![]() ![]() After squeezing the negative between the masks, blow some air on the both sides of it to clean any possible dust particles. ![]() I will write more about Moiré effect soon.ĭon’t touch the negative with your bare fingers as they leave grease on it and may ruin it. If needed, you may use also glass plates in the negative carrier, but make sure that at least one of the glasses is so called Anti-Newton glass, to avoid the unwanted Moiré effect. If the masks are too big, the negative will curl and the resulting image is out of focus in one end. When the contrasts in the negative are strong, the subtle greys in between are missing and getting the wide tonal range in the print is hard.Ĭhoose the negative masks in your carrier for your enlarger machine according to your negative size. The main rule is that the bright and strong light, like midday sun or flash, makes the negative hard to print in the darkroom as the contrasts are so strong. I will write a whole different text soon about choosing the negative. Some negatives are easy to print, some extremely hard. The first step to succeed in making a gelatin silver print is to choose the right negative to print. Often it’s easier to be creative if you know the basics well. However these steps I’ve gathered to help a darkroom printer in early stages of their career. You’re welcome to use all your creative and innovative power in the wonderful art of darkroom, without any strains or weight of any traditions. So if you’ve learned differently, that’s more than fine. Every darkroom printer also has their own ways of doing things. Gelatin silver prints may be done in many different ways and with many different looks. The basic standards include a wide tonal range and good contrasts, small grain and airy, bright light end, as well as the strong but not completely stuck blacks. They are based on fine art printing tradition, which means that the aim of the print is to achieve a print valued by those standards. The steps below are based on my own twenty+ years experience in the art of gelatin silver printing and on some remarks from the older masters. In Helsinki chemicals and papers may be bought from Interfoto, Fotoyks at Fredrikinkatu and Telefoto. Webshops Fotoimpex and Makodirect sell good quality black and white chemicals online. The selection is again larger than what it was in the first decade of 21st century. ![]() I warmly recommend to look for and try out materials from many different manufacturers to find your favourites. The stages depend also on the paper and the chemicals used. gelatin silver printing process consists of several different stages. Rear view of cathedral, photograph by William Henry Fox Talbot, about 1858, England. This was the direct forerunner of the photogravure process. Nature made the faithful original photographic drawing, but, in the final prints, carbon-based ink relied on nothing light-sensitive and preserved the original image for posterity. A glass photographic positive was put over the sensitized plate and used to make the image. The addition of screens or other graining allowed Talbot to devise his second process, which had a much wider tonal range. With etching complete, the gelatin was removed and the plate could then be printed. The unhardened areas were then washed off and the plate etched in acid. Exposure to daylight hardened the areas not covered by the object. The object to be depicted, such as a leaf or piece of fabric, was placed on top. ![]() At first, a copper or steel plate was coated with a gelatin solution made light-sensitive with potassium bichromate. The first was patented by William Henry Fox Talbot in 1852, and the second by him in 1858. These are methods of photographically producing copper or steel printing plates that can then be used in a conventional press. Le Christ portant sa croix, photograph by Joseph Nicéphore Niépce, about 1827, France. Niépce also experimented with the plates inside a camera, producing the earliest known surviving photograph made in a camera, View from the Window at Le Gras (1826 or 1827). Recent technical analysis of the Niépce plates in the Victoria and Albert Museum has revealed the use of another light-solidified material, which resembles the resin obtained when heating lavender oil, and a range of levels of etching and hand-tooling over the plates. It was then ready for inking and printing. The plate was washed with a solvent, which removed the unexposed areas, and etched in acid. Its rays hardened the bitumen under the light areas of the image. Taking an existing engraving on paper, he waxed it to make it translucent and placed it on the plate in the sun. Joseph Nicéphore Niépce invented this process in which he first coated a pewter plate with light-sensitive Bitumen of Judea (asphaltum). ![]()
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