The Handmade Silver Gelatin Emulsion Print: Creating Your Own Liquid Emulsions for Black & White Paper (Contemporary Practices in Alternative Process Photography)

The Handmade Silver Gelatin Emulsion Print is a cookbook of simple, basic recipes for making black and white printing paper and paper negatives, along with creative options for printing, toning, and coloring. Author Denise Ross draws from photographic literature from the last 135 years, adapting old recipes to fit modern tools, materials, and work spaces and modern twists have been applied to traditional techniques. The book is divided into three sections: Section One lays the groundwork for this unique alternative process; Section Two provides the recipes; Section Three highlights contemporary silver gelatin artists. The book features over 200 full-color images and covers key topics including: Vocabulary: a list of terms used by traditional photographers and emulsion makers * Creating work spaces with the right tools and materials * Basic emulsion chemistry and paper coating techniques * Working with various negative options, analog and digital * Gaslight chloride contact printing paper * Kodabromide-type chlorobromide all-purpose paper * Bromide enlarging paper * Warm tone paper and developers * Making and toning your own printing-out paper (POP) * Matte surface and baryta coating surface paper * Paper negatives and making hand-drawn and digital masks * Toning handmade paper * Gum printing over handmade paper * Troubleshooting handmade paper * Artists working with handmade paper The Handmade Silver Gelatin Emulsion Print is for photographers who love the look and creative potential of black and white traditional photography but who want more control over the process and the end product. It is written for the beginner to experienced photographer, with processes initially explained in such a way that anyone will feel comfortable getting started, as well as information in increasing levels of complexity so that experienced photographers who enjoy a challenge will also find one. Cover Half Title Title Page Copyright Page Table of Contents Acknowledgements Section One The Important Stuff Before the Recipes Chapter 1 Introduction Chapter 2 Vocabulary Chapter 3 The Darkroom Space Infrastructure Coating Table A Sink (Or Two) Ventilation Lighting Darkroom Heating and Cooling Color Floors Clothes Lines, Clips, and Shelves Equipment and Tools Thermometers Scale Glassware Mixing and Heating Water Baths Filters Mortar and Pestle Lightproof Containers "Addition” Tools All the Little Miscellaneous Things Things for Paper Coating and Things for Processing Chapter 4 Materials Paper Composition Tint Surface texture Weight Sizing, Buffering, and Optical Brighteners Grain Front Side vs. Screen Side Wet strength Chemicals Chemicals Used in Emulsion Making Chemicals Required for Processing Chemistry Commercial Formulas For Toning Gelatin Chapter 5 The Basics Basic Emulsion Chemistry Safety Silver Nitrate Acids Ammonia Weighing and Measuring Eyedroppers % (Percent) Solutions The Recipes Waste Disposal Basic Emulsion Making Addressing Sources of Potential Confusion and Consternation The Basic Emulsion Components Silver Halides Gelatin The Basic Formula The Steps of Emulsion Making Precipitation and Ripening Setting and Washing Digestion Finals Chapter 6 Coating Paper Infrastructure and Equipment Coating Table Coating Guide Bars Glass Coating Rods (a.k.a. Puddle Pushers) Squeegee Assorted Old Towels and Paper Towels A Plastic Storage Box Polyester (“Mylar”) Sheets Metal Yardstick (Or, Meter Stick) Watercolor Crayon Snap-Blade Utility Knife Plastic Measuring Cups, Spoons, and Scoops, with Handles Hanging Laundry Clips Wood Strips Spring Clamps Materials Coating Techniques Wet Paper Coating with Guide Bars Free-Form Coating on Wet Paper Coating Dry Paper Chapter 7 Troubleshooting Coating The Art in the Process Selvages Spots A Catalog of Coating Boo-boos Microbubbles Blisters True Mysteries Repellency Spots Glyoxal Pox Too Thick; Too Thin Hot Emulsion Uncovering the Hidden Potential of Flaws Chapter 8 Printing Contact Printing Printing Frames DIY Printing Frames Printing Hand-Drawn Masks with Graphite Pencil Hand-Drawn Masks with Colored Pencil Digital Inkjet Masks Digital Negatives Traditional Enlarging Enlarger Choice Enlarging with Handmade Paper Chapter 9 Processing Tools and Materials Gloves Bottles Trays Technique Develop Stop Fix Hypo-clear Wash Toning Drying Air Drying Ferrotyping Flattening Spotting Chapter 10 Toning and Other Ways to Add Color Selenium Toning Gold Toning Recipe: Blue Gold Toner Silvergum Hand-Coloring with Colored Pencils Hand-Coloring with Photo Oils Hand-Coloring with Photo Dyes Section Two The Recipes Chapter 11 Developers Metol-Based Developers Recipe: D23-Plus Recipe: TLF All-Purpose Developer Recipe: TLF Extra Oomph Developer (TLF-X, for Short) Recipe: Ansco 120 Soft-Working Paper Developer Metol/Hydroquinone (MQ) Developers Recipe: Ansco 125 Paper and Film Developer Recipe: Ansco 135 Warm-Tone Paper Developer Chapter 12 Baryta Coating Surface Recipe: Baryta Paper Chapter 13 Potassium Chloride (KCl) “Gaslight” Contact Printing Paper Chloride Emulsion Characteristics Paper Choices Printing Developers: Color and Contrast Control Selenium Toning The Recipe Chapter 14 Three Salts Contact Printing Paper Emulsion Characteristics Toning The Recipe Three Salts Contact Printing Paper (Hand Stirring Variation) Variation: Three Salts Plus Copper Chloride Contact Printing Paper Chapter 15 Chlorobromide (Kodabromide-Type) All-Purpose Paper Enlarging Speed ClBr Emulsions Homemade Developers for ClBr Emulsions Printing Controlling the Characteristic Curve Controlling Print Color Toning The Recipe Notes Chapter 16 Bromide Paper for Enlarging and Contact Printing Paper Bromide Emulsions Toning The Recipe Chapter 17 Gelatin-Chloride Printing-Out Paper (POP) The Basics The Recipe The Workflow The Right Negative Printing Overexposure Underexposure Dry-down Fixing, or Fixing and Toning Recipe: Hypo & Gold POP Toner/Fixer Recipe: Blue Gold POP Toner Washing The Case for Digital Negatives for POP Color Variations Between Different Densities Recap Chapter 18 Paper Negatives Paper Negative Emulsion Characteristics Paper Options Helix 100% Rag Vellum Paper Bienfang Graphics 360 Rives BFK Fabriano Artistico, HP, 90 lb Photography with Paper Negatives Exposure Reciprocity Failure Processing Paper Negatives Developing Stop Fixing Washing Drying Flattening Developers for Paper Negatives Spotting Paper Negatives Printing with Paper Negatives Scanned Paper Negatives to Digital Print Contact Print Made Directly with an Original Paper Negative Contact Print Made with an Inkjet Digital Negative Scanning for Digital Negatives, Inkjet Prints, and Screen Viewing Coating Paper Negatives The Recipe Section Three The Contributors Chapter 19 Ian Andvaag Biography Chapter 20 Radoslaw Brzozowski Silver Gelatin Printing-Out Papers (POP) The Papers Used for Hand Coating Emulsion Recipes and Making Instructions Gelatin Recipe POP Recipe by Beadle Recipe: POP Recipe by Valenta Preparing a Matte Emulsion Methods for Coating Paper Brush Coating Transfer Mayer Rod Drying Coated Papers Storing POP Papers Exposing the Print Processing POP Paper Recipe: Gold Toner for POP Paper Recipe: Hardening Fixer for POP Papers (by Lumiere) Drying POP Paper Developing POP Paper Recipe: Hydroquinone Developer for POP Recipe: Pyrogallol Developer for POP Biography and Mission Statement Chapter 21 Didier Derien Biography Chapter 22 Edward Durrill Biography Chapter 23 Cate Sampson Why Historic Processes Print and Process Information Biography Chapter 24 George L. Smyth Biography Recipe: Azo-Type Formula Silver Gelatin Paper, Grade 3 Bibliography General Emulsion Making Chloride Paper Chlorobromide Paper Bromide Paper POP Paper Negatives Miscellaneous Index This book is a cookbook of lessons that start with the simplest, basic recipes for making black and white printing paper and then builds on these to create more complex emulsions, including techniques and processes that incorporate handmade paper.