner from the
was going on in chemigrams, until at last I felt I hardware store. Avoid ‘odorless’ mineral spirits, a
could comfortably reproduce the steps and make product which has the xylene stripped out and will
a chemigram. Here’s what I found. not perform well in chemigrams.
• First, you should consider the darkroom as just Once the resist is coated and has dried thor-
a place where an infinite number of possibili- oughly, you’re ready to begin. Fill a darkroom tray
ties can and will occur, not just those handed with developer and another with fixer, and finally
down by photographic convention. For instance, a third with running water. A tray for stop bath is
chemigrams can be created in broad daylight; not required, though some chemigramists do use
there’s no need for a darkroom except as a room it. I never do. The reason will become clear in a
to store chemicals and paper in. moment.
• Second, the shop-worn sequence of developer to In passing let’s mention the most important
stop bath to fixer to wash should be tossed out. tools you will need to create your chemigram.
• Third, you will treat parts of your paper differ- There are just two: a fine-blade utility or craft
ently from other parts through the use of resists, knife such as X-acto or Olfa (my favorite) and a
or masks, such as varnishes, tapes, lacquers or pair of tweezers. With the knife, draw freely on
pastes—anything that sticks for a while and then the coated areas of the paper. Make lines, circles,
wears away, cracks, melts, peels or dissolves. squares, whatever, but do not penetrate through the
paper, only through the resist, so that a slender line
Creative process of underlying emulsion is exposed. We are now at a
I first select a photo paper, most often, in my case, decisive moment: do you want the line you’ve just
Foma fiber grade, though Ilford RC (resin coated) carved to be black, or white? If you want it black,
or Arista RC are equally valid choices; Foma over plunge the paper into developer. Leave it there for
the years has given me the most interesting results. 20, 30 seconds, or maybe one minute, maybe two.
Each paper has its own character and demands. You will notice the line has become black, because
There is no wrong paper. developer has begun reducing the silver halide of
the emulsion to pure silver. The areas around the
 Chapter 18 Contemporary Experimental Artists 181

Figure 18.18. 71611-4 © Douglas Collins 2011

is creeping beneath the resist a short distance to

plant its blackness there. Earlier, in fixer, the same
process had occurred, only with fixer.
Continue going back and forth, swapping trays
of chemistry, briefly rinsing off on each trip so as
not to overly contaminate the trays. In time, say
20–30 minutes, you get a whole pattern of black
and white stripes, in principle not unlike what’s
happening in Pierresque #3.
Meanwhile other things are going on that need
our attention. We notice that constant soaking of
Figure 18.17. 60811-1 © Douglas Collins 2011
the paper in liquids is beginning to weaken the
resist’s grip generally, not just along the incision but
in broader areas of coating. How to handle this?
line are unaffected since they are still protected by We must make choices. We can let it happen by
the resist. Now pull it out, shake it off, dip it in fresh itself in random fashion—this has its own charm—
water briefly and immerse it in fixer. The action of or we can encourage the spontaneous shedding of
fixer is to block developer action, so it makes things resist by tugging at it further with our tweezers,
white. If you leave the paper in fixer for a minute pulling it off entirely and thereby coloring it with
or two, your black line will soon be accompanied whatever tray we’re in, developer or fixer. Or we
by a pair of thin white lines, one on each side of can pull it partially, then rinse and dip it back in
the black one. What becomes white is irrevocable: the other tray, giving it the opposing color. You
it will stay white no matter how much longer you can see a bit of this in my pictures 60811-1 or
put the paper back into developer. But that’s exactly 71611-4. Of course by now the trays are growing
what we will do next; we reverse the process, shak- rather contaminated with the chemistry of each
ing off the paper that was recently in fixer, and go other, so that the coloring will not be pure black or
in the opposite direction by placing it once again white but decidedly mixed, and this is where it gets
in the developer bath. After another minute or two interesting—you start to see appear red, orange,
you begin to see two more black lines emerging yellow, blue and shades of other colors, some exotic
alongside the white ones, which themselves still with no name at all. How this happens concerns
enclose the original black one. What’s happening interactions between the degrading silver salts and
is crucial to this sort of chemigram: the devel- partial products of developer and fixer. This is one
oper, eroding the edge of your original incision, of the great fascinations with chemigrams. At this
182 Chapter 18 Contemporary Experimental Artists

sloughs off by itself in a way you didn’t

intend. In any case once all the resist
is off, your work is done. Put it in
the soak tray to rid the paper of any
chemicals lurking there, up to an hour
for fiber-base paper and much less for
RC. Hang to dry.
If you want to go further, there
are things you can do: toning for
example, although it’s true that some
toners don’t work well with chemi-
gram colors. I’ve used selenium and
gold toning to good effect in my work.
Another thing you can do is make
your chemigram the basis for further
creation in another modality, and here
you can let your imagination be the
guide. In recent years I always begin
with a chemigram strategy but pass
quickly into a modified bleach-etch
mode, also called mordançage, leaving
the appearance of a pure chemigram
behind. My pictures Nazaré #7 and
Nazaré #8 are examples of this. On the
other hand, chemigrams can and are
being done without using any resists
whatsoever, profiting solely from the
mixing of developer and fixer. My
earliest attempts were of this kind,
Figure 18.19. Nazaré # 7 © Douglas Collins 2018
image 12110 remaining a favorite still.

point the chemigramist may want to refresh her Biography

chemistry. Go ahead, throw the old stuff out and Douglas Collins’ photographic work is based on
pour in new. Events in the trays will gain defini- the cameraless modes of mordançage and the
tion and, because so much chemistry has already chemigram. He has taught chemigrams at the
soaked into the paper, you will not lose the ability International Center of Photography in New York
to generate those wonderful colors. for 10 years. His work has appeared in several books
By now you probably understand that making and he has exhibited in Europe, North America
a chemigram is a time-limited activity, controlled and Asia. He created and directed the influential
by the erosion or removal of the resist. As you blog Nonfigurativephoto (nonfigurativephoto.
reach the end, this activity, once fairly passive, blogspot.com). To see more of his work visit doug-
now becomes hectic, as you grab this or that piece lascollinspictures.com.
of resist with tweezers before it’s too late and it
Figure 18.20. 12110 © Douglas Collins 2010
Figure 18.21. Mantra #7 (Persist), silver gelatin chemigrams, thread, 16˝ x 20˝ © Bridget Conn 2020
Bridget Conn

Figure 18.22. Box Breathe (13 Moons), detail #10, silver gelatin chemigrams, thread, 28˝ x 16˝ © Bridget Conn 2020–2021

Creative process stubbornness of the resist, this could be one pass, or

I use whatever papers are available. Ilford it could take 20+ hours over three days of printing,
Multigrade RC Pearl gives predictable results and cycling through the trays repeatedly.
a wide range of possible hues so it’s been a standard 5. Once all the resist is gone, the print sits in the
go-to. My process is as follows: holding bath until I am ready for a final running
1. Set up four trays from left to right: developer water wash. If resists are oily/sticky, I will do a
(half strength), water, fixer (full strength), water. direct wash with a sponge and dish soap, and then
I cycle between these and a fifth tray of a water an additional “clean fix” tray to make sure the
holding bath. chemigram is fixed and stable. I then wash the
2. Apply the resist in any number of ways, draw- prints for at least 10 minutes.
ing with a stick of butter, spraying through stencils 6. Once the prints are dry, that might serve as
with cooking spray, breathing onto the paper, pass- the end point, or I may cut them up and spend
ing butter through a silkscreen, etc. several hours rearranging them as I consider vari-
3. Decide what the predominant color or value will ous possible compositions. Some sculptural wall
be for the background, which dictates whether to pieces are already sketched ahead of time and are
go through the fixer or developer first. It’s usually placed into a pre-determined form. From there I
the fixer first as that opens up the most possibilities. construct the final object by sewing the prints with
4. I cycle through the four trays from left to right my sewing machine.
until no more resist remains. Depending on the
186 Chapter 18 Contemporary Experimental Artists

Figure 18.24. Mantra #3, chemigrams, wood, metal, 39˝x

20˝ x 3˝ © Bridget Conn 2019

physical pieces, or construct them into sculptural

works. The abstraction of the stenciled letters mirrors
my inability to find words that fully represent my
emotions by rendering the language indecipherable.
I began by making chemigrams as a way to
record spontaneous, gestural marks. This evolved
into cutting up chemigrams and mounting them
Figure 18.23. Modes of Breathing, Spring 2020, chemigrams into collages on wood panels, as I began to explore
created with breath, thread, 20˝ x 24˝ © Bridget Conn 2020 the paper as a material on par with the wood. I
introduced thread via sewing machine and began
to make standalone chemigram collages, some
Some of the more basic problems arise from presented floating in frames, some nailed directly
temperature—if a resist is receding too quickly or to the wall and pulled out along the nails to empha-
not quickly enough to provide a certain type of size their 3D properties. My most recent works use
look, I either have to put my trays of chemistry the paper more fully as a 3D sculptural material,
within hot water baths, or concede to the elements sewing it and sculpting it so that it comes more
that it may be too hot to work with a certain resist directly off the wall and onto the floor. My newest
at that time of year (the only downside of having upcoming series is using silkscreen to create photo-
an outdoor “darkroom” workspace!). More of my based chemigrams.
problems arise from my sewing machine. In some cases, the resists are used conceptu-
ally, such as moisture from my own breath or from
Creative practice hand-sanitizer, and I have to accept what that
I identified as a writer before I did as an artist. Words gives me visually, and adapt the final chemigram
were never a problem for me, until the last few years, construction to make it visually compelling.
where phenomena such as “information exhaustion” Chemigrams became a natural progression for
and “doomscrolling” seemed to take their toll and me to explore photographic paper as a physical
silence me. I found myself unable to verbalize the medium unto itself, more than simply the substrate
onslaught of personal and political events. I began on which an image taken from the outside world
to distill my reactions into a singular word. I use rests. The silver gelatin paper is freed to accomplish
stencils to create a resist onto silver gelatin photo its essential property—record the presence of light.
paper, and process the prints to create chemigrams. My formal concerns with this work have evolved
I then cut these prints, rearrange them to disrupt into using wood and thread to equate the photo-
the letterforms, and either sew them into singular graphic paper with a sculptural material. I look to
 Chapter 18 Contemporary Experimental Artists 187

Figures 18.25–18.26.
Left, Deep Breath
(Nadine #1); right,
Deep Breath (Teake
#1), 11˝ x 14˝ silver
gelatin photographic
chemigrams created
with silkscreened peanut
butter © Bridget Conn
2021

parallels between sewing and analog photography, to me even more is the mystery of this process. I
in that both sewing machines and silver gelatin find myself performing a delicate dance between
prints were once considered more automated tech- the known and unknown—seeking control over
nologies, but nowadays are viewed as involved in composition, yet enjoying the discovery of what
the creation of “hand-made” objects. By stitching color or value will emerge from the photographic
the paper with thread, I am claiming it as an object paper and when (and why). The resulting sense
and not solely an image. By returning to camera- of discovery and awe is one of the strengths of
based imagery through the use of silkscreen, I am analog photography over the precision of its digital
coming full circle in my photographic path, but still counterpart.
clinging to a unique print, and rejecting photog-
raphy’s reproductive nature as we have come to Biography
know it. Bridget Conn received her BFA in Studio Art
In a world where all the correct answers exist from Tulane University (2000) and MFA from the
in my pocket, it has become rare and beautiful University of Georgia (2003), focusing in photog-
to temporarily exist in a space of unknowing, of raphy, mixed media and installation. Conn lived in
wonder—to take pause and explore a medium Asheville, North Carolina for seven years, where
in which I do not have full control. There is no she founded The Asheville Darkroom in 2012,
nostalgia in my use of the darkroom; it’s simply as well as worked as an arts writer, designer, and
the venue in which I currently choose to do my independent artist. Her work has been shown in
exploring, as the sculptor, painter, and printmaker over 150 national and international exhibitions as
all do in their respective environments. None of well as featured in publications such as Lenscratch,
them are expected to give up their tools and surren- Light Leaked, Analog Forever, Focal Plane Journal,
der to Photoshop. For much of my life, I made and The Hand. She is an Assistant Professor of
art by calculation, with plan, heavy with objects to Art at Georgia Southern University in Savannah,
photograph that reside in my studio and psyche for Georgia, where she teaches numerous forms of
months, or years. While the comparative instant photography. Her work explores the potential of
gratification of chemigrams is seductive, what calls photography as a chemical and physical medium
through the process of chemigrams. To see more
of her work, visit www.bridgetconnartstudio.net.
Figure 18.27. Phytogram 13, from the Botanicals series, phytogram on Arista ortho lith film backed with gold leaf,
5˝ x 7˝ © Karen Hymer 2021
Karen Hymer

soak for 15 minutes or longer. Alternatively, you can

put developer in a spray bottle (fine mist is best, like
one used by hairstylists) and spray the plant matter.
5. In complete darkness open the film box (if using
Ortho film it can be handled under a red safe-light)
and remove the sheet of film to be used. Close the
remaining film in the box securing it in the light-
tight box. The film to be used can then be handled
in a dim room.
6. Remove the plant matter from the developer and
blot plants to remove excess developer. Lay plants
on the emulsion side of the film and place glass on
top to secure in place.
7. Expose to UV light; in spring in southern New
Mexico, midday, exposures are around 20 minutes.
8. After exposing, remove the film from under the
glass and place in the fixer tray, agitating gently.
Film should clear in about 15 minutes.
9. Wash the film for 20 minutes and hang to dry.
10. Once dry, if desired, the film can be backed
with gold or other leaf. I spray the back of the film
with Odif Metal Leaf Adhesive and then apply
Figure 18.28. Phytogram 7, from the Botanicals series, gold and other leaf (copper, white gold, silver) to the
phytogram with cyanotype on Arista ortho lith film backed
film. I then spray the leaf with Krylon UV-resistant
with copper leaf, 5˝ x 7˝ © Karen Hymer 2021
clear acrylic gloss, to protect it.

Creative process Tips

My recent explorations involve using ortho and • Cyanotype can be combined with this process. I
other outdated black and white sheet film to make have sprayed cyanotype chemistry on the plant
phytograms, cameraless images using organic matter. matter and/or applied it to the film with a brush
After processing I apply metal leaf to the back of before exposure. It is hard to control and the
the film. The process is as follows: cyanotype chemistry does not want to stick to
1. Select the botanical matter to be used. the smooth film, but the results can be interest-
2. Mix the developer: dissolve 2 tablespoons wash- ing. Small amounts of cyanotype can produce
ing soda (sodium carbonate) and 1 tablespoon a nice cool contrast to the warm tones of the
ascorbic acid (vitamin C) in 1 liter of warm water. film. Applying too much cyanotype chemistry
Pour the developer into a tray. can make a real mess! I found using a fine mist
3. Mix fixer: Dissolve 2 tablespoons sodium thio- spray produced the most interesting results. Be
sulfate crystals in 1 liter of water. Pour fixer into a sure you protect your work space or you will have
second tray. cyanotype chemistry everywhere
4. Lay botanical matter in the developer tray and • Each film type produces different colors and
190 Chapter 18 Contemporary Experimental Artists

Figures 18.29–18.30. Left, Phytogram 25, from the Botanicals series, phytogram on outdated Kodak Tri-X pan film (1986),
5˝ x 7˝; right, Phytogram 25 backed with gold leaf © Karen Hymer 2021

levels of translucency. When soaked in the soda/ Artist statement

vitamin C developer the plant matter releases The Botanical series reflects my interest in the flora
phenols that interact with the film. This affects of places I live. While exploring my environment,
the colors produced. Each plant reacts differently I observe, photograph, and collect specimens. In
and the amount of developer used determines some cases the final work includes camera images
areas of the film that will turn dark. The applied while others are made with direct contact with the
leaf is visible through the clearest parts of the plant matter. Playing with light sensitive processes,
film, shifting the color and adding a richness to working with a variety of papers and fabrics, hand
the image. applying emulsions, and using the sun for exposures
• Determining exposure can be difficult since there lends itself to unpredictable results. Letting go of
are many variables. At first, I was over expos- control and observing the alchemy before me offers
ing so the film was too dense and no areas were a welcomed relief from modern life. My intention is
translucent or even semi-clear. not to replicate nature but rather to create unique,
• Too much developer will produce large areas beautiful impressions.
of darkness, which was not my desired result.
Blotting the plants more or only spraying lightly Biography
worked better. Karen Hymer’s work is photo-based and often
• Gold leafing is expensive but produces beautiful involves the blending of multiple processes. She
results. If you want to gold leaf the film then you is fascinated with how the passage of time affects
need clear areas for the leaf to show through. the human body and other natural elements in the
world. Her work has been exhibited widely and is
Creative practice featured in numerous publications. She relocated
Although trained as a photographer and educator, to Silver City, New Mexico in the summer of 2018
my approach to image making explores the blend- to open and operate Light Art Space. The space
ing of photosensitive materials, digital media, and features galleries, a sculpture garden/event space,
printmaking. I work with various photographic wet darkrooms, a printmaking studio and teaching
processes including photopolymer gravure, cyano- space. Workshops are offered in alternative photo-
type, lumens, phytograms, palladium over pigment, graphic processes and other media. To see more of
gum dichromate, and photo-encaustics. The hand- her work, visit karenhymer.com and lightartspace.
made print is important to me. com.
Figure 18.31. Phytogram 26, from the Botanicals series, phytogram on outdated Kodak Tri-X pan (1986) backed
with gold leaf, 5˝ x 7˝ © Karen Hymer 2021
Figure 18.32. Luminogram #540, unique luminogram on silver gelatin paper, 12˝ x 16˝ © Mike Jackson 2016
Mike Jackson
Creative process It took me over a year of experimentation with
I try to approach the use of silver gelatin paper in the luminogram process before I managed to get
the same way that a sculptor would approach rock repeatable results. The more problems I had the
or clay. I want to transform the paper rather than more unique solutions I had to figure out. The more
to add marks to it. That way of thinking really helps unique my solutions, the more unique the results.
when it comes to making the work. It is a start- There were no courses online! I believe strongly
ing point that pushes me into the right direction. that ideas and processes should be fine tuned and
I see the paper as a medium that is transformed figured out on one’s own. That is the best way to
the same way as solid materials are. Rather than get a unique voice.
the medium being added to a canvas like paint I work full time, five days a week in my dark-
or pencil, silver gelatin paper is the medium and room at home. I have a shed in the garden that
it physically changes at a chemical level the same gives me the space and time to think, make deci-
way that a solid material is sculpted. Instead of sions and then dive in. My creativity solely comes
a chisel, light is used to magically transform the from that learning during my eight years in Wales
paper. I think in terms of carving and shaping and on Poppit Sands. Even though my work now is so
transforming, and eventually the work begins to very different from my work then, the fundamental
look the way that I think. way of thinking is the same. I still follow the same
I use standard Ilford fibre silver gelatin paper voices in my head that I did then. I call them my
and standard developer, stop and fixer. The way that ‘little doors of happiness” that open up when I am
I apply marks to the paper has changed over the onto something good.
years. I constantly take what I know and try to
move into what I don’t know so the process used Biography
last year will not be the same this year. I also try to Mike Jackson was trained as a painter at West
mix up processes. I have a saying that goes, “Purity Dean College in England. He has since explored
of process is the death of progress” meaning that if avant-garde darkroom ideas creating a unique
you can do something to a piece of work that will cameraless process using controlled light with silver
make it better, then it is always best to do it rather gelatin paper. Jackson’s past twenty years of work
than worry that it does not fit into the ordinary. I are founded in part upon the desire to record expe-
would do anything to a piece of work if it helped it riences of everyday events by mirroring them with
move along. If I didn’t I would be restricting myself. marks made on silver gelatin paper using controlled
I have made many discoveries since working light. His work is an “objective response to a subjec-
with cameraless photography—how the paper tive response”—the initial response is subjective
reacts to different situations, how I react to differ- and captured objectively onto paper. Jackson exhib-
ent situations, how the chemicals need to be treated its internationally, with works held in permanent
with respect and how all needs to be in sync to get collections at The National Gallery of Art in
a good result. Washington and the University of Minnesota. To
Before I worked with cameraless techniques I see more of his work visit www.mgjackson.co.uk.
spent eight years solely photographing a beach in
Wales—Poppit Sands. That long period of constant
attention to a single place has been the basis of
everything that I do.
Figures 18.33–18.34. Willow Lumen: Four Corners 01, 20˝ x 16˝, lumen print exposed in sunlight for 1–4
hours using four 8˝ x 10˝sheets of Forte silver gelatin paper, scanned before and after fixing © Geir &
Kate Jordahl True North Editions 2020
Kate Jordahl

Figure 18.35. Willow

Lumen: Dried Rose
Petals, 20˝ x 16˝,
lumen print exposed
in sunlight for 1–4
hours using four 8˝
x 10˝sheets of Forte
silver gelatin paper,
prints scanned
before and after
fixing © Geir & Kate
Jordahl, True North
Editions 2020

Creative process unexpectedness of the outcome and the range of

I use silver gelatin as a palette for my artwork, with colors—sparks me to explore more. Some plants
both digital negative and plant materials. I find are too thick, so I have a range of contact printing
lumens a unique and magical re-imagination of frames for this. Some older contact frames that are
the potentials of silver gelatin paper. too loose for negatives, are great for bulky plants.
I print digital negatives using QTR on an
Epson P800. I let the negative cure/dry overnight Creative practice
and then expose for 6–8 hours to full sun. I scan I am very interested in the grid as a form and the
both the unfixed and fixed (Kodak Rapid Fix) continuation of the frame and the line from block
versions. Depending on my next project (book, to block. My grid lumens call up for me both
collage, framed piece) I might use the scan or the windows onto the world and a need for the viewer
original silver lumen print as the final artwork. I to complete the line from frame to frame. The
like the opportunity to rethink the interpretation increase of the unexpected as I work on these grids
that working with a blending of digital and physical is what interests me. I lay out my found plants and
paper gives me. Serendipity is added to the mix of then decide to use a grid of paper or a single piece.
my creative process. I respond and then scan and then fix and then scan,
With organic lumens, the interaction of once again giving me a mix of interpretations.
the plants with the photo paper—both the
196 Chapter 18 Contemporary Experimental Artists

Figures 18.36–18.37. Leaf, Hundred Acre Wood, Bellingham, 4.25˝ x 6.5˝, printed with a QTR digital negative on Pictorico
Ultra Premium OHP using an Epson P800, exposed six hours on Bergger (left) and Forte (right), fixed in Kodak Fixer. © Kate
Jordahl, True North Editions 2021

I find it important to being open to both the Biography

control and the role of chance in my work. I love Kate Jordahl is an educator, photographer, editor
working digitally, but I also need the physical and curator. She is a Professor of Fine Arts and
world. Working with paper and process is satisfy- Communication/Photo at Foothill College,
ing and increases my creativity. California, and co-owner of True North Editions.
Her photographs are in numerous collections
Artist statement including the Bibliothéque Nationale de France,
I am dedicated to excellence in craft and vision and Paris, Santa Barbara Museum of Art, University
the melding of the traditions of art and photogra- of Texas at Dallas, San José Museum of Art,
phy with the new technologies. I believe art heals and the Yosemite Museum. To see more of her
and leads our way to understanding. In the making work, visit http://www.jordahlphoto.com and
of books, collages, and singular images, I strive to http://www.truenortheditions.com.
create a pause and an opportunity for reflection.
Threading my way between the technical and the
philosophical, I make quiet work that beckons
viewers to contemplate.
Figures 18.38–18.39. Bellingham Lumen: Maple 01 and 02, 20˝ x 16˝, lumen printed in sunlight for
1–4 hours using four 8˝ x 10˝ sheets of Forte silver gelatin paper, scanned before and after fixing
© Geir & Kate Jordahl, True North Editions 2021
Figure 18.40. Sarah in the City, developed silver gelatin print composited with lumen printing, Forte Coldtone RC,
8˝ x 10˝ © Tiina Kirik 2020
Tiina Kirik

Figure 18.41. Shoot, developed silver gelatin print composited with lumen printing, Forte Polygrade FB, 14˝ x 11˝ © Tiina
Kirik 2021

Creative process 2. Develop the print, and stop development as

There are many ways one can combine a black and usual in a mildly acidic stop bath. Keep the print
white print with the colours obtained by the lumen moving during the entire stop bath stage, for 10–15
process. Perhaps the easiest is by making a normal seconds.
black and white darkroom print, but process it only 3. Wash the print very well to remove any traces
to the stop bath stage. Then make your lumen expo- of developer. This will require 2–5 minutes wash
sure before fixing the final print. The composite of resin-coated papers, or 10–20 minutes wash for
images shown here were made using this method. fibre-based papers. You may let your print dry in
1. Expose the paper under normal darkroom dim tungsten light, protected from any ultravio-
conditions. You may do this with a film negative, a let light. These unfixed prints may be stored, away
paper negative, or make a direct photogram image. from light for periods up to several months, before
Try whatever strikes your imagination. making the lumen part of the exposure.
200 Chapter 18 Contemporary Experimental Artists

your print will inevitably change the

colours, but they should be no less brilliant
than those of an unfixed print once washed
and dried. Warm tone papers tend to be
more colourful than neutral tone papers,
and some resin-coated papers give better
colour than fibre papers. Vintage papers,
long past their expiration date, often give
the most beautiful colours with the lumen
process but they are prone to age-related
fogging. To make a good darkroom print
with these papers requires more advanced
chemistry. Use of antifog agents such as
benzotriazole, a high-contrast developer
and an over-expose and snatch technique
Figure 18.42. Grin, developed silver gelatin print composited with are helpful. Photographic paper emulsions
lumen printing, Forte Polywarmtone FB, 14˝ x 11˝ © Tiina Kirik 2020 are constantly changing. Even papers of
the same name can show completely
4. Any parts of the print that you wish to keep different results with lumen, even though
monochrome, should be carefully masked by light- the papers may be identical when processed as a
opaque material before any exposure to UV light normal black and white darkroom print.
or sunlight. Arrange materials over the paper and Lumen printing is an exciting and colourful
make your lumen exposure. A sheet of glass, or use photogram technique, that does not require access
of a contact printing frame keeps objects in close to a photographic darkroom. It is expanded in
contact with the paper for a sharper image. potential and scope when combined with other
5. Fix and wash the print as normal. All lumen silver gelatin based processes such as darkroom
prints are more stable once fixed and carefully black and white practice!
washed. “Don’t fear the fix.”
Tips: The lumen part of your composite image Biography
may be made using plant materials, digital nega- Tiina Kirik is an artist and educator who works
tives, paper, or other objects. You might like to do primarily with traditional silver-based photographic
some chemigram work on the image, before fixing printing techniques. Although largely self-taught
it, such as selectively “painting” it with photographic in both darkroom and alternative processes, the
developer. You can also choose to bleach out your mentorship of many colleagues has been instru-
black and white print, before doing a lumen expo- mental in honing her unique vision. Kirik has been
sure (see the Bleaching and Bleachout chapter for teaching darkroom skills through workshops at the
the bleach formula). When a lumen exposure is School of Photographic Arts in Ottawa Ontario.
made after bleaching an unfixed black and white She is completing an artist-in-residence and fill-
print, the image made in the darkroom makes a ing the role of darkroom technician at the Ottawa
ghostly reappearance behind the lumen image and School of Art. As part of her residency, she has
this can be quite intriguing. written instructional books about lith printing
The colours obtained through the lumen process (Lith: The Secrets of Lith Printing in the Darkroom),
are largely related to the emulsion type of the paper and lumen printing (Lumen: Exploring Beyond the
used. If you are not happy with the colours you Boundaries of Lumen Process) available through
obtain, first check that you are using a suitable light Blurb.com. Kirik is working on her third book
source and giving adequate exposure time. Fixing about photogram techniques to be released in
2022. To see more of her work visit byetiinakirik.
wordpress.com.
Figure 18.43. Mannequin, developed silver gelatin print composited with lumen printing, Ilford Warmtone RC, 8˝ x 10˝
© Tiina Kirik 2020
Figure 18.44. Kali, 5˝ x 8˝ silver gelatin print with encaustic © Leah Macdonald 2018
Leah Macdonald
think the layers of medium have to speak to each
other and work together. The process is a layering
technique so I learned to add and subtract medium
to make the work balanced.

Creative practice
I was an MFA student at the California College
of Art. I worked with Larry Sultan, Todd Hido,
Linda Conner, Ken Miller, and Charles Gatewood.
Many of my peers were interested in story telling
and narrative with their photographs. I was, too,
but also I was interested in texture, painting and
poetry. I went out on a limb to try to develop my
own language and style with my work. It started
in college and continued to graduate school when
I was working with the paper in ways that other
people were not. I used sandpaper and pens and
developers and toners to disrupt the normal process
of my printing and to try to make unusual colors
and tones and surfaces appear on my prints. I
actually discovered beeswax by accident. Looking
around the art store, I had been collaging a lot and I
Figure 18.45. Run Girl, 7.5˝ x 10˝ silver gelatin print with was using Cutrite kitchen wax paper as a layer over
encaustic © Leah Macdonald 2019
my black and white images. I really liked the way
it looked, so I bought the beeswax and I have been
Creative process using it ever since. That was 1995. I think it was
I photograph with medium and large format 2005 that I was curated into a National Encaustic
cameras. I use mostly Ilford matte paper. I melt Conference and I had to ask the curator what
wax medium on the griddle and brush it onto the was encaustic! I had been using it for a long time
photograph. I use a variety of texture making tech- before I realized the importance of encaustic and
niques including adding lace, stencils and string. I the history of the medium.
add colored encaustic wax or pigment paint sticks
to enhance the colors. For me, encaustic was the Biography
answer to my desire to have texture and a surface Leah Macdonald’s work centers on the feminine
layer to the photographs. The wax has a matte narrative in the natural landscape, an outcome
surface but can be buffed to be more shiny. It can of her experience living a life closely connected
also be colored and show off the dimension by to nature and emotions. Macdonald’s work
adding paint into the 3D spaces. Sometimes I use has been exhibited at galleries in Philadelphia
too much wax and the wax then becomes opaque where she currently resides. She is represented
instead of translucent. Learning about translucency by Cerulean Arts and teaches workshops nation-
and how to use the wax to look integrated with ally and internationally. To see more of her work
the imagery and not just put on was challenging. I visit www.Leah-Macdonald.com.
Figure 18.46. Sunburned GSP#676, San Francisco Bay, 8˝ x 10˝ unique silver gelatin paper negative
© Chris McCaw 2013
Chris McCaw

Figure 18.47. Sunburned GSP#900, Mojave Full Day, eight 12˝ x 41˝ unique silver gelatin paper negatives
© Chris McCaw 2016

Creative process Biography

I use a variety of silver gelatin papers from the Chris McCaw has been getting his hands wet in
1960s to the 1990s in place of film, exposing the the darkroom from the time he was thirteen. Since
paper directly in large format cameras. I have then his personal and photographic life are one and
tested decades of these papers, learning about all the same. From that early age, McCaw has been
the beautiful surfaces no longer manufactured and continually producing photographic work while
the various weights of paper, more than just double remaining excited about the medium. Through the
and single weight. With the paper inside my large mid- to late1980s McCaw was involved in skate-
format camera, I photograph the sun’s apparent boarding/zine/punk scenes with a fisheye lens and
path in the sky (we are the ones moving) using the Tri-X. After high school he fell in love with the
lens of the camera much like how you use a magni- simplicity of large format cameras. In 1992 McCaw
fying glass to start a fire. The aperture is wide open, got his first 4˝ × 5˝. In 1993 he discovered plati-
with fast optics, which ignites the paper inside the num/palladium and went on to build even larger
camera. The paper, due to the extreme overexposure, cameras. After working the boundaries of analogue
exhibits true solarization where image tonality photographic mediums with his Sunburn project,
reverses from negative to a unique positive image. McCaw continues to rethink the traditional use
As my subject is the sun, I am at its mercy. I of photographic materials, now working with
have to follow it literally to the ends of the earth, instant pack films. Still building his own cameras,
from the equator to well within the Arctic Circle. he is currently manipulating the mechanics of
Certain works are only able to be made during how cameras record time. His work is held in over
certain seasons. All-day pieces not in the Arctic twenty-five public collections both nationally and
Circle need to be made in winter, a time of year internationally. To see more of his work visit www.
it can be tricky to find clear skies. I am getting a chrismccaw.com.
better sense of how seasons vary through the year
and how they vary with location on the planet.
Figure 18.48. Wharton Ridge, bromoil print, 69˝ x 42˝ © Brittany Nelson 2019
Brittany Nelson

Figure 18.49. Tracks I, bromoil print, 67˝ x 42˝ © Brittany Nelson 2019

Creative process I will bleach 2–3 prints maximum (the print

I use Ilford mgiv matte paper in a 42˝ roll. My sizes are around 42˝ × 75˝) in a large bleach bath at
bromoil solutions are copper sulfate (10%), potas- one time, and then the bleach must be disposed of
sium bromide (10%), potassium dichromate (1%); and remixed due to exhaustion. The prints are then
also I use Kodak Dektol, Ilford Rapid Fix, and washed, fixed again, and then archivally washed and
Heico Perma Wash. dried in the sun a second time.
The images from the Mars Opportunity rover To prepare the matrices for inking, I use a hair
are downloaded from the NASA website archive, dryer on the prints again before resoaking thor-
desaturated (from enhanced or false color images) oughly in water and then hanging on a drying line
then printed digitally on Moab Entrada bright to let most of the water run off. I will then use
paper, copy-slide photographed to 35mm film, and shop towels to dry off the excess moisture front and
then exposed to gelatin silver paper. back. Then the print goes on a large table where
After the prints are exposed, developed, fixed I further towel dry the surface until no beads of
and archival washed, they are left to dry, usually moisture remain.
in the sun, to make sure no moisture is remaining. I will then roll a medium-light coating of ink
Back in the darkroom the prints are then dried on a brayer. I prefer spreading the ink on a sheet of
thoroughly again with a hair dryer before bleaching. glass for this step to get an even distribution. I use
208 Chapter 18 Contemporary Experimental Artists

Figures 18.50–18.51. Left, Endeavor Crater; right, Olympia, bromoil prints, 70˝ x 42˝ and 67˝ x 42˝ respectively
© Brittany Nelson 2019

the brayer to apply ink over the entire surface of developing, bleaching, and inking, I unrolled the
the image. Then I will use large brushes for bromoil prints in the back of my Jeep on top of screens
to excavate the details of the images out of the pulled from a darkroom drying rack, and parked
ink. While it is recommended to do a “hopping” the car in the sun with the windows up. This heated
motion, I do more of a stab. I will switch between the prints very quickly and efficiently, which helped
applying ink over the entire image with brayers, combat any issues with very humid weather in
and then doing detail work with the brushes until Richmond, Virginia where they were made.
I start to reach the desired density in the shadow In order to develop, fix and bleach prints this
areas. After several hours of this, I will then hang large, I had trays manufactured specifically for this
the print up on the wall using magnets, and do project in a variety of sizes, the largest of which
all of the finishing and detail work this way. I use are 75˝ × 51˝. The trays are made from aluminum
wet shop towels, cotton swabs, and cotton pads to to minimize the weight and I had them powder
re-wet areas where the highlights are, and a variety coated with a chemical resistant finish. They also
of brushes to work out the shadows and midtones. contain a simple drain valve that screws into the
I will do a single print start to finish in one day, side of the trays.
usually taking around 8–11 hours.
When working on a bromoil print this large, Artist statement
and because of the nature of the process, it became The bromoil works depict the desolate landscapes
very important to constantly take a step back while taken from the Mars rover Opportunity, who
working on it. It became an exhausting dance to roamed the planet alone for 14 years, her twin
work on rendering small details within the print rover dying seven years previously. Only intended
and then walking across the room to look at it to live 90 sols (about 90 Earth days), Opportunity
from a distance. To avoid disaster, I would never outlived her lifespan many times over, and was in
absorb myself in up-close work for more than a few unscheduled missions for almost the entirety of
minutes before moving backward to observe it in her 14 years, traveling the farthest of any off-planet
its entirety, more or less a physical manifestation vehicle. Only referred to with she/her pronouns by
of how one should edit in Photoshop, constantly NASA, the lonely robot became heavily personified
zooming out and zooming back in. by the public. The combination of conducting hard
It is recommended that you “super dry” bromoil science experiments, traveling far distances never
prints between steps, making sure that all of the to find a mate, and taking contemplative photo-
moisture is completely evaporated from the graphs looking back at her own tracks, portrays
paper. For drying giant bromoil prints between Opportunity as a classic lesbian trope. Using the
 Chapter 18 Contemporary Experimental Artists 209

Figure 18.52 Greeley Haven, bromoil print, 67˝ x 42˝ © Brittany Nelson 2019

vastness of the NASA archives, I appropriate imag- been exhibited at Die Ecke (Santiago, Chile),
ery from Opportunity’s cameras and then translate Sonnenstube (Lugano, Switzerland), Bonniers
them into bromoil, a heavily romantic Pictorial era Konsthall (Stockholm, Sweden), The Museum of
process that replaces the silver in a photographic Contemporary Art Detroit (Detroit, Michigan),
print with hand layered lithographic ink, an The Brooklyn Academy of Music (New York, New
attempt to touch the landscape of a faraway world. York), The International Print Center (New York,
I made all these works in 2019 for two exhibitions, New York), among many others. Her monograph
10,000 Light Years From Home, at Patron Gallery Out Of The Everywhere was released in 2019 by
in Chicago, and Kosmologiska Pilar (Cosmological Mousse Publishing (Milan, Italy), and her sculp-
Arrrows) at Bonniers Konsthall in Stockholm, tural book Monuments to the Conquerors of Space was
Sweden. released in 2017 and published by Small Editions
(New York, New York). Nelson is currently an Artist
Biography in Residence with SETI (Search for Extraterrestrial
Brittany Nelson (b. 1984, Great Falls, Montana) Intelligence) and was a 2017 artist in residence at
works with 19th century photographic chem- the Headlands Center for the Arts (San Francisco,
istry techniques to address themes of queer and California). Her work has been featured in publica-
feminist science fiction. She is the recipient of tions such as Art in America, Frieze, and The New
a Creative Capital Foundation Grant in Visual Yorker. Nelson is currently based in Richmond,
Arts and a Theo Westenberger Foundation Grant Virginia and Trondheim, Norway. To see more of
for advancing women in the arts. Her work has Nelson’s work visit www.brittanynelson.com.
Figure 18.53. Projections I, 8˝ x 10˝ printed as a 24˝ x 30˝ pigment print © Eva Nikolova 2019. All of Nikolova’s works in this
section are cameraless prints inspired by Balkan vernacular architecture. They began as drawings which were contact
printed onto silver gelatin paper. The resulting clichés verre were bleached in a mordançage solution and selectively
redeveloped with a brush.
Eva Nikolova

Figure 18.54. 21 Fragments of Yesterday and Tomorrow XVI, 10˝ x 8˝ printed as a 18˝ x 15˝ pigment print © Eva Nikolova 2016

Creative practice In 21 Fragments of Yesterday and Tomorrow, I set

The relationship between geography and memory out to create a suite of works as a meditation on
has been the central preoccupation in my work ever the radical metamorphosis of the place I grew up
since moving to the US from my native Bulgaria in, then left, then revisited after a decade’s absence.
in 1992. When past and present are geographi- What I found was the landscape of my youth being
cally discontinuous, as they are for the immigrant, transformed into a sort of building site without
remembrance is forever bound up with place, with prior history, where development and oblitera-
what must be the meaning of home. And so it is tion were effectively indistinguishable. And yet it
that in my cameraless photography, drawing, print- became apparent to me that even when all traces of
making, and animation, I am drawn to images of a past are erased, landscape is haunted by memory
land and dwellings, and to narratives of displace- no less than memory by landscape.
ment, loss, longing and remembrance.
212 Chapter 18 Contemporary Experimental Artists

To arrest this erasure, I might have reached for whose visible tones do not coincide with their
my camera, that device seen as the conserver of opacity—which is what matters when making a
memory. But for me­—this will seem paradoxical negative to print from —I photocopied the draw-
to some—nothing can erase the experience of the ing onto thin printer paper often re-working this
past quite like a photograph, which replaces what copy by scratching through the toner with a blade
it purports to preserve. To create photographs for textural effects. This then was contact-printed
that would not rob me of the subjectivity of lived under the enlarger onto Ilford Multigrade RC
experience, I would have to go back to the dawn Glossy paper developed with standard darkroom
of the medium before the tyrannical ubiquity of chemistry to yield cliché verre prints, that would
the camera, when it was still an outgrowth of a constitute a sizeable edition, were the process to
free experimentalism with materials, of unfettered end here. But rather than the end point, each cliché
curiosity, and of a fascination with the making of verre was merely the stage for a series of further
marks on paper. interventions, scanned and output in its final state
I began the works in 21 Fragments with draw- as a 15˝ × 18˝ archival pigment print.
ings from memory, which then went through In a precarious process, where creation takes
various transformations spanning media and place on the edge of ruination, the clichés verre
technologies both historic and contemporary. As a were bleach-etched in a solution of copper chloride,
printmaker by training and mindset, who processes hydrogen peroxide and citric acid until the image
experience through drawing and who has dedicated disappeared and the emulsion began to lift off. The
the last decade to cameraless photography, I turned fragile emulsion was in places rubbed away, and
to the cliché verre, an obscure cameraless technique in others painstakingly rearranged with a needle,
in which a hand-designed matrix (as in printmak- while the prints were selectively redeveloped with
ing) is traced by means of light onto light-sensitive a brush and Dektol in various dilutions. In this
paper (as in photography). process owing more to painting and alchemy
Cliché verre has remained a practice on the than to photography, chosen parts of the vanished
fringes of both photography and printmaking and picture were resurrected, imparting color to the
as a graphic medium has been seldom used since black and white prints solely through chemical
the mid-19th century. My own discovery of it came interactions. Some of the colors were further inten-
about in 2011 at Manhattan Graphics Center in sified by drying the prints in direct sunlight. The
New York City thanks to Douglas Collins, who silver gelatin emulsion, equally a site of creation
also introduced me to chemigrams which comprise and dissolution, became the embodiment of the
the bulk of my work in alternative photography. themes of the work—the nature of transforma-
Collins later also showed me bleach-etch aka tion and the interchangeability of construction and
mordançage—that mysterious process which I use destruction within the unstable and fragmentary
in conjunction with cliché verre in this series and edifice of memory itself.
the series Projections from 2019.
While the original cliché verre matrix was a Artist statement
glass plate onto which a drawing was made with Imbued with the singularity of the process that gave
an etching needle through a smoked etching rise to them, the prints in 21 Fragments of Yesterday
ground or printmaking ink that had been dusted and Tomorrow endeavor to reclaim a stereotypical
white, contemporary approaches use a wide range Balkan landscape. Alternately understood as site of
of drawing substances and tools. To make the genocidal brutality, exotic getaway, or iconic object
matrix, I drew on 8˝ × 10˝ paper with graphite, of nationalistic pride, the depicted locale instead
charcoal, black and white ink, white chalk and became the locus of a deeply personal connection
oil pastel. Because I mixed a variety of materials, to a place and its past. While they may signify the
 Chapter 18 Contemporary Experimental Artists 213

Figure 18.55. 21 Fragments of Yesterday and Tomorrow VI, 10˝ x 8˝ printed as a 18˝ x 15˝ pigment print © Eva Nikolova 2015

region’s history of war and its current predicament Experimenting with a wide array of substances,
of speculative development, the works transcend chemicals, and vintage gelatin silver papers, her
the specificity of the context from which they arise. prints contemplate transformation and destruction
Ruins evoke not only their own site, but resonate through the prism of architecture and landscape.
with other images of decay and catastrophe, func- Nikolova is the recipient of over thirty scholar-
tioning as a trope of global trauma fraught with the ships, fellowships, grants and awards, and has
ever‐increasing wreckage of modernity. participated in fully funded residencies at Virginia
Center for the Creative Arts, Millay Colony, Brush
Biography Creek Foundation for the Arts, Vermont Studio
Eva Nikolova is a Bulgarian-born, New York City- Center and Kimmel Harding Nelson Center for
based artist who works in alternative photography, the Arts. Her work has been exhibited nationally
drawing, painting, and printmaking exploring as well as in Germany, England, Canada, Scotland,
themes of memory and identity in relation to and India. Nikolova holds a BFA in Painting/
place. Since 2012 she has been creating hand- Printmaking from Southern Illinois University
drawn, cameraless silver gelatin photographs that and an MFA in Printmaking from Indiana
blur the lines between drawing and photography. University, Bloomington. To see her work visit:
www.evanikolova.com.
Figure 18.56. Finding Self, mordançage on 11˝ x 14˝ silver gelatin paper © Elizabeth Opalenik 2010
Elizabeth Opalenik

Figure 18.57. Masked

Mordançeuse,
Pandemic Self Portrait,
mordançage on 11˝ x
14˝ silver gelatin paper ©
Elizabeth Opalenik 2021

Creative practice Creative process

In 1983 I met the French artist Jean-Pierre Sudre My preferred darkroom process involving silver
and was introduced to his practice in mordançage. gelatin is the mordançage technique and experi-
I knew instantly that I had come home photo- menting with all its possibilities. From the
graphically and sought to further understand his beginning, the lifted veils of silver emulsion in the
process through annual visits to his studio to view shadow areas of the photographic paper were a
his work. In a 1991 workshop with him in his fascinating element. Normally, they would cling to
Provence studio I learned the basics. My advice is the highlights and be washed or rubbed away. I had
to learn from a master and then make it your own. not previously seen mordançage images in the style
By print # 5 in that workshop I began saving the of saving those veils, and exploring how to manipu-
veils of emulsion on the road to my style in the late the floating emulsion to cloak the figure in
process, which also incorporated the figure. veils as delicate as silvery spider webs became my
216 Chapter 18 Contemporary Experimental Artists

Figure 18.58. Centered in the Universe, mordançage on

Figure 18.59. Flight of Dreams, mordançage on 11˝ x 14˝
11˝ x 14˝ silver gelatin paper © Elizabeth Opalenik 2008
silver gelatin paper © Elizabeth Opalenik 1994

mission and my contribution to the process. The

process of controlling the veils by gently rocking for me has been Centered in the Universe, 2008, and
the mordançaged image in a tray of water, using took a few weeks to ‘develop’ to that red color. One
an eyedropper or my breath, is akin to a meditative of the redevelopers was very old D-76. The image
practice for me. was kept in the darkroom space, under safelight
I have a freezer full of saved older papers or lights off, to oxidize. I believe all these factors
and use them when possible for their high silver contributed to the final color, but there is no way
content, like Agfa warmtone and Ilford. Papers on to test for that.
the market today—Ilford, Bergger, Foma, Arista In mordançage the key to success is experimen-
and Adox—also work well. Each offers a different tation and patience. Each piece is unique. Without
look to mordançage, some better for the veiling of preserving the veils, you could perhaps derive simi-
the silver emulsion that I favor and some for the lar results.
tonal variety. Different images “ask” for different I start with a basic formula of distilled water,
treatments and combinations. copper chloride, 30–35% hydrogen peroxide and
My normal developer for mordançage is Dektol, glacial acetic acid. I have found, while teaching at
always available, but for redeveloping in the process, various locations, that regular tap water can cause
just about everything is tried, often mixing my own problems because of varied ground water chemicals,
developers from powder. Even film developers work so best to eliminate that possibility by mixing the
for redeveloping, and with the right combination of formula with distilled water. Each paper can require
paper, redeveloper, or toner, I have achieved some an adjustment to the amounts in the formula and
of my best image colors. The most beautiful image age of the hydrogen peroxide. One only knows
 Chapter 18 Contemporary Experimental Artists 217

Figure 18.60. Catching the Crystal Moon, mordançage on

11˝ x 14˝ silver gelatin paper © Elizabeth Opalenik 2012

that through testing. Doing test bands each time

is one of the most important parts of the process
and is the one, sadly, most people will try to skip.
It is where you will learn the most about how the
process will work. From test bands one gathers
information on controlling how quickly the emul-
sion will lift and at what stage or contrast that will
Figure 18.61. December Moon, mordançage on 11˝ x 14˝
happen. Then use the test bands for redeveloping silver gelatin paper © Elizabeth Opalenik 2009
in various ways to see coloration variants.
If just beginning in the process, photograms are
a good place to start. To eliminate variables, I have eye marble on the shelf can become a moon on
used a heart shaped leaf for most of my thirty years the paper (see December Moon). Imagination is a
working in mordançage each time I want to test wonderful resource and also helps save some of
something new. those test prints after you have dedicated a few
Until recently I used only film negatives. Today, hours of going through all the wash cycles in the
digital negatives offer a lot more possibilities to process (see Tulip #1, following page, a photogram
adjusting contrast and any other issues before you of a tulip in vase where a ghost vase is created by
begin. This allows more control though I have leaving the silver haze in place of the over exposed
always liked the surprises I got from a film nega- test print where the glass vase disappeared in the
tive and accepting all I could not control. That wash cycle).When using a digital negative, leave
challenged me to think outside the box. I create the step tablet on the bottom of the paper, at least
with just veils of emulsion (see Flight of Dreams) for the first image, so that you can gather informa-
and also use crystallizations on glass as my nega- tion about the emulsion lifting in various zones. It
tive, much in the style of Jean-Pierre Sudre, my is also important to leave a white border around the
mentor. To those I might add collage of the figure image so that the veils, which stretch, have a surface
or some other element (see Catching the Crystal to dry back onto. If you have no edge, it is harder
Moon). Photograms and scratching into the soft- to hold the print and the stretched veils will rip
ened emulsion offer possibilities where a cat’s as they wrap around the paper, causing problems
218 Chapter 18 Contemporary Experimental Artists

slowing down the process. I will employ a hypo-

dermic needle to release water under the veil to
avoid tearing while rocking the tray during a wash
cycle. Because washing 15–20 minutes between
each step is key to creating an image as archival as
possible, this is all very important to me. If you are
not saving the veils, but removing them with jets of
water or a ball of cotton, then the washing process
becomes much easier. The hypodermic needle can
also be used to remove veils or bits of silver emul-
sion on the wet image.
Some images with veils can take all day to
make. I may dry between steps and then continue
to wash. I have learned the hard way that it is easier
to stay with each image until the end; it will result
in a higher success rate especially if you keep good
notes. It is a dance and why Sudre called me a
“mordançeuse.” Always remember, what takes time
to create, time respects.

Biography
Figure 18.62. Tulip No. 1, Westport, Connecticut,
Elizabeth Opalenik has a forty year career teach-
mordançage on 11˝ x 14˝ silver gelatin paper © Elizabeth ing or making images on six continents seeking
Opalenik 1992 the beauty and grace that exists within all things.
Her “what if ” approach, whether digital or dark-
when trying to remove the paper from the tray. room, has her using photography as the visual voice
To avoid this problem, I often work on Plexiglas, for stories left behind. Opalenik prefers working
which makes lifting the image out of the water in mordançage with her signature veils of float-
easier, especially if I am saving the veils. ing emulsion or other handmade processes such
Just because you can save veils, doesn’t mean you as carbon, platinum/palladium or hand painting.
always should. Like any process, each step along the Her work is collected and exhibited internation-
way should complement the final image. ally. Following a life long dream, she published her
Controlling the process takes observation first monograph, Poetic Grace: Elizabeth Opalenik
and ingenuity. I often work in just water to help Photographs 1979–2007. In 2021 she conjured
finesse the silver emulsion—hot for lifting, cold for into existence Workshop Stories: Changed Through
Photography, with stories and images from over 100
of today’s iconic photographers. To see more of her
work visit elizabethopalenik.com.
Figure 18.63. Revelations, mordançage on 11˝ x 14˝ silver gelatin paper © Elizabeth Opalenik 1996
Figures 18.64–18.65. Time Capsules, 24˝ x 24˝archival
pigment print from lumen box camera images © Chris
Peregoy 2021. To the right is a lumen box camera that
Peregoy constructed from a 35 mm film canister on which
he puts a lens. The top to the film canister is filled with a tiny
circular cut piece of silver gelatin paper. Exposures are from
ten minutes to eight hours. Then Peregoy scans the individual
images to print larger archival pigment prints.
Chris Peregoy

Figure 18.66. Eastern Gaze, 20˝ x 6˝, archival pigment print from blending pinhole camera © Chris Peregoy 2004

Creative process My negatives are scanned and used to make

I heard about Lumen Box images on a podcast QTR negatives for alternative printing processes
where black and white photo paper is exposed in and for black and white darkroom printing. I find
a camera between 10 minutes to over an hour. My that computer imaging software can help control
first Lumen Box was a size 14 shoebox with diopter my exposures and compensate for my contrast,
lenses which are usually used to change a normal retouching and defects in my process. QTR nega-
lens so that it can focus closer. By themselves, they tives allow me to not have to make camera film
will focus light like any other lens. A +1 focuses originals that are only suited for one process.
light at 1 meter, a +2 at half a meter. Each diopter The camera I used for my 9 pinhole image was
power is divided into one meter to give its focal constructed from a 4˝ × 5˝ film box that I taped
length. For my shoebox I used a +1 and a +2 to onto a Graphmatic 6 sheet film holder. A pinhole
make a 333 mm lens (about 13 inches). will spread light to a 3½˝ circle for every inch of
My current project with this process uses 35 pinhole to film distance. I used a 10 sheet 4˝ × 5˝
mm film canisters with either a 25 mm or a 45 box which gives about 2½˝ image circles for each
mm focal length lens. I cut one-inch circles out pinhole. Instead of arranging the pinholes in a grid
of black and white paper and stick them in the I flipped coins into the box and marked where they
lids. These lumen camera exposures are between landed. After nine flips I thought I had enough.
10 minutes and 8 hours depending on the light. Each was exposed after moving the camera. I use
I consider these time capsules since I’m capturing tape as the shutter.
time while working or doing other activities. In Eric Renner’s Exploring Pinhole Photography
I have a lot of Kodak Polycontrast RC paper he wrote about David Lebe’s convex curved
that I’m using for the lumen cameras. For dark- cameras that blended frames together. I had been
room printing I prefer Forte Elegance and Kodak intrigued with multiple framed blends for a long
Azo or homemade potassium chloride contact time so this idea really appealed to me. In my
printing paper. I also make my own silver gelatin camera my film passes over a piece of plastic pipe
glass plate in 2.5˝ × 3.5˝ and 5˝ × 7˝ for lens and to make a curved film plane. This was attached to
pinhole images. I process glass plates and x-ray film an old folder camera in which I had cut the film
and my homemade silver gelatin paper in Kodak guides away so that the film could wrap around the
HC110 and print using Sprint chemicals. pipe. The outer box was from a bulk Kodalith film
222 Chapter 18 Contemporary Experimental Artists

Figures 18.67–18.69. Left, nine pinhole camera, 7˝x 5˝ x 2˝, made from a film box,
film holder, tape, and aluminum pie tin. Middle, Dinner with Mia, 8˝x 10˝, silver
gelatin print from the nine pinhole camera © Chris Peregoy 1998. Right, blending
pinhole camera, 4˝ x 5˝ x 3˝, made from a folding 120 camera, PVC pipe, bulk film box, Polaroid MP4 shutter, and brass
shim stock © Chris Peregoy 1999. See images on next page.

container. I figured out how many revolutions I One of my favorite things to do is to walk
needed for the amount of overlap I wanted. I later the aisles of any hardware store to discover new
used this concept to make a 3-pinhole camera in objects for cameras. It could be a neat container for
a cookie tin. I marketed these cameras as Pinhole a pinhole or a plumbing part that could become a
Blenders. helical for a focusing lens. I once turned a 3-foot
section of sewer pipe into a blending camera that
Creative practice could expose a whole roll of 35 mm film at once.
Camera making is a process of discovery that Even a coconut can be a camera with a hole added
brings me back to the early history of photog- to it.
raphy. I enjoy reading about historic technology.
Pinhole was a good starting place that led me to Biography
making my own lenses, making wet and dry plates Chris Peregoy has been working in and exhibiting
and repairing and using plate cameras from 2.5˝ × photographically derived work for the past forty
3.5˝ up to 11˝ × 14˝. I like to tinker and to work years. Originally trained in traditional photographic
with primitive cameras but I also see the value of practices, his current work crosses the boundaries
my imaging software, scanner and inkjet printer. between digital, traditional and primitive photogra-
All of these have opened up new ways to work. One phy and marries digital image making with historic
of the discoveries I stumbled upon while working photographic processes. Many of his images deal
with collodion dry plate (a wet plate that’s been with forgotten or imagined memories. His work
preserved in tannic acid) is that if you scan them has been shown in North and South America,
in color, the pyro stain from the developer inverts throughout Europe, and in Japan. Peregoy’s work
into some amazing colors. When this process was with pinhole photography led him to form his own
used in the early 1860s there was no way to see this company, the Pinhole Blender Company, which
effect. I still print these in black and white but I sells his uniquely designed cameras throughout the
love the colors of the scans and use them as inkjet world. To see more of his work, visit chrisperegoy.
prints as well. com and @pinholeblender.
Figures 18.70–18.76. From the Blurred Boundaries series,
all images in-camera collage using a blending pinhole
camera, printed onto mural size lith film, processed for
continuous tone, images hung in an installation © Chris
Peregoy 1999. “In Blurred Boundaries I (re)construct personal
memory to establish a sense of ‘home,’ grounding and
identity, woven together from both visual and oral family
histories. In the countless times that I have perused the
family album, from childhood through adulthood, a host
of stories have been told surrounding this picture or that. I
work to rearrange these anecdotes in a way that creates a
reasonable sense of family background, and through that,
a clearer self-identity. The installation consists of 15 black
and white transparencies and a looping video projected
onto the ground glass viewing screen of a camera. The
images were reconstructed from a found family album by
layering family members from the depression over video
footage and rephotographing them with pinhole cameras.
The resulting images were printed on lith film that ranged in
size from 36˝ × 48˝ to 36˝ × 96˝. The video was composites
of the pinhole images with images from the album and
prose written about forgotten and imagined memory.”
Figure 18.77. Bramble, 16˝ x 20˝ © Nolan Preece 2017
Nolan Preece

When I start to make a chemigram, I think

in advance about the effect I want to create. The
paper and surface of the paper are so important to
the result. I try to previsualize how I will apply the
resist. For a landscape, I may use a puddle pusher or
pvc pipe and a syringe. I blue tape the paper all the
way around about 1/8˝ into the paper. My resists
consist of a range of floor finishes: Mop and Glow
One Step; Quick Shine Multi surface Floor Finish;
First Street Super-Crylic Floor Finish; Bona Stone
Tile & Laminate Floor Polish; Pledge Floor Care
Finish, a great one but no longer available. If I
want the resist to crack and peel, I check the room
Figure 18.78. Flora, 20˝ x 16˝ © Nolan Preece 2019
temperature and if it is below 65ºF and 30% RH, I
can use all these resists. Above 65ºF, Quick Shine
Creative process and perhaps Bona will work to about 75ºF.
I am both a photographer, having spent many I load the syringe and apply a generous bead as
hours in a darkroom throughout my life, and a I push the puddle pusher across the paper. With
chemigramist, having also spent many hours since the end of the puddle pusher part way down the
1981 making chemigrams in full light. A chemi- paper I can form mountain ranges with a lake and a
gram is an equal mix of photography, printmaking few clouds if there is some resist left on the puddle
and painting. Photographic materials, such as pusher.
silver based papers or films, provide the substrate When the floor finish is dry in about an hour,
and photographic chemistry produces the image. I start to think about processing it in the devel-
Printmaking plays a role through the use of resists, oper and fixer solutions. Temperature is not so
substances that hold back the photographic chemi- important—not too hot and not too cold. There
cal action to create the image and textural effects, needs to be a tub of water (1–2 gallons) between
much like a hard or soft ground. Examples are the two solutions to rinse the print between cycles.
paint, varnish, wax and my own preference, acrylic If white is critical to the image, as in sky, I start with
floor finish. Painting performs the task of adding the fixer. If black is the desired starting point, the
color to the image through the use of selective developer will be first.
chemical coloration, much the same as toning. It is intuitive as to how long to leave the print
Coloration and other painting effects can also be in each solution. Fixer takes less time to remove
achieved digitally by using Photoshop. the silver halides, but developer is an alkaline solu-
I have become a photographic paper hoarder tion that starts to break down the acrylic after a
of sorts. I have zeroed in on the Kodak developer couple of cycles. Each resist is different. I plan on
formula D72 that I mix myself. For my fixer, I an average of 10–30 minutes total time for the
always mix Kodak fixer formula F24, a nonhard- print, i.e. 3 minutes in the fixer; then 1 minute
ening fixer. Both formulas hold up well under in the developer, then extend the times for each
the cycling back and forth needed to make a until the acrylic starts to flake off and the image is
chemigram.
226 Chapter 18 Contemporary Experimental Artists

Recently, I’ve explored making trees, bushes,

rocks, and logs. It requires a brush and a natu-
ral sponge to create trees and bushes. Logs can be
made using tape. Rocks can be fashioned using a
cork or a brush. All are made using acrylic floor
finish.

Creative practice
My mother had an artistic side and she taught me
to paint and draw when I was a child. My father
was an amateur photographer who taught me how
to use a camera and how to compound my own
photographic solutions. So it was easy for me to
Figure 18.79. Rimfire, 20˝ x 16˝ © Nolan Preece 2020
take up printmaking from my mentor, Moishe
Smith, in grad school. These influences have come
resolved to satisfaction. First Street can take quite together to shape my current work.
a bit longer; it is very tenacious, but I like it for I’ve been an industrial photographer, a press
certain subjects. Hot water or a diluted ammonia photographer, a photographer of scientific meth-
solution will remove the remainder of the acrylic. odology and a fine art photographer with large
I then process the print as normal. format cameras. When I wasn’t working at one
The issue of the acrylic resist cracking and peel- of these, my interests fell to alternative photo
ing while drying and leaving beautiful patterns is processes. The chemigram offers lots of territory
still a mystery to me. I think humidity and possibly to play in and I’ve taken advantage of this. I have
temperature are the reason. I will never forget the been playing with chemically formed imagery on
first time the resist cracked and peeled. It happened silver-based photographic materials since about
in September, 2014 on a Kodak Medalist J 1953 1981. At first I used different toner solutions as
paper and with a Pledge resist. After that expe- painting media to enhance or to simply try and
rience I set out to unlock the secret and I have come up with some sort of visual vocabulary, with
partially succeeded at my lab in Reno. or without a printed image from a negative. This
Mop & Glow threw me a curve. After some procedure hasn’t changed much from when I first
pooling with a test, I discovered I could make clay started. Since 2010, I’ve also been using acrylics as
dams out of modeling clay mixed with a bit of a resist to hold back the chemistry, much the same
motor oil and attach a coil circle to the paper. I way Pierre Cordier, father of the chemigram, uses
then poured just enough of Mop & Glow inside to paint, varnish and wax as resists.
cover the bottom. In a few days it dried to a beauti- Out of necessity, I began teaching Photoshop in
ful floral pattern. I then removed the clay dam and my photography classes in 2003. After teaching this
processed it as described above. platform for about 10 years, I automatically shifted
I tried letting the resist dry in the refrigera- to scanning in my small chemigram matrices so
tor and a whole new world opened up. However, that I could enlarge and retouch them digitally. I
drying in the freezer didn’t work. usually try to keep the original coloration of the
It is no secret that I use Photoshop with my chemigram, but to intensify it a bit. The scanner
chemigrams. I feel that this creative digital tool has become the photographic enlarger.
has expanded the range of the chemigram tremen- My work has been tied to environmental
dously. There is nothing that says you can’t make issues for almost 40 years now. I have tried many
several different chemigrams and combine them, approaches to illustrate the need to change the
or change the perspective, or add color, or remove, way we view the planet. The chemigram provides
replace, and rebuild a chemigram. a unique visual vehicle to carry that message. My
 Chapter 18 Contemporary Experimental Artists 227

Figure 18.80. Trees and Bushes, 8˝ x 10˝ © Nolan Preece 2021

first attempts at Enviro Chemi Art were quite appeared in more than 100 juried, invitational, and
literal. However, as my work has progressed and solo exhibitions throughout the country and he is in
evolved, I’ve come to realize that a more nuanced thirty-seven permanent collections including those
approach may be more effective. These chemigram of the Utah Museum of Fine Art; Western Illinois
landscapes have a post-apocalyptic feel to them University; The Nevada Museum of Art; The Snell
with their color and texture. and Wilmer Collection, Phoenix, Arizona; and
the Southeast Museum of Photography, Daytona
Biography Beach, Florida. Preece has had solo chemigram
Nolan Preece received his mfa in photography and exhibitions at numerous museums across the U.S.
printmaking from Utah State University in 1980. He is represented by Stremmel Gallery in Reno,
Working in a range of media including photog- Nevada and by the Walter Wickiser Gallery, New
raphy and intaglio printmaking over the past York City. Preece is an emeritus photography
forty years, Preece employs both traditional and professor and gallery director at Truckee Meadows
experimental techniques with an intuitive balance Community College in Reno, Nevada. To see more
between process and concept. Preece’s work has of his work visit nolanpreece.com.
Figure 18.81. Man of Steel, Second Pass lith on Foma Fomatone using copper sulphate bleach, 12˝ x 16˝ and 16˝
x 20˝ © Tim Rudman 2021
Tim Rudman

Figure 18.82. Family of Trees, Yellowstone, Second pass lith on Ilford Multigrade Warmtone using ferricyanide bleach and
LD20 lith developer, 16˝ x 20˝ and 16˝ x 12˝ © Tim Rudman 2021

Creative process I use Moersch Lith developer and old stocks

I work with conventional black and white silver of Kodalith and Fotospeed’s LD20, which keep
gelatin papers and negatives and use specialized surprisingly well with the separate A and B
lith developers, reducers (bleaches) and/or chemi- solutions. I generally use Fotospeed’s ST20
cal toners to alter tonal relationships and introduce ferricyanide-halide redevelopment bleach and
false colour. occasionally homemade copper sulphate/halide
Lith developers were originally designed for bleach. See further on for the formula.
the graphic arts industry of the pre-digital era to The choice of paper is a major factor as every
produce extreme two or three tone high contrast paper has its own individual emulsion characteris-
results with film. They achieve this through a tics. In addition to currently manufactured papers,
unique process of infectious development by which I have a substantial stock of old discontinued lith-
light tones and dark tones develop at different rates. capable papers in cold storage, notably the old
Lith printing on paper exploits infectious develop- 1980–1990 era Oriental Seagull variants, Kodalith,
ment by heavily overexposing the paper, usually by Agfa’s Record Rapid etc., Forte Polywarmtone and
two or three stops, and then snatching the print Bromofort, Sterling Lith paper, Fotospeed Lith
part way through development as light and dark paper, Kodak Transtar TP5, Kentmere’s Kentona,
tones diverge with different grain size properties. Art Classic, Tapestry and other favourite papers
Figures 18.83–18.84. Top, Man of Steel 2, bleach-back using ferricyanide bleach on Foma Fomatone, 20˝ x 16˝; bottom,
Man of Steel 2, 2nd pass lith on Foma Fomatone paper using copper sulphate bleach, 20˝ x 16˝ both © Tim Rudman 2021
 Chapter 18 Contemporary Experimental Artists 231

of yesteryear. Many of these contained the now to be snatched from the second (lith) developer
banned element cadmium and were/still are spec- in order to achieve the desired result. It is helpful
tacular in lith developer. to make two or three variously overexposed prints
Sadly, only a few currently made papers show to allow for experimentation. As with normal lith
convincing true infectious development in lith printing, the print is never developed to completion
developer, notably Foma’s Fomatone emulsion in the second (lith) developer but is snatched as it
papers and Slavich’s Unibrom (recently unavail- progresses through development. It will therefore
able at the time of writing). Some others will yield always be lighter than it was after the first develop-
lith-like colours in lith developer, but lack the same ment and like a lith print will need some degree
distinctive juxtaposition of fine grain/large grain of overexposure to compensate. This affects density
properties and the control that infectious develop- and colour depth.
ment permits. These untoned prints should be fixed and well
However, the use of a re-halogenating bleach washed in the conventional manner because any
effectively recreates a new paper emulsion with residual fixer left in the paper will react irreversibly
different properties in lith developers—enter Second with the bleach in the next step and result in loss
Pass lith. Any paper is worth experimenting with of tone and density.
and many current papers work well. The next steps of bleach and redevelopment can
be undertaken in room light or subdued daylight
Second Pass lith and Bleach-back straight away, or at any later date, in which case
I coined the term Second Pass lith in the 1990s in the dry print must be thoroughly re-soaked before
order to distinguish this process from other bleach/ proceeding. The print is bleached—either fully or
redevelopment procedures and the term has since partially—washed and redeveloped in dilute lith
become part of the established lith printing lexi- developer and snatched when a desired result is
con. Second Pass lith refers to a development/bleach/ reached; otherwise it will redevelop fully, usually
redevelopment sequence in which the first devel- back to black and white. In order to arrest develop-
oper can be any developer, but the second developer ment quickly, the print must be moved swiftly to
is a lith developer. It also has the advantage that the stop bath without draining off. Washing and
the lith development stage can be done in normal fixing is as usual.
room light, which makes the snatch point easier Every stage of the Second Pass lith process can
to judge. Second Pass lith printing allows the lith be varied to affect the outcome to one degree or
process to be applied to a much wider selection another and then (with practice) can be reproduced
of current silver gelatin papers and can produce a with reasonably predictable results. Note that the
greater permutation of possible outcomes. initial choice of black and white developer for
Bleach-back uses various bleaches after conven- developing the original print can have a consider-
tional processing to simulate a lith look but without able impact on the end result.
the use of a lith developer. For Bleach-back I use a The simplest type of bleach to use for Second
dilute ferricyanide plus hypo bleach after conven- Pass lith is a ferricyanide/halide formula (see the
tional processing, or a strong iodine bleach after Bleaching and Bleachout or Toning chapters).
selenium toning to completion. No redevelopment Several variations exist and each can give a slightly
is involved. In either case another final fixing bath different result with lith redevelopment. They are
is required. all based on potassium ferricyanide plus a halide
For Second Pass lith the first step is to make (bromide, chloride, iodide) or a mixture of halides,
a conventional black and white silver gelatin test which together with the silver in the print will
print using any paper and developer combination. effectively reconstruct the new paper emulsion.
The print should then be overexposed, commonly Fotospeed’s ST20 is a good example. It works very
¼–½ stop, depending on how early it will need well and is available separately without the toner.
232 Chapter 18 Contemporary Experimental Artists

Another interesting bleach is this copper based It often comes as a shock and a disappointment
formula: that when the Second Pass lith print enters the final
Copper sulphate/halide bleach fix much of the colour fades, but it changes again
50 g cupric sulphate on drydown and even these more gentle colours can
6.5 ml sulphuric acid 96% (or 13 ml 48%) be very attractive. Increasing the initial exposure
50 g sodium chloride (pure) may help this, especially with earlier snatch points.
Water to 1000 ml
1. Caution! Always add acid to water—never the Creative practice
other way round. Add the cupric sulphate to 750 Like many old school photographers and printers
ml water and stir until dissolved. in the 1960s, I began my journey using black and
2. Add the sulfuric acid and stir. white film and coldtone bromide paper. As I was
3. Add the sodium chloride and stir. studying medicine, my photography was entirely
4. Add water to 1000 ml. self-taught with little or no guidance and I soon
For full bleaching I use the solution full strength. developed a methodology of playful experimenta-
For better control with part bleaching I dilute the tion to see “what happens if.” This inevitably led
concentrate 1+5 or 1+10 with water. The action to the kissing of a lot of fairy tale frogs and the
of this bleach is quite unlike the action of ferri- discovery of just an occasionally exciting princess.
cyanide bleaches. Initially nothing much seems The first of these was the introduction of high-
to be happening, then suddenly changes appear light colour change by using a bleach reducer as a
in the midtone band, with colours shifting and bath rather than applied locally as liquid sunshine.
maybe some solarisation and colour/tone reversal, Bleach-back, as it was often known, seemed to trans-
so snatch point is really important here too. This port the image almost into the realms of fantasy
bleach can also be used for bleach-back without and imagination.
redevelopment. The survival of black and white photography in
The choice for a lith developer is now quite this digital era, where the default is colour, is more
limited but will affect outcomes. Moersch lith than historical accident. It is still cherished as an
developer (with optional additives) is widely avail- art form because it abstracts the image one step
able. Ultrafine and Arista lith are available in the from reality, focusing the viewer on the relation-
US. See Lith Printing for other formulas. ship between tone, texture, form and light alone.
Snatch point(s): the snatch point with lith However, as for many years it was the main form
developer (and with copper bleach) is that critical of image reproduction, people became inured to it,
moment of intervention to interrupt and stop the almost as reality. The introduction of false colour
very rapidly accelerating progress. This involves an removes the image unambiguously from reality,
element of anxiety! Would the image be even better freeing the viewer as well as the printer to form
if left longer? Or would it be spoiled? Initially, the their own interpretations. The expressive use of
only way to know is to press on and see the full false colour informs much of my work. It provides
cycle. Hence it is a good idea to start with two or a link between me and the viewer, but also allows
three identical prints and note the sweet spots and the viewer permission to explore their own reac-
times with the first print. The snatch point is one tions to the work more freely.
of the most significant steps for personal expres- Whilst serendipity plays an important part in
sion, affecting as it does contrast, grain size, visual this journey, so for me does reproducibility and I
texture, colours and density. find I can only do this by keeping records rather
than relying on memory. Play-discover-record-
repeat has become my mantra.
 Chapter 18 Contemporary Experimental Artists 233

Figure 18.85. Burls, 2nd pass lith on Kentmere Document Art using ferricyanide bleach and Moersch lith developer, 16˝
x 12˝ © Tim Rudman 2021

Biography workshops in the UK, Ireland, Spain, Canada,

Tim Rudman has an international reputation as America and Australia. He is widely published
a photographer, printer and expert on darkroom and exhibited, and his prints are held in public and
techniques. His four acclaimed books on printing, private collections around the world, including the
toning and lith printing are widely regarded as permanent collection in London’s V&A Museum.
essential reading in their fields. His later book and To see more of his work visit www.timrudman.com
exhibition Iceland, An Uneasy Calm was released in and www.iceland-anuneasycalm.com
September 2015. Rudman has conducted darkroom
Figure 18.86. Waikiki, from the Invasive Species series, laser-etched silver gelatin print, 9.5˝ x 9.5˝ © Leah Schretenthaler 2019
Leah Schretenthaler

Figures 18.87–18.88. Left, Ala Moana Construction, 9.5˝ x 9.5˝; right: Ford Island, 9.5˝ x 9.5˝, both from the Invasive Species
series, laser-etched silver gelatin prints © Leah Schretenthaler 2020 and 2019 respectively

Creative process silver gelatin prints, man made spaces are removed
The images are first printed in the darkroom using to create a burnt and sometimes empty area. The
the silver gelatin process. After printing, each image use of a laser cutter to cut the structure from the
is scanned at a high resolution for maximum detail. landscape leaves a scar upon the image.
The scan is then imported into Adobe Illustrator,
where each area of the image is traced that must be Biography
laser etched. Once traced, the Illustrator file filled Leah Schretenthaler was born and raised in Hawaii.
with shapes is sent to the laser etcher. The final step She holds a Masters degree in art education from
is aligning each print in the machine while also Boston University and completed her MFA Spring
dialing in the speed and power settings to create 2020. Schretenthaler uses traditional photogra-
certain effects including transparency and scorch phy, video, and metal casting to create her work.
marks. Through her art practice, her research presents a
connection between land, material, and perfor-
Artist statement mance. She has been named one of LensCulture’s
The Invasive Species of the Built Environment:The Emerging Talents of 2018, was awarded 2nd place
land of Hawaii is luxurious and idyllic but past the in the Sony World Photography Awards, received
wanderlust images the land is very controversial. the Rhonda Wilson Award through FRESH2019,
The industrial growth not only manipulates the the Professional Development Fellowship in Visual
landscape, it destroys the historical and spiritual Art from CAA, and the Mary Nohl Fellowship for
places that have existed there for generations. These Emerging Artists. To see more of her work, visit
photographs focus on the spaces where infrastruc- leahschretenthaler.com.
tures impede on the natural environment. Using
Figure 18.89. Fran’s Wellfleet Maple, 16˝ x 20˝ © Sara Silks 2019. The image was printed on Ilford FB Warmtone matte
paper, and developed normally, then toned in blue toner to get the desired dark blues, approximately 20 minutes. Then
a very diluted Dektol was flowed over the areas to make them less blue.
Sara Silks

Figure 18.90. Snow Creek, petite mordançage, 5˝ x 2˝ © Sara Silks 2018

Creative process With silver gelatin toning and selective toning, I

I use Ilford Multigrade fiber base warmtone and learned to run test strips in the color toner to see
Ilford Art 300 primarily, but I have many expired the color intensity change. I also experimented with
papers stashed and ready to use. I was given a quan- removing toners, and learned the combinations and
tity of 20˝ × 24˝ Centennial POP paper, and am dilutions of chemistry and the toning times that
testing it as well. I shoot both digitally and analog. work well together.
I use negatives that are film/silver based but make
contact negatives with Pictorico for many of my Creative practice
platinum/palladium pieces. I also use Ilford RC The depth of my practice comes from working
glossy paper in my large format view camera to continually in the darkroom, and my experimen-
create 8˝ × 10˝ negatives. tation over many years has provided me with the
In mordançage, I choose images, knowing that tools to use many alternative processes. Though
the dark areas are the ones that I can change or I admire the tradition of each process, I am not
remove. I have discovered that using a large test bound by a single medium. I am willing to some-
strip of the image in the mordançage chemistry times combine and manipulate processes as a tool
can inform the artistic direction that I want to take. for expression, and select them based on my vision
Less exposure, for example, is a way to keep part of for the final work.
the image intact, while more exposure makes the
image lift more easily. I use dodging and burning Artist statement
on my images for mordançage in ways that I would My work investigates concepts of fragility, vulner-
not do on a straight print. ability, and determination. I use darkroom printing
I always put my work on Plexiglas during the processes, large and small format photography, and
process, for portability, and I have learned and digital tools in my work. Using alternative and
discovered that for redevelopment, flowing a bit historical photographic processes, along with my
of the diluted developer on to the area I want toned drawing and printmaking background, gives me
is more controllable than placing the whole image the latitude to make my work intrinsically personal.
back in the developer. I can also selectively tone
this way with different dilutions and chemistries.
238 Chapter 18 Contemporary Experimental Artists

Figure 18.91. Palm Study LA 5, mordançage on Ilford MG Art, handcolored with conté pastels, 10˝ x 10˝ © Sara Silks 2021

Biography and juried gallery shows, and had her first solo
Sara Silks is a fine art photographer known inter- show in New York City at the Soho Photo Gallery
nationally for her work in alternative processes. in October of 2017. Silks has been a finalist in
Silks received her BA in both Visual Arts and Art Photolucida’s Critical Mass four times, and was
History, and MA in Art History with Honors. the international winner in two categories of the
She did graduate work with John Talleur for print- Julia Margaret Cameron Awards, 2017, resulting in
making, and her studies with Christopher James, work shown in Barcelona. Her work has appeared
Christina Z. Anderson, and Elizabeth Opalenik in numerous museums, galleries, publications, and
have inspired her continued work with alternative exhibitions throughout the US and internationally,
and historic photographic processes. Silks exhibits and is also held in private collections. To see more
nationally as well as internationally in museums of her work visit sarasilks.com.
Figure 18.92. Vertebrae, sabattiered photogram, Ilford MGFB, exposed during development to an incandescent light for
5 seconds and then processed normally, 16˝ x 20˝ © Sara Silks 2018
Figure 18.93. My Alamo #1A, from a commissioned series for the Mexican Museum in San Francisco for an
exhibit called From the West, hand-written text on the photograph, 16˝ x 20˝ © Kathy Vargas 1994–1995
Kathy Vargas

sticks, colored pencils to add lines, and sometimes

I add collage or even stitch/sew on my images.
Occasionally I’ll use sepia toner instead of selenium
if I need a warmer tone.
One of my constant complaints these days is the
discontinuation of the products I need. Having to
re-learn new products slows me down considerably.
I’ve been hoarding HC-110 against the day it also
goes away.
For printing, the past few years I’ve been using
Ilford Multigrade Art 300 paper. Before that I used
Foma’s Fomabrom semi-matte velvet (now discon-
tinued) and before that Agfa’s Portriga Rapid 118,
also gone. The Agfa was my favorite—a perfect
surface. The Foma was next best. The Ilford Art
paper is what I can get now. It tends to be too
porous so the color sinks in too much. The reason
I stick with the Ilford is that it split tones. Other
brands don’t split as effectively.
For shooting: I work in the studio 90% of the
time. I have a 4˝ × 5˝ Calumet, a “spare” 4˝ × 5˝
Sinar that I picked up at a rummage sale, and three
Figure 18.94. The Living Move: Self Portrait, from a series
of blurred portraits, in deliberate imitation of accidentally Graflexes along with a heavy duty Gitzo tripod for
blurred Daguerreotypes, 20˝ x 24˝ © Kathy Vargas 1995 the big cameras and two copy stands for the Graflex
cameras. My lights are very simple: Smith-Victor.
To make my double exposures, I have to know
Creative process what I’m going to lay down for both exposures.
I use a number of processes. I do double-exposures Then I decide what gets emphasized, what will be
on 4˝ × 5˝ T-Max 400 film, occasionally scratching diminished, or whether the two exposures will be
the negative. When developing film, I currently equal. I place the objects for the first exposure on
use a high contrast developer: Kodak Professional the table in front of the lens and shoot it at about
HC-110 in a 1:7 dilution. The double exposures ½ second. Then I place a transparent piece of paper
need the boost of a high contrast developer; on the back of the camera and trace the objects in
otherwise the negative is very gray. My printing the first exposure, remove them, and lay down the
technique is relatively traditional: Ilford Multigrade objects for the second exposure, deciding what will
paper developer and Ilford Rapid Fixer. At times, overlap, what will emerge and what will be hidden.
I’ve also used bleach to create a halation effect if If the second exposure’s objects are more important,
that’s what’s needed. After printing, I use sele- I’ll give them a 1 second exposure, if less impor-
nium toner to split tone in a dilution of 1:4. Then tant they get a ¼ second exposure, and if equal to
I hand color with a number of oil-based paints: the objects in the first exposure, they get the same
Marshall’s but also regular oil paint, Sennelier oil ½ exposure time. After looking at the negative, I
242 Chapter 18 Contemporary Experimental Artists

Adding is good: I stack processes because one

step won’t do it. Subtracting is good: I need to make
sure that whatever I add is good for the picture and
doesn’t “muddy the waters” of the message simply
for the sake of pyrotechnics.
The best discovery I’ve made is to keep playing.
I change things up—mostly selenium but some-
times sepia; mostly oil paint but also oil sticks;
mostly washes of paint but sometimes line is better.
Nothing is static.
My biggest problem is not of my own making:
my favorite brands/products get discontinued.
While I like to “play,” some things must be predict-
able. One of them is processing my film. When I
made the switch to HC-110 I spent two weeks
playing with dilutions, developing times, I even
changed the type of film I was using. When I had
to change my paper, I bought eight different brands
of textured paper, printing on each of them, check-
ing to see if they’d split tone, then painting each to
Figure 18.95. About Memory, 24˝ x 20˝ © Kathy Vargas
see how each would take the paint.
2018. This is about old love letters. Some of the transparent
“sheets” are not on the negative but are photogram Creative practice
overlays.
While it’s fun to “play,” it sometimes requires hard
work to play well. When trying out a new process
decide whether I want to scratch the negative, add or a new product, it’s important to experiment as if
translucent paper to the edge of the negative for you were a scientist, test results and test again. Keep
additional texture, etc. Then I print. Sometimes records in case you decide that the outcome of the
while printing I’ll lay objects over the projected second experiment was better than the third or the
image for part or all of the exposure time, adding fourth. Experimental processes are a combination
a photogram to the image. And sometimes, after of luck and predictability. You’ll have better luck if
fixing for one minute, I’ll bleach a portion then some things are predictable. It leaves more room
re-fix the image. What I do depends on the image for the unpredictable.
and the effect I’m trying to get. Then I split tone
the image and spot. Artist statement
Spotting is its own creative enterprise. The message of my work is very important to
Sometimes I completely change an image just by me. My message is often about cultural (LatinX)
spotting it. I’ll add or remove details, drawing/ realities and social justice. But process is very
painting them in as I spot. Afterwards, I hand color, important too. When I first started working in a
adding collage or stitching where appropriate. It’s manipulated manner, challenging the Ansel Adams
all a matter of what I’m trying to say. For me, the aesthetic of straight photography was a relatively
processes serve the message as well as being impor- new thing, and, to quote McLuhan, “the medium
tant for their own sake. is the message.” Those of us making manipulated
My process looks complex but actually it’s a images were challenging the preconceptions of
layering of several relatively simple steps. photography as a simple reflection of reality. But
 Chapter 18 Contemporary Experimental Artists 243

Figure 18.96. I Was Playing Out

My Fantasies When Reality
Reared Its Ugly Leg, 20˝ x 24˝
© Kathy Vargas 1990–1993. The
photograph is from a series on
seafood and the ecology,
and humorously asks the
question: to whose tune do I
dance and for what price? It
is selenium toned and hand
colored with impasto paint
applied with a palette knife
to create the skirts of the
“dancers.” Collaged red net
fabric was applied over the
paint. The dollar signs are
also painted on and are not
on the negative.

photography as a medium has been historically retrospectives at the McNay Art Museum in San
instrumental in the pursuit of social justice, and I Antonio and Universitat Erlangen in Germany.
wanted to keep that. The seductive surface of my Group shows include Hospice: A Photographic
work makes it easier to get the viewer to look at a Inquiry commissioned by the Corcoran Gallery and
difficult reality: politics in Central America, or an Chicano Art: Resistance and Affirmation (CARA).
endangered ecology or, in my most recent series, She is in the collections of the Smithsonian
the inequity of treatment for garment workers in American Art Museum, the Toledo Art Museum,
what we call “third world” countries. And if I can the National Museum of Mexican Art in Chicago,
manipulate a medium that’s supposed to be all and the Houston Museum of Fine Arts. Named
about reality, then maybe I can manipulate reality 2005 Texas Two-Dimensional Artist of the Year
too—it’s a dream, as is photography. by the Texas Commission on the Arts, she also
received a Lightwork Residency in 1993 and an Art
Biography Pace Residency in 1997. Her papers are housed in
Kathy Vargas has had one person exhibits at Sala the Smithsonian Archives of American Art. She
Uno in Rome, Galeria Juan Martin in Mexico City, is currently professor of art/photography at the
Centro Recoleta in Buenos Aires, Argentina, and University of the Incarnate Word.
Figures A.1-A.4. Clockwise from top left: Therianthrope; Dear Greg; The Púca; Ratite; 6.5˝ x 6.5˝mordançages © Greg
Banks 2021. “For over 10 years, I have been making images with the iPhone and iPhone apps. Something wonderful
happens when printing processes from the 19th century using contemporary technology. The digital montages were
made with IPhone apps such as IColorama S, Enlight, and Afterlight. The images were converted to black and white
and flipped horizontally (Photos>Edit> tap the color button> Choose Mono, Silvertone, or Noir. To rotate Photos>Edit>
Click on the crop and rotate icon on the bottom right. Click the flip horizontal icon on the top left). The screen is then
inverted by going to Settings> Accessibility> Accessibility Shortcut> Select Classic Invert. After that you should be able
to triple click the button on the right of the iPhone to invert the screen (the image should become a negative image). If
the lens on your enlarger doesn’t have a lens cap, make one out of tape and cardboard. Also, if the phone hangs over
the enlarger, cut a piece of cardboard slightly larger than the phone with a window slightly larger than the image. This
is so the light from the phone doesn’t expose the paper. On the iPhone, go to Settings> Display & Brightness> Turn the
brightness all the way up. Also turn Auto-Lock to Never. Also turn Airplane mode on so you do not get a text during the
exposure. With at least a 75mm lens, put the phone in the enlarger with the cardboard with the window under it. Use
a grain focuser to focus. You will be using the light from the phone to make the exposure. I unplug the timer from the
enlarger, but still use it to keep time. I use the lens cap to stop the exposure. When I have made a print, I put it through
the mordançage solution. If I am worried about losing veils, I may wash a print the next day after the image has dried
because the veils are more stable.” Greg Banks is an instructor at Appalachian State University. He received his MFA in
photography from East Carolina University and a B.A. from Virginia Intermont College. His practice investigates family,
folklore, memories, magic, Appalachia, and religion. To see more of his work visit greg-banks.com.
APPENDIX
 In-camera composition tips

• Composition is 1) the strongest way of seeing, 2) the • Very light things at the edges of a photograph tend to
pleasing selection and arrangement of visual elements, lead the viewer’s eye out of the image.
or 3) visual editing. • Place the center of interest at one of the four points
• The key to breaking composition rules is to first learn determined by the Rule of Thirds. The rule of thirds in
them. The rules are not arbitrary, but come from the study photography is based on the Golden Section, the division
of what has been found pleasing to the eye. of a line into two sections so that the ratio of the whole
• Herbert Zettle says it poetically: “Complexity without to the larger part is the same as that of the larger to
order produces confusion; order without complexity the smaller, a ratio that turns out to be approximately
produces boredom.” 1.62. It is a ratio formulated with growth patterns in
• The most common error made is to take the photograph nature, and gives a sense of balance and order, and
from too far away. The main subject is then too small, and for understanding our profound connection to other forms
distracting details creep in to compete with the subject of life. Points of interest will fall at the intersection of two
for attention. imaginary sets of horizontal and vertical lines that divide
• Every scene has the potential to be a successful an image into thirds.
photograph, if the subject is “worked”: explore it with • The center of a rectangle is graphically its weakest point;
the camera, close in on it, vary the angle, move around it lessens a subject’s interest, unless the subject itself is
it, and get in really close. symmetrical in nature.
• Robert Capa said, “If your pictures aren’t good enough, • The strongest of the four Rule of Thirds points is the top
you aren’t close enough.” right point of the intersections of the imaginary lines.
• Keep it simple. Henry James said, “In art, economy is • The four corners of a photograph also provide surprisingly
always beauty.” active areas.
• There should be nothing in the photo that doesn’t • Have lines, actual or implied, lead to the center of
contribute to its overall quality. interest.
• If backgrounds are included, they should complement • Lines have psychological impact: horizontal (calmness,
the subject and help tell the story. stability), vertical (stature, strength), diagonal (action,
• If backgrounds need to be eliminated, the best tool a motion), zigzag (rapid motion), and curved (grace,
photographer has at her disposal is shallow depth of field slowness). They direct the eye to where it should go,
by using a) wide aperture, b) getting close to the subject slowly or quickly, smoothly or erratically. This flow,
and c) a telephoto lens. implied or actual, generally enters bottom left and flows
• Choose a focal point or center of interest. Something for toward the top right.
the eye to rest on. • To contain the eye within the frame, no lines should lead
• Photograph from bird’s eye (high) or worm’s eye (low) out of the picture, and it is even possible to put a sort of
instead of eye level. physical barrier in the top right of the image to contain
• Watch frame edges. Look into the far corners of the the eye (like a vignette).
viewfinder as well as the center to see what is going to • In landscapes, raise or lower the horizon line. Don’t leave
be included in the image. it at the halfway mark. Halves and fourths are boring.
• The edges of a photograph are very active; they • Including more land gives an illusion of closeness, more
determine the selection of visual elements. sky accents spaciousness. Either way, make sure the
• Frame edges can be activated by having subject matter horizon line is level.
close to them, or truncated by them. • Put a focal point in the landscape that is noticeable.
• Watch mergers. Mergers are confusing associations of • Medium sized landscape subjects are better placed off
subject with background. Border mergers happen when center. If impressive or dynamic they can be placed
the subject uncomfortably touches the edges of the centrally.
frame—i.e. give a little space around everyone. Avoid • Use foliage or something else in the foreground to
cutting off heads, feet, hands, elbows, arms, with the frame a landscape image. Keep both this frame and
border. If a person is cropped, crop tight and close. Tonal the subject in focus. The foreground objects give the
mergers happen between subject and background image depth.
when two adjacent colors translate into black and white • If people are in the landscape, the direction they look is
to similar tones (e.g. red apples against green leaves important in determining a center of interest.
produce gray both). Near mergers happen when objects • Use compositional contrast such as size dissimilarity,
come too close to the main subject, and steal attention light and dark dissimilarity, changes in direction, shape
from the center of interest. difference, texture difference, and sharpness difference.
• Points of “uncomfortable contact” happen when, for • Keep people busy. When photographing people,
instance, the top of the subject just hits the horizon line. have them do something to distract them from posing
• Always consider the subject in relation to its background statically—this will help prevent the “senior high school
and surroundings. picture” look.
 Appendix 247

Further Chromo Formulas

Alan Bean’s process Denny Moers’ “painting with light”

1. For the Chromo Tray 1, mix 5 ounces Dektol 1. Expose a negative to the paper as normal.
stock, 15 ounces of water, 7 ounces of Activator, 2. Develop partially or fully.
and 3.5 ounces of Stabilizer. 3. Use a weak stop bath, briefly.
2. For Chromo Tray 2 mix 2 ounces Activator and 4. Do not fix.
30 ounces water. 5. Squeegee off excess water and place the print
3. Print for slightly less time and use a #4 or #5 on glass under room light. The light will start to
filter in the enlarger. fog the print.
4. Develop the print no more than 1 minute in 6. As the print is fogging and turning colors, selec-
Dektol. tively paint on fixer here and there, which will arrest
5. Put the print face down in Chromo Tray 1 and the fogging process in that area. Brushes and spray
turn on a 40-watt light bulb about 4 feet above the bottles make handy tools to apply the chemistry.
tray; agitate 20–30 seconds. 7. It will take up to an hour of painting and
6. Put the print face up in Chromo Tray 2 and fogging. During this time, an option is to sprinkle
leave it there below the surface of the solution. dry chemistry on top of the print to get a textural
This is where the silver will occur. If silvering out effect.
does not occur in Tray 2, Bean quickly rinses the 8. There is also the option to either fully or selec-
print and then returns the print to Chromo Tray tively tone with permanent metal toners such as
1 face up without rinsing until the print darkens gold chloride, selenium and sulfide. The toners
but not more than 30 seconds. The red/magenta create such colors as reddish-brown (selenium),
tones from this step dry down to silver. It may take deep brown (sulfide), blue-gray, midnight blue,
several prints through the mix to have the silvering and pale red (gold chloride).
out occur, and, in fact, when a dark sludge starts 9. Once the print is done, fix and wash archivally as
appearing in the bottom of Tray 2 that is a sign that any print (Note: fixer will have a lightening effect
silver will happen. Tray 2 is used under 4 minutes on all colors produced, so it is important to carry
or silver will start to break up. on the fogging for an extended period of time).
7. Place the print in stop bath face down, agitating In order to do Moers’ process it is only neces-
continuously. sary to remember that selectively painted fixer will
8. Place the print face up into fixer. Fix the print lighten the print (hence the “painting with light”
5–6 minutes, and in the fix lightly rub off any excess terminology) and selectively painted developer will
silver. darken the print. Weak solutions of both will do
9. Rinse the print of chemistry and then wash the so to varying degrees. See the Toning chapter for
print in the print washer. Tip: sandwich the print gold toning formulas as well as other toners to use.
with a wet piece of same size paper on the emulsion
side and submerge them together so as not to damage the Jolly’s Procedure One
silver of the print when submerging it into the washer. Jolly called the process “chromoskedasic duotone
Then remove the paper and let the print wash one hour. psuedosolarization” in this 1992 article.1
Use the same piece of paper when removing the print 1. Expose a high contrast print.
from the washer to always protect its surface while wet. 2. Develop in 1+1 Dektol for 35–50 seconds.
10. Tone the print in selenium toner diluted 1:40 3. Rinse well and agitate in water 2 minutes.
for 2–3 minutes. If too long, some of the image 4. Agitate next for 25–30 seconds in a 5% sodium
color will be lost. thiocyanate solution or a 35% Stabilizer in water.
248 Appendix

5. Lay flat, squeegee, and let set for 1 minute. 2. Develop in diluted Dektol (1 part stock + 2
6. Develop again in Dektol 1+7 if thiocyanate was water) for about 2/3 the normal time. Drain the
used, or Dektol 1+1 if S30 was used. print for half a minute.
7. Immediately remove and lay flat again without 3. Color processing and print manipulation meth-
draining, and in 1–3 minutes colors should appear. ods I, II, III and A, B, C: there are three methods
8. Stop bath, fix, and wash as usual, being careful of color processing and three methods of print
not to overfix. manipulation given and thus 9 combinations.
4. Final treatment: stop bath, fix, wash as usual and
Jolly’s Procedure Two2 before drying the print carefully wipe the surface
1. Expose a high contrast print. of the print with a squeegee or sponge to remove
2. Develop in 1+1 Dektol for 35–50 seconds. any black sludge.
3. Agitate gently for about 20 seconds in a mixture Color Processing Method I: There are two solu-
of 1 part Stabilizer and 3 parts Dektol (1+1). Lay tions to use. Mix equal parts of Stabilizer, water
the paper on a clean, smooth surface and dry the and Dektol stock and pour into a tray. Slide the
emulsion surface with a clean damp sponge or print into this bath, agitate vigorously and then let
squeegee. Let stand for about a minute. it lie motionless in the tray for 50 seconds. Drain
4. Slide the print into a tray containing a mixture for 10–20 seconds and transfer to a developer of
of 1 part 5% solution of sodium thiocyanate in 11 parts of Dektol stock, 9 parts of 5% sodium
water and 1.8 parts Dektol 1+1. Gently agitate. thiocyanate, and 10 parts water.
After about 15 seconds remove the print, drain Color Processing Method II: The same as above
briefly (about 2 seconds) and lay the print face up except for the second developer mix 20 parts of
on a flat smooth surface until satisfactory colors Dektol stock, 40 parts of water, 7 parts of Stabilizer
have formed. and 18–24 parts of Activator.
5. Stop bath, fix, wash, etc. as per a normal print. Color Processing Method III: Omit the first tray
“Procedure Two gives purple, green, and red-brown and the second developer is a mixture of 15 parts
colors. To change the colors obtained in either Dektol stock, 60 parts water, 12 parts Stabilizer,
procedure, try variations in the following: the and 35 parts Activator
times of the thiocyanate treatments; the time of the Print Manipulation Method A: In the second tray
standing period; the time of the second develop- of color developer, slip the print in, agitate for 10
ment; the thickness of the layer of second developer seconds, then let print lie still. Color will form in
during the standing period, the concentrations of 1/2–5 minutes. When done, lift, drain and stop bath.
the thiocyanate solutions and the concentration of Print Manipulation Method B: In the second tray
the second developer. Generally, the more concen- of color developer, slip the print in, agitate for 15
trated the thiocyanate solution, the richer the color seconds, then lay the print face up on a flat smooth
(less black); the more dilute the final developer, the surface immediately and let it set with a layer of
paler the color.” developer evenly distributed on the top (if not, pour
some more on with a beaker). Colors will form in
Jolly’s updated process 1–10 minutes.
A year later Jolly wrote an article in Camera & Print Manipulation Method C: In the second
Darkroom Techniques with some updates to his tray of color developer, slip the print in, agitate for
chromo process.3 15 seconds, then hang the print so it drains back
1. Expose the print as normal or a little less because into the tray. This will produce the widest white
the changes happen in the whites of the print. The areas (pseudo Mackie lines) that will also show
image should have appreciable areas of white. drip marks. Let it hang for 2–8 minutes and then
stop bath.
 Appendix 249

More notes from Jolly4 technique for yourself !” Scanned silver mirror
Jolly provides different color developer baths listed printed photographs, aka chromo, look like gray
by colors produced. Here he recommends a 1% fog and not metallic silver.
sodium thiocyanate fix for 10 minutes, then a wash Developer 1 stock solution
for 20 minutes, a wipe of the surface of the print, 700 ml water
and air dry. There is no mention of regular fixer. 3.1 g metol
Color Dektol stock Water Stabilizer Activator
25 g sodium sulfite, anhydrous
Red/olive 75 300 60 125
2 g hydroquinone
50 g sodium carbonate monohydrate
2 g sodium bromide
Magenta 24 250 35 70
Water to 1000 ml
Dissolve the chemicals into the water in the order
Magenta- 22 300 36 85
brown/ given. At time of use dilute 1+1 water. To replenish
gray
used developer, add 20–30% stock to it.
Orange/ 100 300 70 140
gray- Developer II working strength solution
green
60 parts Dektol stock
Slightly 90 parts Dektol, 115 parts 5% sodium
brown- thiocyanate, 200 parts 3.5% borax 40 parts first developer stock
gray 114 parts 5% sodium thiocyanate solution
Purple/
blue
Use an intermediate bath between the
first development in Dektol and the color
96 parts Activator
developer of 1 part Dektol stock 1 part 1. Dissolve the chemicals in the order given shortly
Stabilizer, 2 parts water. Agitate the print in this
5 seconds, let it like motionless for 80 seconds, before use. It is important to use fresh stock in this
drain for 1–15 seconds, and transfer to one of
these two developers: purple/olive: 75 parts process. You can replenish used Developer II by
Dektol stock 115 parts 5% sodium thiocyanate,
200 parts 3.5% borax or blue: add 2 to 4 parts adding 1 part Dektol stock, 1 part 5% sodium thio-
of 28% acetic acid to this solution.
cyanate solution, and 1 part Activator per 4 parts
Table A.1. Jolly's chromo colors used developer. If Developer II is not used fresh,
prints can become dull with amorphous silver on
the surface. This can be removed when the print
Jolly Silver Mirror Printing process5 is dry by gently wiping the print with a soft cloth.
Jolly described silver mirror printing as similar to a 2. Expose the print normally.
daguerreotype in his January/February 1999 article 3. Develop the print in the Developer I for 40
in Photo Techniques. He also published an update to seconds with normal agitation.
the process in July/August in response to readers 4. Drain for 10 seconds and quickly immerse the
who had difficulty getting the silver mirror effect. print in Developer II. Rock the tray vigorously
I can attest to this difficulty but the discovery of for 25 seconds so the print surface is uniformly
the EcoPro developer and warm water solved the exposed to the developer. Develope 3 minutes. Do
problem. If you want to practice an easy method not touch the print surface.
of silver mirror printing, use the method outlined 5. Stop for 10–50 seconds.
in the Chromo chapter. 6. Fix in a hardening fixer for 15 minutes.
The editor of the magazine rightly says, “The 7. Wash for 25 minutes, still not touching the print
effect of these prints is unique and striking: the surface.
metalized areas are bright and clean and look 8. Drain the print and hang or lay flat to dry.
like polished silver. We’re sorry we can’t show you
examples—if you want to see what a silver mirror
print looks like, you’ll have to try Prof. Jolly’s
250 Appendix

Silver Mirror Printing update 3. Place the paper, without draining, immediately
Jolly updated this process with the following direc- in stop bath (1 part 28% Kodak Acetic Acid Stop
tions. Since Kodak no longer makes Selectol Soft I + 32 parts water, a very weak stop) for one second.
have substituted Legacy Pro Select Soft. 4. Immediately drain and put in a fixer bath for one
Supplies second (1 part fixer + 6 parts water).
Dektol stock solution 5. Place the print on a flat surface and expose to
Legacy Pro Select Soft prepared 2× as concen- bright light (150 watts for 20 seconds 2 feet away).
trated as recommended 6. When the colors look right, fix, wash, and dry
5% sodium thiocyanate solution as per usual.
Arista Chromo Activator
Acetic acid stop bath Dan Burkholder’s method
Full strength hardening fixer 1. Mix a 10% (1/2 ounce + 41/2 ounces) and 20% (1
Three developers are used: the first is exhausted ounce + 4 ounces) solution of both Activator and
Select Soft. The second is fresh Select Soft. The Stabilizer and a 50% (5 ounces stock + 5 ounces
third is a mixture of: 40 ml Dektol stock, 60 ml water)solution of Dektol or other paper developer.
fresh Select Soft concentrate, 80 ml 5% sodium 2. Expose a print normally using fiber based paper.
thiocyanate, and 100 ml Activator. This amount will 3. Soak the print in water for a minute or so.
develop 3 8˝ × 10˝ prints and then has to be mixed 4. Place the wet paper on a flat surface like Plexiglas
fresh or amorphous silver will result. and squeegee to remove excess water.
1. Expose the paper normally. 5. First paint on the Dektol where you want colors
2. Place the print in the first developer for 50 to develop and watch until the developed areas
seconds. You may not see much of an image. appear.
3. Drain for 10 seconds and transfer the print 6. After 90 seconds or when the image is dark
to the second developer and agitate for about 80 enough, wash the print in running water to stop
seconds; the image should be fully developed. development.
4. Drain for 10 seconds and immerse in the third 7. Brush on the 10% Stabilizer to the parts of the
developer and rock the tray vigorously for 25 image adjacent to the developed areas.
seconds at first, then agitate for a total development 8. Rinse the brush in water and blot off excess
time of 3 minutes. Never touch the print surface. water.
5. Use a stop bath for 10–50 seconds. 9. Apply the 10% Activator solution to selective
6. Fix in a hardening fixer for 15–30 minutes. parts of the image.
7. Wash 25 minutes and dry. 10. Expose the print to weak light, fluorescent
lamps, or a 40 watt bulb and watch the print closely.
Edmund Teske’s process 11. Apply additional Dektol with the brush to
Teske’s process closely parallels Moers’ process, speed up action. After a 1–3 minute wait turn on
with a few more specifics that may be helpful. brighter lights.
1. Use a high contrast #4 or #5 filter and print a 12. Fine tune the print with 10% and 20% solu-
negative under the enlarger as normal. tions of Stabilizer and/or Activator, or by adding
2. Develop the paper in regular paper developer Dektol to darken colors.
until the image appears. 13. Wash, fix, wash, hypoclear, and dry as per
normal.
 Appendix 251

Further Mordançage Formulas

Figures A.5–A.7. Mordançage Triptych, three unique mordançages © Beck Moniz 2021. Beck Moniz (b. Alexandria Virginia)
has been a photographer for six years and is a student at Montana State University, pursuing a BA in Film and Photography,
expected graduation December 2022.

T
he following formulas are for research/ I have found that if a hardened gelatin silver
historic interest only. The formulas in halide emulsion is used, a hydrogen peroxide
the Mordançage chapter are perfectly bath of the proper degree of acidity will bleach
adequate for the process. Some of the following the silver image to silver bromide and simultane-
formulas use nitric acid; no matter how careful you ously soften the gelatin in the regions of the silver
are, it is not an acid to use unless you are a chemist image. The gelatin in the areas of the residual silver
with a chemistry lab. halide is not seriously affected by this treatment.
(Some small degree of softening takes place, but
Speck’s patent6 the gelatin remains mostly insoluble in hot water.)
Patent #2,494,068 Jan 10, 1950 The softened negative gelatin, that is, the gelatin
“Photographic Relief Image” in the regions of the original silver image can then
Robert Speck, Assignor to Eastman Kodak Co, be washed off in hot water leaving a hard posi-
Rochester, NY (See uspto.gov) This invention tive image. The residual silver halide of the positive
relates to photography and particularly to a method image can be removed in the usual manner, or may
of forming photographic relief images. be allowed to remain, or be developed after flashing,
It is known that relief images can be formed in in a tanning developer to give the gelatin desirable
silver halide emulsion layers by treating the devel- dye transferring characteristics.
oped silver halide layer with a hydrogen peroxide This method differs from the usual hydrogen
etch bath containing bromide ions and thereby peroxide etch process in that the gelatin is not
removing the developed silver image together removed by the etch bath but is only softened and
with the gelatin in the regions of the silver image. is removed as a separate step by washing with hot
This method of forming a relief image is particu- water.
larly useful where a positive relief image is to be This method has the advantage that the result-
formed from a positive color transparency since ing image is sharper than the image obtained by the
the positive relief image can be formed directly. It usual hydrogen peroxide etch process. Furthermore,
has been noted that the dissolution of the gelatin the etching solution does not become sludgey with
surrounding the silver grains takes place only when silver bromide and dissolved gelatin and can be
the hydrogen peroxide etch bath is strongly acid. reused many times. By washing off with hot water,
If an etch bath is used which is not strongly acid, the relief is left immediately clean and ready for
bleaching will take place but no dissolution of the drying. The usual etch method leaves a residue
gelatin will result. which washes off slowly. A further advantage is
252 Appendix

that the relief can be processed in a shorter time For use, three parts of this formula are added to
than is customary with the usual hydrogen peroxide 1 part of 8% hydrogen peroxide solution.
etching process and by remaining in a hardened With both of these formulas, softening of the
condition, a positive image is less subject to damage. emulsion in the region of the silver image takes
An average gelatin-silver halide emulsion which place in approximately 11/2 minutes at a tempera-
might be used according to my process could be ture of 68ºF.
hardened to a melting point of approximately In place of potassium bromide in the bleach
180ºF. However, a change in balance of acidity bath, other bromides such as sodium or ammonium
can be made to accommodate emulsions of other may be used. Acids other than acetic acid such as
degrees of hardness. The emulsion is coated on the sulfuric acid or hydrochloric may be employed, the
usual support of cellulose acetate, cellulose nitrate pH being adjusted within the range specified above.
or synthetic resin or may be coated on a paper After bleaching of the silver image, the emulsion
support. is washed for 1 minute with water at a temperature
The emulsion may be blue-sensitive or panchro- of approximately 110ºF to wash off the gelatin in
matic and is exposed in the usual way, for example, the region of the silver image. The positive relief
to a positive color transparency. Separation images image is then in a condition for use in an imbi-
may be made for use in the imbibition process by bition process or other process for which a relief
exposing through primary color filters if a panchro- image is suitable.
matic material is used. The emulsion is developed in The examples included herein are illustrative
the usual way to form a negative silver image leav- only and my invention is to be taken as limited only
ing residual silver halide in the unexposed portions by the scope of the appended claims.
of the layer. The residual silver bromide may be I claim: 1. The method of forming a photo-
removed by fixing at this stage, or may remain in graphic relief image which comprises developing a
the layer for removal at a later stage. gelatino-silver halide emulsion layer to form a silver
After development of the silver image, the image therein bleaching the silver to silver bromide
layer is treated with a hydrogen-peroxide-bromide in a hydrogen peroxide-bromide bleach bath having
bleach bath having a pH of approximately 2.6 to a pH of approximately 2.6-3.0, without dissolv-
3.0. The pH of the bleach bath is adjusted to the ing but with softening the gelatin in the region of
hardness of the particular emulsion which is used. the silver image, hardening said emulsion prior to
If the emulsion is extremely hard, the pH would said bleaching as a step in the process, washing off
be low but if the emulsion is only moderately hard, the gelatin softened by the bleach bath in warm
the pH would be higher. The following formulas are water, to form a positive gelatino-silver halide
suitable for use according to my invention. relief image. 2. The method of forming a photo-
Example 1 graphic relief image which comprises developing
Copper sulfate 33 g a gelatino-silver halide emulsion layer hardened to
Potassium bromide 10 g a melting point of approximately 180ºF to form a
Acetic acid 28% solution 13 cc silver image therein, bleaching the silver to silver
Hydrogen peroxide 25% solution 105 cc bromide in a hydrogen peroxide-bromide bleach
Water to 1 liter. bath having a pH of approximately 2.6 to 3.0, said
Example 2 bleach bath softening the gelatin in the region of
Copper sulfate 50 g the silver image without dissolving it, and wash-
Potassium bromide 15 g ing off the gelatin softened by the bleach bath in
Acetic acid 28% solution 15 cc warm water to form a positive gelatino silver halide
Potassium alum 15 g relief image. 3. The method of forming a photo-
Water to 1 liter graphic relief image which comprises developing a
 Appendix 253

Wall/
Coote Speck Speck Baxter Baker Seigel Clerc Marriage Wall Marriage Grnleaf Upp Bailey
Smith

Copper 30 g 12 g 10 g 12 g 10 g 10 g 10 g
Chloride

Copper 33 g 50 g 20 g 70 g 100 g 20 g 50 g
Sulfate
Glacial 13 ml 15 ml
Acetic 80 ml 20 ml 55 ml 50 ml 50 ml
28% 28%
Acid

Citric Acid 10 g

Nitric Acid 5 10 15 5 6 ml 1%

Potassium 10 g 15 g 0.5 g 1g 10 g 0.5 g 2 ml 1%

Bromide

Potassium 15 g
Alum

Hydrogen 105 ml 30 ml 60 ml 200–400 ml Equal vol of 4 vol? 40–80 100 ml 25–35 ml 25–35
Peroxide 20 v 30 ml ?% 12.5
25% v? 10 v 10 v 10 v/3.4% 250 ml 21 v 20 v 30% 30–40 v
1(3 parts 1(3 parts
Water 1000 ml to 1 pt 8% to 1 pt 8% 1000 ml 1000 ml 1000 ml 1000 ml 500 ml 1000 ml 1000 ml 1000 ml 1000 ml 1000 ml 1000 ml
hp) hp)

Table A.2. Mordançage formula comparisons, above, and sources for them, below.
Clerc, L. P. Photography, Theory and Practice, Vol. 4 on Monochrome Processing and Vol. 5, Positive Materials. New York:
Amphoto Focal Press, 1971, Vol. 4, pp. 578–580, Vol. 5, pp. 660–675.
Coote, Jack. Ilford Monochrome Darkroom Practice. Woburn, Massachusetts: Focal Press, 2000, pp. 299–304.
Crabtree, J. I., and G. E. Matthews. Photographic Chemicals and Solutions. Boston: American Photographic Publishing
Co., 1938, pp. 326–335.
Glafkides, Pierre. Photographic Chemistry, Vol. 2. London: Fountain Press, 1960, pp. 668–669.
Greenleaf, Allen. Chemistry for Photographers. Boston: American Photographic Publishing Col, 1941, pp. 96–97.
Henney, Keith and Bev Dudley. Handbook of Photography. New York: Whittlesey, 1939 pp. 653, 463–465.
Hicks, Roger and Frances Schultz. Darkroom Basics and Beyond. London: Collin and Brown, Ltd, 2000, pp. 116–118.
James, Christopher. The Book of Alternative Photographic Processes. Albany, NY: Delmar, 2002, pp. 314–317.
Liesegang, Paul. Die Collodion Verfahren mit Jod und Bromsalzen. Leipzig, 1898.
Marriage, A. “Notes on Etch Bleach Baths” in British Journal of Photography, April 21, 1944, p. 142.
Neblette, C. B. Handbook of Photography and Reprography, 7th Edition. New York: Van Nostrand Reinhold, 1977 (p. 124).
Reed, Martin and Randall Webb. Spirit of Salts. London: Aurum Press, Ltd., 1999, pp. 143–144.
Schultz, Frances. “Bleach Etch: Alternative Process for Striking Images” in Shutterbug, October 1998, pp. 30–36.
Stubbs, S. G. Blaxland, ed. Modern Encyclopedia of Photography, Vol 1. Boston: American Photographic Publishing Co.,
1938 (p. 616).
Wall, E. J. Practical Colour Photography, 2nd ed. Boston: American Photographic Publishing Co., 1928, pp. 90–94.

gelatino-silver halide emulsion layer to form a silver gelatino-silver halide relief image. —
­ Robert P.
image therein, bleaching the silver to silver bromide Speck.
in a hydrogen peroxide bleach bath containing References cited
approximately 10 grams per liter of potassium The following references are of record in the file
bromide and having a pH of approximately 2.6 to of this patent:
3.0, hardening said emulsion to a melting point of United States Patents Number
approximately 180ºF, prior to said bleaching as a 1,938,290 Hurst Dec 5 1933
step in the process, said bleach bath softening the 1,939,947 Baxter Dec 19 1933
gelatin in the region of the silver image without 2,058,396 Baker Oct 27 1936
dissolving it and washing off the gelatin softened 2,068,879 Troland Jan 26 1937
by the bleach bath in warm water to form a positive 2,120,441 Leiber June 14 1938
254 Appendix

Foreign patents E.J. Wall’s etching process8

423,150 France Feb 9 1911 750 ml water
Other references 20 g cupric sulfate
Luppo-Cramer “Neue Untersuchungen USW,” 0.5 g potassium bromide
“CXV. Uber Die Reaktion USW,” Photo Korres. 5 ml nitric acid
48 pages 466 to 471 (1911) pages 466 and 467 30 ml hydrogen peroxide (vol. not specified)
especially cited (copy in S. L.) Water to 1000 ml
Henney and Dudley Handbook of Photography, 1. Add the copper sulfate to the water.
McGraw-Kill Book Company, 1939, page 342 2. Add the potassium bromide to the water.
cited (copy in Div. 67) 3. Add the nitric acid to the water.
4. Add the hydrogen peroxide to the water.
Original Marriage formula7 5. Use at room temperature (70ºF) for about 5
Marriage’s formula is for converting a negative minutes, until all black in the negative disappears.
to a colored positive. He does not specify “film” 6. When complete, wash for 15 minutes, fix, hypo,
or “paper” but he mentions his bath gives a good wash, and dry.
relief on “many materials” including bromide paper. Wall does not recommend higher temperatures
Marriage credits his knowledge of the etch-bleach because dissolution of all gelatin will happen. He
formula to E. J. Wall, but felt that Wall’s formula also counsels to replenish the potassium bromide if
was unreliable; thin silver deposits fail to etch prop- it weakens, because the bromide controls the rapid-
erly, and the nitric acid causes the relief image to ity of the solvent action. The etched negative is
swell excessively. Marriage substituted cupric chlo- then dyed with acid dyes, not basic (an acid dye is
ride and replaced the nitric with acetic acid. Cupric one in which the actual coloring matter is a color
chloride is more soluble than cuprous bromide and acid, in combination with an alkaline base such as
thus is a better catalyst, allowing weaker acids to ammonium, sodium, potassium, or calcium—salts
be used, and allowing lower silver densities to etch. of color acids, in effect. Basic dyes are a color base
He recommends hardening before the process with combined with an acid such as hydrochloric, etc.9).
a hardening fixer.
750 ml water Baxter’s formula10
10 g cupric chloride Baxter’s is also a formula to etch and dye film.
50 ml glacial acetic acid (99%) 750 ml water
100 ml 20v hydrogen peroxide 20 g copper sulfate
Water to 1000 ml 0.5 g potassium bromide
1. Add the cupric chloride to the water. 5 ml nitric acid
2. Add the glacial acetic acid to the water. 30 ml hydrogen peroxide (vol. not specified)
3. Add the hydrogen peroxide to the water. Water to 1000 ml
4. Add water to make 1000 ml. 1. Add the copper sulfate to 750 ml water.
Marriage explains, “The copper salts react with 2. Add the potassium bromide to the water.
the silver to give cuprous bromide, which acts as 3. Add the nitric acid to the water.
a catalyst for the destructive oxidation of gelatin 4. Add the hydrogen peroxide to the water.
by hydrogen peroxide. It seems however, that the 5. Add water to make 1000 ml.
catalyst is only effective for a short time, since if 6. Immerse the film in the solution for 5 minutes
the bromide content of the bath is increased so in the dark.
that the bleaching is more rapid, etching of the
gelatin is incomplete.” If the gelatin is not budg-
ing, he counsels to use more acid or stronger acid.
If bleaching outstrips the etching, use less cupric
chloride, e.g. only 4 g per liter.
 Appendix 255

Baker’s formula11 3. Coat the print surface with a large foam rubber
This patent refers to using a gelatin relief to prepare brush. Reaction time is 1–4 minutes. Continue
a plate capable for inking up to print with, and has brushing until all black areas are free of emulsion
some interesting applications for mordançage in its and specks of emulsion.
use of a pyrogallic acid redeveloper. 4. When the etching is complete, wash the print 5
32 ounces water minutes in running water.
2.5 ounces copper sulfate 5. Expose the print to light for about 60 seconds
1/3 ounce nitric acid, concentrated after washing. This will tend to increase the
15 grains potassium bromide contrast. If desired, tone in Selenium 1:4 to turn
2 ounces 3% hydrogen peroxide the yellowish tint of the paper (due to light expo-
(1 ounce chrome alum to prevent blistering of the sure) to a pinkish color.
paper if desired) 6. Wash the print for 30 minutes.
1. Add the copper sulfate to the water. 7. Place the print in a 1% glacial acetic acid bath
2. Add the nitric acid to the water. for 1 minute and then hang to dry.
3. Add the potassium bromide to the water.
4. Add the hydrogen peroxide to the water. L.P. Clerc’s formula13
5. Add the chrome alum if desired. 750 ml water (86–95ºf)
6. Etch the film/print for 3–5 minutes in this bath. 10 g cupric chloride
7. Rinse and neutralize in 1 part sodium bicarbon- 10 g citric acid
ate to 16 parts water. Water to 1000 ml
8. Redevelop in a tanning developer: 1. Add the cupric chloride to 750 ml water.
Part A 2. Add the citric acid to the water.
11/2 ounces pyrogallic acid 3. Add water to make 1000 ml.
8 ounces water 4. At time of use, mix with 10v/3% hydrogen
Part B peroxide in equal volumes and proceed with the
8 ounces sodium carbonate mordançage steps as outlined in this chapter.
80 ounces water Clerc does not recommend fixing as a step in
9. Mix 1 Part A with 10 Parts B. Develop the print the process, though Neblette does. Clerc’s is a more
in this for 30 seconds or so. gentle, less smelly formula, did not bleach much
10. Rinse in water and neutralize in a weak citric at all, took longer to work, and is rubbed under
acid solution. hot water (90ºF). It gave great results, one being
no staining of the whites, even under room light.
Kodak etch bath EB-312 I tested to see if it might be the acetic vs. citric,
Solution A: and it still didn’t stain. I tested going right from
750 ml water at 86ºf–95ºf (30–50ºC) mordançage to developer without washing and got
10 g citric acid (anhydrous) some stain that looked like chemical stain. There
10 g copper chloride may be three reasons why no stain with Clerc’s: the
Water to 1000 ml warm water rub effectively cleaned out enough of
Mix the ingredients in exactly the order given, the bleach solution to not create chemical contami-
using gloves and eye protection. Store in a plastic nation, the lesser amount of cupric chloride, or the
bottle labeled Etch Bath Solution A. lesser strength hydrogen peroxide. It is possible
Solution B: cupric chloride acts as a mordant to the gelatin,
3% hydrogen peroxide which makes gelatin attract developer, or a stron-
1. At time of use mix Part A and Part B together ger hydrogen peroxide destroys more of the gelatin
in equal amounts, using only as much as you need. and therefore makes it more permeable to chemical
2. Soak an rc print in water 5 minutes. stain.
256 Appendix

Alan McFaden’s formula15

Solution A
750 ml warm water
120 g copper sulfate
150 g citric acid
8 g potassium bromide
Water to 1000 ml
1. Add copper sulfate to 750 ml warm water.
2. Add citric acid to the warm water.
3. Add potassium bromide to the warm water.
4. Add water to make 1000 ml.
Solution B
20v hydrogen peroxide
5. At time of use, mix equal parts of A and B at
80–90ºF and proceed with the rest of the mordan-
çage steps outlined in the Mordançage chapter.

Jonathan Bailey’s formula

This was shared on the alternative process list-serv.
750 ml water (cool or cold)
Figure A.8. Moon, silver gelatin mordançage © Emma 10 g copper chloride
Culwell 2021. Emma Culwell is pursuing a BA in Photography 50 ml glacial acetic acid
as well as Psychology. Her photographic interests are in
25–35 ml 110v hydrogen peroxide
experimental and landscape photography. Culwell's goal
is a career in social work with photography as her creative Water to 1000 ml
outlet. 1. Add copper chloride to 750 ml water.
2. Add glacial acetic acid to the water.
Allen P. Greenleaf’s formula14 3. Add hydrogen peroxide to the water.
750 ml water 4. Add water to make 1000 ml.
50 g copper sulfate 5. Place a print in the mordançage solution for 3
2 ml 1% potassium bromide minutes.
6 ml 1% nitric acid 6. Wash for 15 minutes, changing the water every
12.5 ml hydrogen peroxide (vol. not specified) 5 minutes.
Water to 1000 ml 7. Redevelop the print in Dektol at 1:5 dilution, or
1. Add the copper sulfate to the water. a sepia/thiourea toner.
2. Add the potassium bromide to the water. 8. Rinse the print and wipe off the solubilized gela-
3. Add the nitric acid to the water. tin with cotton balls.
4. Add the hydrogen peroxide to the water. 9. Redevelop the print for 3 minutes in Dektol 1:5
5. Add water to 1000 ml. or any other dilute or exhausted developer (unless
Usually potassium bromide is added to the bath they have been redeveloped in sepia/thiourea).
in varying quantities to control the rate of reac- 10. Print may now be put through a stop bath or
tion. He recommends fixing, in order to remove removed from the developer, rolled face down on
any small amount of silver halide which may have glass with a rubber print brayer and placed face up
been formed during the period of etching. and allowed to oxidize.
11. Wash 30 minutes and screen dry. Tone if
desired.
 Appendix 257

Further Toning Formulas

Gold thiocyanate toner II Cassell’s copper toner
This formula is from Marek Matusz. This is said to produce rich red tones more quickly,
12.5 g ammonium thiocyanate and is a one-bath copper toner.17
1 g tartaric acid 100 g ammonium carbonate
2.5 g sodium chloride (salt) 2 g copper sulfate
10 ml gold chloride 1% solution 5 g potassium ferricyanide
500 ml distilled water 1000 ml water
1. Heat the water to 100ºF. 1. Add the ammonium carbonate to the water and
2. Add the ammonium thiocyanate and stir until stir.
dissolved. 2. Add the copper sulfate to the water and stir.
3. Add the tartaric acid and stir until dissolved. 3. Add the potassium ferricyanide to the water and
4. Add the sodium chloride and stir until dissolved. stir.
5. Add the gold chloride solution and stir. There 4. Immerse the print in water until evenly soaked.
will be an instant red cloud when it is added to the 5. Drain the print and immerse in the copper toner.
solution but it dissipates. 6. Tone until the color desired is reached.
6. Let the toner set for an hour before use. 7. After toning, rinse the print for 15 minutes in
7. Immerse the print in the toner and agitate it running water and dry.
until it reaches the desired tone, 3–15 minutes.
8. Wash, hypoclear, wash, and dry as usual. Photo Miniature copper toner
This toner gives colors from pale brown to deep
Gold thiourea toner II red-orange.18 Toning is done after fixing or to a
Mix just before use. The mixed solution will keep previously dry and completed print.
for several hours and will tone up to 14 prints.16 Part A
Stock Solution A 10 g copper sulfate
4 g thiourea 100 g potassium citrate
300 ml distilled water 1000 ml water
Stock Solution B 1. Add the copper sulfate to the water and stir until
4 g citric acid dissolved.
300 ml distilled water 2. Add the potassium citrate to the water and stir
Stock Solution C until dissolved.
1% gold chloride solution 3. Store in a liter container, marked Part A. The
1. To use, take 30 ml of Stock Solution A and add container does not need to be light tight.
to 300 ml distilled water. Part B
2. Take 30 ml of Stock Solution B and add to the 100 g potassium citrate
300 ml solution above. 10 g potassium ferricyanide
3. Take 12 ml of Stock Solution C and add to the 1000 ml water
solution above. 4. Add the potassium citrate to the water and stir
4. Immerse the print in the toner and agitate it until dissolved.
until it reaches the desired tone, 3–15 minutes. 5. Add the potassium ferricyanide to the water and
5. Wash and dry as usual. stir until dissolved.
6. Store in a liter container, marked Part B. The
container does not need to be light tight.
258 Appendix

7. At time of use mix 7 parts of Part A and 6 parts FSA toning

of Part B and pour into a tray. Once Part A and FSA stands for Formamidine Sulfinic Acid which
Part B are mixed together, the combined solution is actually thiourea dioxide, different than thiourea.
does not keep past one toning session. You can buy thiourea dioxide at a cloth dyeing
8. Immerse the print in water until evenly soaked. company such as prochemicalanddye.net and
9. Drain the print and immerse in the copper toner. other chemical houses as usual. According to
10. Tone until the color desired is reached, from master toner Tim Rudman it doesn’t really “tone”
5–90 minutes. Stains may occur so don’t leave the per se but manages the silver particle size much
print unattended. like in the chemigram process. It is a very beautiful
11. After toning, rinse the print for 15 minutes in chocolate brown and can deposit silver.
running water and dry.
The process
Chinese toning (selenium/iodine) Part A
Iodine crystals are hard to buy because apparently Use the Standard Bleach formula in the Toning
they are used in the production of methamphet- chapter.
amines. If you are a school or a lab places will ship Part B
to you but home users, probably not. The color 10 g FSA crystals (can use 5–10g)
orange that is produced is so beautiful that it is 10 g sodium carbonate (can use 10–30g)
worth keeping the formula in here for those who 1000 ml water
still have access to iodine. Tincture of iodine from 1. Add FSA crystals to the water.
the drugstore could work though I have not tried 2. Add sodium carbonate to the water. Stir until
it. It is a 2% iodine solution. dissolved. Allow the solution to stand for an hour
One thing about iodine: it seems to creep out before use. The formula is a one-shot formula so
of a closed bottle and contaminate things around after a toning session, discard.
it so store it separately if you are lucky enough to 3. Bleach a print in the Standard Bleach formula.
be able to procure some. 4. Tone to completion in Part B, for as long as
desired but up to 10 minutes is good.
Iodine bleach
100 ml methylated alcohol Other FSA toners
Iodine crystals to saturation—perhaps 1 teaspoon There are other formulas that include FSA19,
Store this in a plastic bottle. At time of use, dilute sodium carbonate, sodium hydroxide, and ammo-
1+10. nium hydroxide. The chemicals are added to one
1. Tone the print in a strong selenium bath, liter (1000 ml) water in four possible combinations:
1+2 to 1+5, for 15 minutes. It is best if the print is 8 g FSA + 10 g sodium hydroxide
½ stop too dark (even 1 stop with some warmtone 4 g FSA + 40 g ammonium hydroxide
papers if wanting a full orange tone) so there is 4 g FSA + 30 g sodium carbonate +20 g ammo-
plenty of detail in the highlights. nium hydroxide
2. Place the print in the working strength iodine 3 g FSA + 25 g sodium carbonate + 30 g ammo-
bleach until it is fully stained red-orange. nium hydroxide
3. Transfer it to a weak solution of fixer until the As can be seen the proportions of FSA, sodium
highlights clear. Do not let it clear too much or the carbonate, and the two forms of hydroxides—
bright orange-red tones of the iodine will disappear. ammonium and sodium—can be experimented
4. Rinse, hypoclear, wash, and dry as normal. with in varying proportions. Always be careful
When this iodine solution is diluted in water it when using hydroxides as they are quite caus-
turns an instant gray, sludgy mess. It will clear. tic and will burn skin. Add them to cold water
When the iodine solution loses its strength, it goes because they splatter and engender heat. Wear eye
clear instantly and will no longer work. protection.
 Appendix 259

Halo-chrome™ Redeveloper formula

Halo-Chrome™ is Rockland Colloids’ proprietary Halo-chrome™ (4% sodium hydroxide solution
toner formula available at photography supply according to the msds) is mixed with household
houses and also www.rockaloid.com. It is used to ammonia and water at time of use.
tone gelatin silver prints silver like chromo. 3.5 parts household ammonia
Halo-chrome™ can be used two ways. It 3.5 parts water
is usually used on a finished print. In this case, 1 part Halo-chrome™ redeveloper solution
the print is bleached in a cupric chloride bleach 1. Add the ammonia to the water.
provided, and then toned to a shiny silver. The silver 2. Add the redeveloper. This is a one-shot solution,
plates out in the darks of the image, not the whites meant to be used the same day.
(note that this is the opposite of the Chromo Caveat: There seem to be two different formulas for
process which plates out silver in the whites). Thus, the activator, one mixed 50% ammonia and water
as Rockland describes, a black tree against a white (1+1), one mixed 33% ammonia and water (1+2).
sky would become a silver tree against a white sky. Perhaps this is not enough of a difference in the
Halo-chrome™ can also be used on a print that end result, but it is worth mentioning because it
has just been developed but not yet fixed. This way may be confusing. Tip: Mix the formula with warm
of doing Halo-chrome™ will plate out silver in water. The warmth helps it to work. Also, Arista.edu
the whites of the image just like Chromo. Thus, paper or Ilford Warmtone are the easiest papers to use.
as Rockland describes, a black tree against a white
sky would become a black tree against a silver sky. Halo-chrome™ on a finished print
It may be hard to understand why this is so until These steps can be done under room light.
one remembers that silver plating only occurs where 1. Soak the print in water until soaked through.
there is undeveloped silver halide. In the finished 2. Immerse the print in the Bleach solution until
print that is bleached, the only undeveloped silver only a yellow ghost-image remains. Rinse the print.
halide is in the blacks of the print because those 3. Pour enough Redeveloper solution to cover the
have been rehalogenated with the bleach step and print in a tray and immerse the print in one fell
in the whites of the print the silver halides were swoop to avoid streaking, using constant agitation
already fixed out. In a freshly developed but not until silvering is complete.
yet fixed print, the silver halides have been reduced 4. Rinse the toned print, wash, and dry as per
everywhere but in the whites of the print, so that normal, being careful not to touch the surface.
is where silvering will occur.
Halo-chrome™ on an unfixed print
Bleach formula The bleach step is not used in this process.
The small bottle of blue solution provided in the 1. Expose and develop the print in paper developer
Halo-chrome™ box (38% cupric chloride accord- as normal but do not use stop or fix.
ing to the msds) is mixed with ordinary table salt 2. Use a water rinse for one minute, and imme-
and water when it comes time to do the process. diately put the print in the Redeveloper solution
Contents of small bottle of green copper bleach until silvered out.
1 tablespoon salt 3. Rinse and fix for one minute.
1000 ml (1 liter) water 4. Wash and dry as per normal.
Add the contents of the small bottle of green
copper bleach to 1 liter of water. Add salt. Store
in a container marked “bleach.” This can be reused
multiple times until it quits bleaching.
260 Appendix

Table A.3. SS (Specular Silver) Silver Toning formulas

Silver toning processes—SS Endnotes

Specular Silver toning (SS) appears in several issues 1. Jolly, William L. “Chromoskedasic Duotone
of the Post-Factory Journal.20 SS toning is a two Pseudosolarization Using Development Fogging” in Darkroom
& Creative Camera Techniques, November/December 1992,
step bleach/tone process where the bleach step is a pp. 30–31.
2. Ibid.
copper bleach and the toning step plates silver out 3. Jolly, William L. “Chromoskedasic Pseudo-solarization
on the print much like Chromo or Halo-chrometm. Update, Popular Technique Improved” in Darkroom &
Creative Camera Techniques, September/October 1993, pp.
The SS2, highlighted above, works well. One user, 28–31.
Christine Osinski, found hydrazine sulfate worked 4. Jolly, William L. “Silver Mirror Printing and Other Unusual
Black-and-White Print Development Processes” in Photo
best; the solution needed to be mixed fresh or Techniques, January/February 1999, pp. 32–36.
5. Ibid. Jolly, William L. “Silver Mirror Printing Update” in Photo
at least used within several days of mixing, and Techniques, July/August 1999, p. 11.
diluting it less (1+5 instead of 1+10) gives a more 6. Speck, Robert. “Photographic Relief Image,” Patent
#2,494,068 Jan 10, 1950, called by Robert Speck, assignor to
metallic print. She cautions not to overfix, over- Eastman Kodak Co, Rochester, NY, March 13 1933.
7. Marriage, A. “Notes on Etch Bleach Baths” in British Journal
wash, or over permawash.21 of Photography, April 21, 1944, p. 142.
8. Wall, E. J. Practical Colour Photography, 2nd edition.
Boston: American Photographic Publishing Co., 1928, pp.
Step one: copper bleach formula 90–94.
10–20 g sodium chloride (23/4–51/2 teaspoons) 9. Ibid. p. 105.
10. Baxter, G. E. “Color Film and Method of Making Same,"
10 g copper sulfate (11/2 teaspoons) Patent #1,939,947, December 19 1933.
11. Baker Patent #2,058,396.
10 ml glacial acetic acid, if desired 12. Campeau, Sylvain. “Print Surface Etching” in Darkroom
300–350 ml water Photography, January/February 1988, pp. 57–59.
13. Clerc, L. P. Photography, Theory and Practice, Vol. 4 on
Sprinkle the salt in the water. Add the copper Monochrome Processing. NY: Amphoto Focal Press, 1971, pp.
578-580, Vol. 5, pp. 660-675.
sulfate and stir. Add the glacial acetic acid and stir. 14. Greenleaf, Alan. “Inverse Gelatin Reliefs” in Chemistry
At time of use, dilute bleach 1+1 water. for Photographers, Boston: American Photo Pub. Co, 1941,
pp.96-7; Formula 69, p. 171.
15. McFadden, Alan. “All Prints Bright and Beautiful” in
Step two: redeveloper formulas Amateur Photographer, June 16 1976. I have no other infor-
mation than this.
Consult the chart and add ingredients to water in 16. Lootens, J. Ghislain. Lootens on Photographic Enlarging
and Print Quality. Baltimore: The Camera: 1946, p. 250.
the order given, stirring after each addition until 17. Jones, Bernard E., ed. Cassell’s Cyclopaedia of
dissolved. At time of use, dilute solutions 1+10 with Photography. New York: Funk & Wagnalls Company, 1912, p.
143.
water. For an 8˝ × 10˝ print 6 ml + 60 ml water 18. Tennant, John A., ed. "Albumen and Plain Paper Printing"
in The Photo-Miniature, A Magazine of Photographic
will suffice. For an 11˝ × 14˝ print, 10 ml + 100 ml Information, December 1900, pp. 383–384.
water will suffice. 19. Seigel, Judy ed. The World Journal of Post-Factory
Photography. New York: Post Factory Press, April 1998–
April 2004, Issue 3 pp. 28-29, 38, Issue 4 p. 43, Issue 6 pp.
31-32, and Issue 7 pp. 23, 26. Seigel found the formulas in
Svensk Fotografisk Tidskrift 37 nr 1, 13, 1947 “Silver Mirrors on
Photographic Layers” by M. Plotnikow of Zagreb. This one
was in #6 p. 31.
20. Ibid.
21. Ibid. Issue 7 pp. 23, 26
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 Index 263

Index

A Chemigram, The 55–64 Digital step wedges 9

Abrasion tone 146 Examples of hard resists 56 Precision Digital Negatives (PDN) 7
Abrasion tone (without abrasion) 146 Examples of process choices 58 Stouffer step wedge 9
Anderson, Christina Z. v, 7, 36, 37, 39, Examples of soft resists 56 Transparency material 8
47, 91, 95, 114, 135, 147 Hard and soft resists 56 Troubleshooting the digital negative 23
Appendix 245 Making a chemigram test strip 58 Direct positive paper 31
Applied Color 141–148 Other resists 58 Direct projection photogram 31
Abrasion tone 146 Tools 58 Distressing film 85
Abrasion tone (without abrasion) 146 Chromo 89–96 Doing, Karel 52–53
Mortensen’s abrasion tone 146 Brush method, The chromo 92
Chromo chemistry 94 E
B Chromo sources 95 Encaustic
Banks, Greg 244 Image type 91 Encaustic process The 150
Bas relief photogram 31 Materials needed 91 Ivorytype, The 151
Becker, Jace 60, 120, 121 Tray method, The chromo 92 Low tech encaustic 150
Begler, Zachary 96, 97 Chromo Formulas, Further 247–250 Medium tech encaustic 150
Bender, Patricia A. 32, 166–171 Chromo, Alan Bean 247 Supplies 149
Bibliography 261–262 Chromo, Dan Burkholder 250 Eshbaugh, Mark L. 30, 109, 128, 129
Bleach, corrective or selective 125 Chromo, Denny Moers 247 Ethridge, Douglas 3, 102, 103, 106
Bleach formula, Standard 125 Chromo, Edmund Teske 250
Bleaching and Bleachout 125–128 Chromo, William Jolly 247–250 F
Bleach, corrective or selective 125 Clichés verre 32 Farmer’s Reducer 126
Bleach formula, Standard 125 Collage and Photomontage Fritzler, Maddi 127
Bleachout 126 Adhesives 152
Farmer’s Reducer 126 Collage tips 153 G
Bleaching film 85 Five steps to collage 153 Gold toning 131
Bleachout 126 Photomontage 153
Blue toning 132 Possible materials 152 H
Borg, Annemarie 172–175 Hamilton, Brenton 71
Possible supports 152
Braught, Jesslyn 54 Hatfield, Dani 26, 40, 57, 88, 93
Tools 152
Breakey, Kate 33, 112, 145 Hays, Jessica 94
Collins, Douglas 178–183
Bromoil 155–162 Hinsperger, Eric R. 2
Conn, Bridget 184–187
Bleaching the print 157 Contemporary Experimental Hoffman, Maisy 162
Bromoil bleach formula 157 Artists 165–244 Holga, The 81–86
Bromotype 159 Copper toning 133 Aperture 82
Inking the print with the brayer 158 Corrado, Laura 98 Film 82
Inking the print with the brush 158 Creating the Photoshop curve 11 Flash 83
Making the print for bromoil 157 Culwell, Emma 107, 256 Lens, The 82
Oleobrome 159 Cyanolumens 50–51 Loading a Holga 35 mm 84
Other supplies 156 Loading a Holga 120 mm 83
Paper choices 156 D Long exposures 85
Quicker bromoil, A bit 157 Determining exposure for all methods 9 Multiple exposure 83
Bromotype 159 Digital negatives and lumen printing 39 Shutter 82
Browne, Fran viii Digital Negatives for the Darkroom 7–26 Taping your Holga 84
Burkholder, Jill Skupin 24, 165 Contact printing frame 9 Unloading a Holga 35 mm 84
Burning film 85 Creating the Photoshop curve 11 Unloading a Holga 120 mm 84
Byrnes, Chris ix Applying the curve to a negative 12 Hymer, Karen 188–191
Determining exposure for all
C methods 9 I
Caplis, Tara Medina 59 Determining exposure with a step In-camera composition tips 246
Carnochan, Brigitte 142, 143, 176–177 wedge 10 Introduction 1–2
Determining exposure with no step Irwin, Aubrey 5
wedge 9 Ivorytype, The 151
264 Index

J Mordançage negatives 120 Film canister pinhole 73

Jackson, J. P. 74 Mordançage process 118 Finding the right needle 68
Jackson, Mike 28, 29, 192–193 Papers to use 118 How to make a pinhole 72
Jeltema, Margrieta x Speck formula I 120 Image diameter 72
Jordahl, Kate 194–197 Troubleshooting 121 Needle size chart 68
Mordançage Formulas, Further 251–256 Oatmeal/ice cream pinhole 73
K Alan McFaden’s formula 256 Pinhole exposure tables 76
Kirik, Tiina 34, 48–49, 198–201 Allen P. Greenleaf ’s formula 256 Pinhole resources 75
Baker’s formula 255 Pinhole technicals 68
L Baxter’s formula 254 Reciprocity correction for film 70
Larson, Rebecca Sexton 159, 161 E.J. Wall's formula 254 Reciprocity correction for paper 72
Lazarus, J. Jason 108, 123 Jonathan Bailey’s formula 256 Speaking of exposure factor... 70
Lewis, David W. 154, 155 Kodak etch bath EB-3 255 Zone plate 75
Liquid Emulsion 97–102 L.P. Clerc’s formula 255 Pinhole exposure tables 76
Coating 98 Marriage's formula 254 Preece, Nolan 224–227
Emulsion hardener 98 Speck’s patent 251 Preface ix
Exposure 99 Mortensen’s abrasion tone 146 Printing with the Print-Tool app 25
Gelatin-alum subbing solution for Mortensen's metalchrome 139 Process comparison chart 27
glass 98 Multiple toning 139
Processing 99 Q
Surface preparation 98 N QuadToneRIP 14–22
Tintype, Modern 100–101 Nelson, Brittany 119, 206–209 Build QTR Curve software 8
Lith development of lumens 48–49 Nikolova, Eva 210–213 Finding the correct exposure time 18
Lith Printing 103–108 Norsworthy, Sam 61 Installing a profile 15
Bleach-back lith 106 Installing QTR and Print-Tool 14
How lith works 104 O Installing software 18
Lith Developer ID 13 104 O’Donnell, Cheyenne 31 Installing the Build QTR Curve
Lith Developer ID 85 104 Oelklaus, Heather 73 tool 16
Lith developers 103 Oleobrome 159 Linearizing the profile with Build
Lith process 105 Opalenik, Elizabeth 115, 214–219 QTR Curve 20
Papers for lith printing 103 Making a one-part profile for silver
Second Pass lith 106 P gelatin 18
Troubleshooting 106, 107 Papers for lumen printing 40 Printing and evaluating the print 20
Lumen print profile 22 Part Five: Contemporary Experimental Printing the monochrome negative 20
Lumen Prints 35–54 Artists 163 Printing with the Print-Tool app 25
Cyanolumens 50 Part Four: Finished Print QTR and Print-Tool software 8
Digital negatives and lumen Experimentation 113 QTR profile for lumen printing 22
printing 39 Part One: Cameraless Testing the profile 19
Favorite papers 40 Experimentation 27 Troubleshooting the QTR negative 23
Lith development of lumens 48 Part Three: Printing Experimentation 87 Understanding profile terminology 17
Lumen print, Making a 36 Part Two: Camera Experimentation 65
Lumen Print Roses 45–47 Pedruzzi, Danilo 111 R
Lumen print step wedges 40–44 Peregoy, Chris 220–223 Reid, Chris 164
Not so favorite papers 41 Peroni, Cyd 86 Reverse photogram 31
Phytograms 52 Photograms and Clichés Verre 29–34 Rudman, Tim 228–233
Toning lumen prints 38 Bas relief photogram 31
Lumen print step wedges 40 Cliché verre 32 S
Direct positive paper 31 Sabattier 109–112
M Direct projection photogram 31 Clarence Rainwater’s R77 110
Macdonald, Leah 148, 149, 151, Reverse photogram 31 Duotone sabattier 110
202–203 Phytograms 52–53 Sabattier the quick way 110
Martin, Julia C. 75, 83 Pineda, Elizabeth Z. 81 Thiosulfate sabattier 111
McCaw, Chris 204–205 Pinhole and Zoneplate 67–80 Safety warning! iv, 3, 116, 130
McKenna, Alyssa 35, 56, 118 Calculating exposure 68 Scheller, Brenden 89, 134
McPhee, Leanne 6 Calculating optimal pinhole size 68 Schretenthaler, Leah 234–235
Moniz, Beck 251 Calculating the f-stop 68 Scratching film 85
Mordançage 115–124 Direct positive paper 72 Selective toning 138
Coote formula 117 Do’s and don’ts 75 Selenium toning 130
 Index 265

Sepia toning 135 Toning 129–140 Toning Formulas, Further 257–260

Setting Up the Contemporary Bleach formula, Standard 131 Cassell’s copper toner 257
Darkroom 3–6 Blue toning 132 Chinese toning (selenium/iodine) 258
Silks, Sara 236–239 Iron blue toner 132 FSA toning 258
Small, Nicole 66 Copper toning 133 Gold thiocyanate toner II 257
Smithson, Aline 140, 141 Ferguson’s copper toner 134 Gold thiourea toner II 257
Sovjani, Andrew 124, 136 Gold toning 131 Halo-chrome 259
Stouffer step wedge 9 Gold chloride, 1% 131 Photo Miniature copper toner 257
Swanson, Kellie 55 Gold sodium bicarbonate toner 131 Silver toning processes 260
Gold thiocyanate toner 132 Toning lumen prints 38
T Gold thiourea toner 132 Transparency material 8
Tea toning 135 Mortensen's metalchrome 139 Troubleshooting the digital negative 23
Thiourea toning 138 Multiple toning 139 Turnbull, Richard 62
Thomas, Mary 50–51 One bath vs two bath toners 130
Tintype, Modern 100 Print preparation for all toning 130 V
Lavender varnish recipe 101 Selective toning 138 Vargas, Kathy 240–243
Quickie tintype developer 101 Selenium 130
Rockland tintype developer 101 Bleaching after selenium 130 W
Supplies 100 Split toning with selenium 130 Walker, Melanie 137
Tintype Developer I 100 Sepia toning 135 Walnut or other nut toning 135
Tintype developer II 100 Tea toning 135 Wang, Sam 67, 69
Tintype directions 101 Thiourea toning 138 Williams, Claire M. 63
Troubleshooting modern tintype 101 Clay Harmon’s one-shot thiourea Witman, DM 64
Todd, D. E. 80 toners 138 Wolf, Danika 56, 133
Walnut or other nut toning 135