Cool, this sounds also like a good way to make photo paper for long exposures outside, e.g. if you want to trace the motion of the sun on the sky for a full day. Since this DIY paper is weakly sensitive it can endure for long, while normal paper/film would get quickly overexposed. I will try this out the next days with my DIY camera obscura!
Beeswax and lavender oil... I'd like to know more about that. I'm familiar with waxing paper negatives, but this is the first I've heard of waxing finished prints.
Waxing prints comes from the earliest days of salt and albumen printing. You want the wax worked into on the surface but not actually through the paper as you would with making a calotype paper negative. See the book Coatings on Photographs for many case studies and formulas for various historic print coatings.
I have some lovely leaf negatives from photocopier prints. They would be great for this process. I love the early fine grain photos with slow exposure taken over time and even the later methods with Ektar 25 film. It would be lovely to see these methods explored once again. In my regional Australian town some people must be returning to film as I see it for sale, but not Ektar 25 which was the finest and slowest of all.
A gelatin layer "seals" the fibers of the paper and stops the image from "sinking" into the surface. And yeah, Nick kinda glossed over a some of things here. (like the ratio of salt to water and Silver Nitrate to water) But though it sounds like a lot, salt prints are not that much harder than cyanotypes. You can use sodium thiosulfate or Hypo to fix. Oh but it is important to never use the same bit of cotton twice. Silver Nitrate is over eager to react with other compounds, that is why it trades elections with the salt so easily... that is to say, it is very easily contaminated.
Sorry Anna, These videos are intend to be more of and overview / introduction to the process VS and detailed how too. We also try to keep the length of the videos from being too long, so we have to pick and choose what are of the process to really highlight. Remember your silver is bound up in the paper fibers of your print.. Adding a little gelatin helps keep some of that silver near the surface for "Sharper" image.
Good question! Salt printing is so archival that the prints we have from its invention have not yet deteriorated. It will take a few centuries or more to determine its total archival quality.
This looks lovely. Do you have any good tips for shooting dry plates? All I shot so far are really thin and don't print well due to the low contrast. I have 5 plates of J. Lane dry plates left and I am currently waiting for the next summer. I manage to fix my ground glass tho so I don't miss focus again.
If a make a larger sheet of paper lightsensitive in the same manner, would i be able to print a negative on it with an enlarger if I'd use a ultraviolet light in my enlarger?
No, the negative has to be in direct contact with the paper. Projecting an image onto the UV sensitized paper with UV light will just expose that entire image area and you'll have a white rectangle instead of an image.
I put one of these papers in a pinhole camera and it worked. It took about 30 minutes of exposure and the picture was pretty hazy, but it worked. My attempts at creating the paper were imperfect, and my pinhole camera had a magnifying lens, so you might get different results from me. But I say give it a try!
So this works with sunlight as a source of UV? What sort of exposure time are we talking about? Also, how do you take an image of something other than a negative, i.e. reflected light? Simply optics?
Yes, the sun is actually preferable and what was used when the process was invented. The exposure can only be done by checking the progress by opening half of the printing frame. The density of the negative and strength of light dictate how long, but usually 10-15 minutes in the sun from that collodion negative (which I made). You can put this paper in a camera which is how Talbot made his first images, but the exposures are measured in hours. Mark Osterman
Wow, this is so cool! I’m going to send this to my chemistry professor. I do have some quick questions though: 1. What chemical do you use to fix the print? Can I fix the print using things I might have at home? 2. Can I make a contact sheet from this? I have some 35mm films I would love to se positives of! 3. Is the toning step necessary? And what other things can be used to tone the print? Thanks!
These are great questions! We do teach online workshops if you're interested in learning more, or you can reach out to our team at workshops@eastman.org if you have a few questions.
So how much silver nitrate do you add to how much water? Same questions for the sodium chloride. I'm already doing wet plates and this is the next thing I want to learn and try. :)
"10g silver nitrate in 90ml distilled water " i just found this being recommended in a several year old vids comment section the poster then said to experiment with different solutions as the quality of the silver nitrate has a huge effect on the print
I've been using a refurbished exposure box for making prints with UV light. Can anyone identify the UV light our good friend Nick is using? 50w IP66 - that much I can see. Other specifics would be appreciated; I think my current set-up is underpowered, UV wise. It takes quite a while to produce cyanotypes. 🐧
Here is the link to the model I'm using in the video. Make sure to purchase the 50W version. You can gang up the lights together for exposing larger prints. www.amazon.com/gp/product/B077X5D7GS/?fbclid=IwAR2kYv2LHonRaP5TV9hwPNa6QJJbFhc7EgrRKLSZScDAUMxug67MheRxPJo
@@nickbrandreth A late "thank you" for the information. I am, in fact, ganging a few of these UV lamps together to make large prints. Because of the surrealistic amount of information the George Eastman Museum provides, I'm now using paper negative - just like Fox Talbot; yay, obsolete but wonderful photographic methods! ☺ My dream: making the trip from northern Vermont to Rochester and paying to spend quality time with you and the gang. Fingers crossed! 🐧
@@TheStockwell I built one using bug zapper fluorescent bulbs going on 10 years ago and use a darkroom timer to control exposures. With six bulbs cyaontype exposures range from 45 seconds to 10-15 minutes depending on the negative.
Untoned salt prints come out an orange brown hue that was called “cheesy” looking in the 19th century. You may prefer that color but given the choice most people like the cooler purple brown hue that you get with gold toning.
He uses "measured amounts" twice in the video. That's a great print, but there really isn't enough information in this video for someone to actually duplicate this. This is more just a drive-by of what can be done.
Hi Mike, yes, this is more a teaser than sharing the whole recipe. However, we are offering this as an online workshop and we have private tutorials if you are interested in learning more. Contact workshops@eastman.org for details.
"10g silver nitrate in 90ml distilled water " i just found this being recommended in a several year old vids comment section the poster then said to experiment with different solutions as the quality of the silver nitrate has a huge effect on the print
Oh yes, let me go grab my silver nitrate from the kitchen, its right next to the gold chloride in my kitchen drawer where i put all the expensive and dangerous chemicals. Nice video btw, ive always wanted to try at least one of the alternative photo processes but its really difficult to get hold of the chemicals...
google is your friend for the chemicals, so long as you have a healthy bank account. more specifically, photographer's formulary, but please read up on the hazards, you could blind yourself with silver nitrate, for instance.
@@fr.marklichtenstein8892 i have found a retailer in my vicinity that sells these chemicals spefically for alternative photo processes. The only problem is, as you said, finances. Not only for the chemicals but for the equipment as well.
Golly! This sounds fun and easy! Just three "main" ingredients - and the video later brings in 4:04 beeswax, lavender oil - and gold chloride which sells for $75.00 for a 50 mL bottle. Maybe someone can replace this photographic "plot hole" with more detailed information.
You don't have to use Gold Chloride. While I am sure the The George Eastman Museum, just has it on the shelf. The rest of us can tone with selenium. I like Kodak rapid selenium toner which you can still get (like under 30 bucks a quart) for salt prints dilute it WAY down or you will have Kodak instantaneous toner instead. The color is more of a chocolate brown than the very regal russet-purple-brown color of real gold.
Salt print is SUPER FUN! Also keep in mind Gold Chloride is not necessary for the process. However we tone using "Grains" of gold.. There is 15.4 grain in 1 gram of Gold Chloride.. We generally tone with about 1 to 1.5 grains per bath.. You can tone A LOT of prints with one gram of gold. But remember that tone is just an choice the photographer / printer makes. Your not required to tone your salt prints.
@@CameraEd1 Thank you for that impressive amount of information. I'm getting back into traditional photographic processes and try to go overboard when doing the research - I don't like setting out my supplies, taking a deep breath . . . then noticing fine print mentioning the need for weapons-grade plutonium! Have a safe and interesting weekend! 🐧
@@nickbrandreth Thank you for those specifics. I think I'll look at a few more in-depth tutorials on this process before I go crazy stocking up on salt paper supplies. Again, thank you for the additional information. ☺
I love the beeswax/lavender oil finish! I've printed a lot of salt, but never did that before.
so do you use just beeswax ? There is something else that he mentions but I cant make out what it is ?
The end result is beautiful. I really want to try this
Did you try it? I hope you did. Fantastic profile pic
Cool, this sounds also like a good way to make photo paper for long exposures outside, e.g. if you want to trace the motion of the sun on the sky for a full day. Since this DIY paper is weakly sensitive it can endure for long, while normal paper/film would get quickly overexposed. I will try this out the next days with my DIY camera obscura!
So well explained.
Thank you!
how is it well explained.. ill pay anything if you can recreate this eksperiment only from informations on this video
A: fantastic video.... exactly what I needed to try this technique
B: fabulous 500 Cameras Eastman book.
thank you - Bo
Thank you!
Thanks; it's so beautiful!
Beeswax and lavender oil... I'd like to know more about that. I'm familiar with waxing paper negatives, but this is the first I've heard of waxing finished prints.
Feel free to email me with any questions Nbrandreth@eastman.org
Waxing prints comes from the earliest days of salt and albumen printing. You want the wax worked into on the surface but not actually through the paper as you would with making a calotype paper negative. See the book Coatings on Photographs for many case studies and formulas for various historic print coatings.
Looks great Nick. 😄
it looks so good!
Super cool video
I have some lovely leaf negatives from photocopier prints.
They would be great for this process.
I love the early fine grain photos with slow exposure taken over time and even the later methods with Ektar 25 film.
It would be lovely to see these methods explored once again.
In my regional Australian town some people must be returning to film as I see it for sale, but not Ektar 25 which was the finest and slowest of all.
I like a wider paper border around the image.
I feel like a bunch of steps were skipped haha...wish there was more explanation between steps and the chemistry. Why do some people add gelatin?
I was thinking the same thing
A gelatin layer "seals" the fibers of the paper and stops the image from "sinking" into the surface. And yeah, Nick kinda glossed over a some of things here. (like the ratio of salt to water and Silver Nitrate to water) But though it sounds like a lot, salt prints are not that much harder than cyanotypes. You can use sodium thiosulfate or Hypo to fix.
Oh but it is important to never use the same bit of cotton twice. Silver Nitrate is over eager to react with other compounds, that is why it trades elections with the salt so easily... that is to say, it is very easily contaminated.
@@CameraEd1 Thanks Ed, I do a lot of cyanotypes and imagined salts prints were much more complex. Should try some day
Sorry Anna, These videos are intend to be more of and overview / introduction to the process VS and detailed how too. We also try to keep the length of the videos from being too long, so we have to pick and choose what are of the process to really highlight. Remember your silver is bound up in the paper fibers of your print.. Adding a little gelatin helps keep some of that silver near the surface for "Sharper" image.
Feel free to email me with any questions Nbrandreth@eastman.org
i really liked this, i want to try it
This looks great. And no gelatin? Count me in. Will other was not from bees work? Are these prints archival? Thanks!
Good question! Salt printing is so archival that the prints we have from its invention have not yet deteriorated. It will take a few centuries or more to determine its total archival quality.
That's a great overview Nick!
What did you use to finish it off the photograph please ? beeswax and what else , I cant make out what was mentioned ? Thank you in advance
WOW, this is beautiful! May I ask, what type of negative did you use? Wet plate process?
This looks lovely. Do you have any good tips for shooting dry plates? All I shot so far are really thin and don't print well due to the low contrast.
I have 5 plates of J. Lane dry plates left and I am currently waiting for the next summer. I manage to fix my ground glass tho so I don't miss focus again.
Shoot me an e-mail and I'll gladly give you some tips to help improve your negatives! Nbrandreth@eastman.org
They might be under developed try using warmer water or fresh developer
If a make a larger sheet of paper lightsensitive in the same manner, would i be able to print a negative on it with an enlarger if I'd use a ultraviolet light in my enlarger?
No, the negative has to be in direct contact with the paper. Projecting an image onto the UV sensitized paper with UV light will just expose that entire image area and you'll have a white rectangle instead of an image.
Actually yes, but you need very powerfull uv light source and very long exposure time
does anyone know if this paper works with pinhole camera?
I put one of these papers in a pinhole camera and it worked. It took about 30 minutes of exposure and the picture was pretty hazy, but it worked. My attempts at creating the paper were imperfect, and my pinhole camera had a magnifying lens, so you might get different results from me. But I say give it a try!
i still don't know where to buy silver nitrate...and i don't want to order it from overseas...
pharmacys don't have it either
What is used as a fixative?
Plain Sodium Thiosulfate
Would the Museum please consider selling paper and basic supplies for alternative processes?
While we don't sell anything, we're always happy to share where we get our materials. Feel free to reach out at darkroom@eastman.org.
So this works with sunlight as a source of UV? What sort of exposure time are we talking about?
Also, how do you take an image of something other than a negative, i.e. reflected light? Simply optics?
Yes, the sun is actually preferable and what was used when the process was invented. The exposure can only be done by checking the progress by opening half of the printing frame. The density of the negative and strength of light dictate how long, but usually 10-15 minutes in the sun from that collodion negative (which I made). You can put this paper in a camera which is how Talbot made his first images, but the exposures are measured in hours. Mark Osterman
Wow, this is so cool! I’m going to send this to my chemistry professor. I do have some quick questions though:
1. What chemical do you use to fix the print? Can I fix the print using things I might have at home?
2. Can I make a contact sheet from this? I have some 35mm films I would love to se positives of!
3. Is the toning step necessary? And what other things can be used to tone the print?
Thanks!
These are great questions! We do teach online workshops if you're interested in learning more, or you can reach out to our team at workshops@eastman.org if you have a few questions.
So how much silver nitrate do you add to how much water? Same questions for the sodium chloride. I'm already doing wet plates and this is the next thing I want to learn and try. :)
We will be offering Salt Printing as an online workshop in the near future! Contact workshops@eastman.org for details.
"10g silver nitrate in 90ml distilled water " i just found this being recommended in a several year old vids comment section the poster then said to experiment with different solutions as the quality of the silver nitrate has a huge effect on the print
ua-cam.com/video/Xm1jI8zx_YM/v-deo.html
A good place to start with the silver % is 10x the amount of salting.
I've been using a refurbished exposure box for making prints with UV light. Can anyone identify the UV light our good friend Nick is using? 50w IP66 - that much I can see. Other specifics would be appreciated; I think my current set-up is underpowered, UV wise. It takes quite a while to produce cyanotypes. 🐧
Here is the link to the model I'm using in the video. Make sure to purchase the 50W version. You can gang up the lights together for exposing larger prints. www.amazon.com/gp/product/B077X5D7GS/?fbclid=IwAR2kYv2LHonRaP5TV9hwPNa6QJJbFhc7EgrRKLSZScDAUMxug67MheRxPJo
@@nickbrandreth A late "thank you" for the information. I am, in fact, ganging a few of these UV lamps together to make large prints. Because of the surrealistic amount of information the George Eastman Museum provides, I'm now using paper negative - just like Fox Talbot; yay, obsolete but wonderful photographic methods! ☺ My dream: making the trip from northern Vermont to Rochester and paying to spend quality time with you and the gang. Fingers crossed! 🐧
@@TheStockwell I built one using bug zapper fluorescent bulbs going on 10 years ago and use a darkroom timer to control exposures. With six bulbs cyaontype exposures range from 45 seconds to 10-15 minutes depending on the negative.
Contact print the negative in bright sunlight, the UV light of the sun is free and fast! Don't forget, after development to fix the print.
What is the sensitivity like? How long does it take process if exposed to sun light?
Depending on the density of your negative.. With full sun you can expect exposure times of about 10-20 mins.
Is the gold chloride totally necessary?
Untoned salt prints come out an orange brown hue that was called “cheesy” looking in the 19th century. You may prefer that color but given the choice most people like the cooler purple brown hue that you get with gold toning.
I liked the video
You had me going until gold chloride.
great. i was wonering what i was suppose to do with alle the silver nitrate i had under the sink :D
He uses "measured amounts" twice in the video. That's a great print, but there really isn't enough information in this video for someone to actually duplicate this. This is more just a drive-by of what can be done.
Hi Mike, yes, this is more a teaser than sharing the whole recipe. However, we are offering this as an online workshop and we have private tutorials if you are interested in learning more. Contact workshops@eastman.org for details.
ua-cam.com/video/Xm1jI8zx_YM/v-deo.html
"10g silver nitrate in 90ml distilled water " i just found this being recommended in a several year old vids comment section the poster then said to experiment with different solutions as the quality of the silver nitrate has a huge effect on the print
Oh yes, let me go grab my silver nitrate from the kitchen, its right next to the gold chloride in my kitchen drawer where i put all the expensive and dangerous chemicals.
Nice video btw, ive always wanted to try at least one of the alternative photo processes but its really difficult to get hold of the chemicals...
google is your friend for the chemicals, so long as you have a healthy bank account. more specifically, photographer's formulary, but please read up on the hazards, you could blind yourself with silver nitrate, for instance.
@@fr.marklichtenstein8892 i have found a retailer in my vicinity that sells these chemicals spefically for alternative photo processes. The only problem is, as you said, finances. Not only for the chemicals but for the equipment as well.
Needs more megapixels lol. Jk amazing
Are you British?
4.14 "a combination of beeswax and" ???? you mumbled right past an important step....
That’s the coolest thing I’ve ever seen!!
I'm really surprised that he didn't use sodium thiosulphate as a fixer... unless I missed something
I was wondering about that too.
Golly! This sounds fun and easy! Just three "main" ingredients - and the video later brings in 4:04 beeswax, lavender oil - and gold chloride which sells for $75.00 for a 50 mL bottle. Maybe someone can replace this photographic "plot hole" with more detailed information.
You don't have to use Gold Chloride. While I am sure the The George Eastman Museum, just has it on the shelf. The rest of us can tone with selenium. I like Kodak rapid selenium toner which you can still get (like under 30 bucks a quart) for salt prints dilute it WAY down or you will have Kodak instantaneous toner instead. The color is more of a chocolate brown than the very regal russet-purple-brown color of real gold.
Salt print is SUPER FUN! Also keep in mind Gold Chloride is not necessary for the process. However we tone using "Grains" of gold.. There is 15.4 grain in 1 gram of Gold Chloride.. We generally tone with about 1 to 1.5 grains per bath.. You can tone A LOT of prints with one gram of gold. But remember that tone is just an choice the photographer / printer makes. Your not required to tone your salt prints.
@@CameraEd1 Thank you for that impressive amount of information. I'm getting back into traditional photographic processes and try to go overboard when doing the research - I don't like setting out my supplies, taking a deep breath . . . then noticing fine print mentioning the need for weapons-grade plutonium! Have a safe and interesting weekend! 🐧
@@nickbrandreth Thank you for those specifics. I think I'll look at a few more in-depth tutorials on this process before I go crazy stocking up on salt paper supplies. Again, thank you for the additional information. ☺
@@TheStockwell No probelm, feel free to reach out if you have any questions. Nbrandreth@eastman.org