From: Peter Marshall (firstname.lastname@example.org)
Date: 02/16/03-09:18:07 AM Z
> For all you salt print aficionados:
Here are some of my thoughts on your questions, though it has been a few
years since I had time to make a salt print. I've put a description of the
methods I used as a part of a feature on salted paper prints at
> 1. Is ossein gelatin better in any way than Knox?
Gelatin isn't needed on many papers in any case.
> 2. Do those of you who do this process use a 5% or 10% fixing bath?
> One or
> two baths?
I don't think it matters much. One fresh bath for 10 minutes - fixer is so
cheap I seldom used it for more than a couple of prints.
> 3. Do you overexpose it 2 stops to account for lightening in the
> fixing/washing steps, or more (this equals 4 steps on a Stouffer's,
Exposure really needs to be done by experience, checking until the
highlights are slightly more definite and not taking account of the
shadows - if these don't come out right your negative has incorrect
> 4. Does a gelatin/salt coating produce warmer or colder tones? Reilly
> warmer/redder but it seems other sources say colder.
> 5. Anyone use a regular Edwards light box with salt? Is it too slow?
I don't even know what this is. I think you need daylight or a UV light.
> 6. Anyone try printing toward the sun with tissue paper diffusion to
> increase contrast? Why technically does the sun produce the lowest
> contrast--caillier effect?
I always tried to get the negatives right rather than trying to alter
contrast by exposure. If the first test was low contrast I used an
intensifier on the neg or remade it if it was way out.
> 7. What's your favorite paper?
Rowney Georgian Watercolour Paper, Waterford
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