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

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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.

Recenzijos

An excellent introduction to the magical process of making your own silver gelatin emulsions and papers, full of practical advice and, most importantly it makes the process simple and understandable even to those with little or no darkroom experience.

R. Brzozowski, Head Tutor of Tricity School of Photography

Acknowledgements ix
Section One The Important Stuff Before the Recipes
1(128)
Chapter 1 Introduction
3(4)
Chapter 2 Vocabulary
7(6)
Chapter 3 The Darkroom
13(18)
Space
13(3)
Infrastructure
16(3)
Coating Table
16(1)
A Sink (Or Two)
16(1)
Ventilation
16(2)
Lighting
18(1)
Darkroom Heating and Cooling
18(1)
Color
18(1)
Floors
19(1)
Clothes Lines, Clips, and Shelves
19(1)
Equipment and Tools
19(12)
Thermometers
19(1)
Scale
19(1)
Glassware
20(1)
Mixing and Heating
20(1)
Water Baths
21(6)
Filters
27(1)
Mortar and Pestle
27(1)
Lightproof Containers
27(1)
"Addition" Tools
27(1)
All the Little Miscellaneous Things
27(1)
Things for Paper Coating and Things for Processing
27(4)
Chapter 4 Materials
31(10)
Paper
31(10)
Composition
33(1)
Tint
34(1)
Surface texture
34(1)
Weight
34(1)
Sizing, Buffering, and Optical Brighteners
34(1)
Grain
34(1)
Front Side vs. Screen Side
35(1)
Wet strength
36(1)
Chemicals
36(1)
Chemicals Used in Emulsion Making
36(1)
Chemicals Required for Processing Chemistry
36(1)
Commercial Formulas
36(1)
For Toning
37(1)
Gelatin
37(4)
Chapter 5 The Basics
41(12)
Basic Emulsion Chemistry
41(2)
Safety
42(1)
Silver Nitrate
42(1)
Acids
43(1)
Ammonia
43(1)
Weighing and Measuring
43(2)
Eyedroppers
44(1)
% (Percent) Solutions
44(1)
The Recipes
45(1)
Waste Disposal
45(1)
Basic Emulsion Making
46(1)
Addressing Sources of Potential Confusion and Consternation
46(2)
The Basic Emulsion Components
48(1)
Silver
48(1)
Halides
48(1)
Gelatin
48(1)
The Basic Formula
48(2)
The Steps of Emulsion Making
50(3)
Precipitation and Ripening
50(1)
Setting and Washing
50(1)
Digestion
50(1)
Finals
51(2)
Chapter 6 Coating Paper
53(20)
Infrastructure and Equipment
54(6)
Coating Table
54(1)
Coating Guide Bars
55(2)
Glass Coating Rods (a.k.a. Puddle Pushers)
57(1)
Squeegee
57(1)
Assorted Old Towels and Paper Towels
58(1)
A Plastic Storage Box
58(1)
Polyester ("Mylar") Sheets
58(1)
Metal Yardstick (Or, Meter Stick)
58(1)
Watercolor Crayon
58(1)
Snap-Blade Utility Knife
58(1)
Plastic Measuring Cups, Spoons, and Scoops, with Handles
58(1)
Hanging Laundry Clips
58(1)
Wood Strips
58(10)
Spring Clamps
68
Materials
60(1)
Coating Techniques
60(1)
Wet Paper Coating with Guide Bars
60(3)
Free-Form Coating on Wet Paper
63(3)
Coating Dry Paper
66(7)
Chapter 7 Troubleshooting Coating
73(1)
The Art in the Process
73(2)
Selvages
75(1)
Spots
75(1)
A Catalog of Coating Boo-boos
76(5)
Microbubbles
76(1)
Blisters
77(1)
True Mysteries
77(1)
Repellency Spots
78(1)
GlyoxalPox
79(1)
Too Thick; Too Thin
79(1)
Hot Emulsion
80(1)
Uncovering the Hidden Potential of Flaws
81(2)
Chapter 8 Printing
83(20)
Contact Printing
83(1)
Printing Frames
84(2)
DIY Printing Frames
86(3)
Printing
89(1)
Hand-Drawn Masks with Graphite Pencil
89(6)
Hand-Drawn Masks with Colored Pencil
95(1)
Digital Inkjet Masks
96(1)
Digital Negatives
97(1)
Traditional Enlarging
98(5)
Enlarger Choice
98(1)
Enlarging with Handmade Paper
98(5)
Chapter 9 Processing
103(1)
Tools and Materials
104(1)
Gloves
104(1)
Bottles
104(1)
Trays
104(1)
Technique
104(2)
Develop
106(2)
Hypo-clear
108(1)
Wash
108(1)
Toning
108(1)
Drying
108(2)
Air Drying
108(2)
Ferrotyping
110(1)
Flattening
110(2)
Spotting
112(5)
Chapter 10 Toning and Other Ways to Add Color
117(3)
Selenium Toning
120(1)
Gold Toning
120(1)
Recipe: Blue Gold Toner
120(3)
Silvergum
123(3)
Hand-Coloring with Colored Pencils
126(1)
Hand-Coloring with Photo Oils
126(1)
Hand-Coloring with Photo Dyes
127(2)
Section Two The Recipes
129(2)
Chapter 11 Developers
131(1)
Metol-Based Developers
132(1)
Recipe: D23-Plus
132(1)
Recipe: TLFAll-Purpose Developer
132(1)
Recipe: TLF Extra Oomph Developer (TLF-X, for Short)
132(1)
Recipe: Ansco 120 Soft-Working Paper Developer
133(1)
Metol/Hydroquinone (MQ) Developers
133(5)
Recipe: Ansco 125 Paper and Film Developer
133(1)
Recipe: Ansco 135 Warm-Tone Paper Developer
133(2)
Chapter 12 Baryta Coating Surface
135(3)
Recipe: Baryta Paper
138(3)
Chapter 13 Potassium Chloride (KCI) "Gaslight" Contact Printing Paper
141(3)
Chloride Emulsion Characteristics
143(1)
Paper Choices
144(4)
Printing
148(2)
Developers: Color and Contrast Control
150(2)
Selenium Toning
152(2)
The Recipe
154(5)
Chapter 14 Three Salts Contact Printing Paper
159(2)
Emulsion Characteristics
161(5)
Toning
166(1)
The Recipe
167(4)
Three Salts Contact Printing Paper (Hand Stirring Variation)
171(1)
Variation: Three Salts Plus Copper Chloride Contact Printing Paper
171(4)
Chapter 15 Chlorobromide (Kodabromide-Type) All-Purpose Paper
175(1)
Enlarging Speed ClBr Emulsions
176(1)
Homemade Developers for ClBr Emulsions
177(1)
Printing
177(1)
Controlling the Characteristic Curve
177(7)
Controlling Print Color
184(1)
Toning
185(1)
The Recipe
185(3)
Notes
188(3)
Chapter 16 Bromide Paper for Enlarging and Contact Printing Paper
191(1)
Bromide Emulsions
192(6)
Toning
198(1)
The Recipe
199(4)
Chapter 17 Gelatin-Chloride Printing-Out Paper (POP)
203(1)
The Basics
204(1)
The Recipe
205(3)
The Workflow
208(1)
The Right Negative
208(1)
Printing
208(4)
Overexposure
210(1)
Underexposure
210(2)
Dry-down
212(1)
Fixing, or Fixing and Toning
212(1)
Recipe: Hypo & Gold POP Toner/Fixer
212(1)
Recipe: Blue Gold POP Toner
213(1)
Washing
214(1)
The Case for Digital Negatives for POP
214(4)
Color Variations Between Different Densities
218(1)
Recap
219(4)
Chapter 18 Paper Negatives
223(1)
Paper Negative Emulsion Characteristics
224(1)
Paper Options
225(1)
Helix 100% Rag Vellum Paper
225(2)
Bienfang Graphics 360
227(1)
Rives BFK
227(1)
Fabriano Artistico, HP, 90lb
227(3)
Photography with Paper Negatives
230(1)
Exposure
230(1)
Reciprocity Failure
230(1)
Processing Paper Negatives
231(1)
Developing
231(1)
Stop
231(2)
Fixing
233(1)
Washing
233(1)
Drying
234(1)
Flattening
234(1)
Developers for Paper Negatives
234(2)
Spotting Paper Negatives
236(3)
Printing with Paper Negatives
239(1)
Scanned Paper Negatives to Digital Print
239(1)
Contact Print Made Directly with an Original Paper Negative
239(2)
Contact Print Made with an Inkjet Digital Negative
241(1)
Scanning for Digital Negatives, Inkjet Prints, and Screen Viewing
241(5)
Coating Paper Negatives
246(1)
The Recipe
246(7)
Section Three The Contributors
253(2)
Chapter 19 Ian Andvaag
255(1)
Biography
256(3)
Chapter 20 Radoslaw Brzozowski
259(1)
Silver Gelatin Printing-Out Papers (POP)
259(1)
The Papers Used for Hand Coating
259(1)
Emulsion Recipes and Making Instructions
259(3)
Gelatin
260(2)
Recipe POP Recipe by Beadle
262(1)
Recipe: POP Recipe by Valenta
262(1)
Preparing a Matte Emulsion
262(1)
Methods for Coating Paper
262(1)
Brush Coating
262(1)
Transfer
262(2)
Mayer Rod
264(1)
Drying Coated Papers
265(1)
Storing POP Papers
265(1)
Exposing the Print
265(1)
Processing POP Paper
266(3)
Recipe: Gold Toner for POP Paper
269(1)
Recipe: Hardening Fixer for POP Papers (by Lumiere)
269(1)
Drying POP Paper
269(1)
Developing POP Paper
269(2)
Recipe: Hydroquinone Developer for POP
271(1)
Recipe: Pyrogallol Developer for POP
271(3)
Biography and Mission Statement
274(3)
Chapter 21 Didier Derien
277(1)
Biography
277(6)
Chapter 22 Edward Durrill
283(6)
Biography
283(6)
Chapter 23 Cate Sampson
289(1)
Why Historic Processes
289(1)
Print and Process Information
289(1)
Biography
290(3)
Chapter 24 George L. Smyth
293(4)
Biography
293(2)
Recipe: Azo-Type Formula Silver Gelatin Paper, Grade 3
295(2)
Bibliography 297(1)
General Emulsion Making 297(1)
Chloride Paper 297(1)
Chlorobromide Paper 297(1)
Bromide Paper 297(1)
POP 297(1)
Paper Negatives 298(1)
Miscellaneous 298(1)
Index 299
Denise Ross has been a photographer for over 30 years and has been at the forefront of the handmade silver gelatin renaissance. Combining her background in science, research, and love of traditional black and white photography, Ross has extensively researched and reverse-engineered historic emulsion formulas and techniques for contemporary use. Ross created The Light Farm in 2008, a teaching website devoted to handmade silver gelatin emulsions and published an accompanying book of the same name. Rosss work has been exhibited nationally and has appeared in publications such as Photo Techniques, Large Format Photography, The Book of Alternative Photographic Processes, and Jill Enfieldss Guide to Photographic Alternative Processes. To see her work, visit www.thelightfarm.com