Discover the Magic of Print Out Papers: A Comprehensive Guide

Print Out Papers, often referred to by the initials P.O.P., represent a fascinating chapter in the history of photography and offer a unique approach to creating photographic prints. Introduced in 1891 by the Ilford Company for their gelatin-chloride papers, the term “print out paper” has since become a general descriptor for any photographic paper that utilizes ultraviolet (UV) light to produce a complete image without the need for chemical development. This excerpt, inspired by insights from Steve Anchell’s seminal work, The Darkroom Cookbook, and featuring the photography of France Scully Osterman, delves into the captivating world of printing-out processes.

For enthusiasts and professionals alike, print out papers present a time-honored method to craft beautiful, inexpensive prints, often bypassing the complexities of a traditional darkroom. In fact, before the 1880s, these papers reigned supreme as the most favored technique for photographic printing. The method is elegantly simple: place a negative in direct contact with the print out paper and expose it to sunlight – nature’s UV lamp – to conjure a visible image directly on the paper. For those without consistent sunlight, a UV lamp, readily available from many stores, serves as an excellent alternative light source for working with print out papers.

A visual representation of Steve Anchell’s “The Darkroom Cookbook,” a key resource for understanding print out papers and alternative photographic processes.

What Exactly are Print Out Papers?

Print out papers are unique photographic materials that form a visible image through exposure to UV light alone, contrasting with ‘developed-out papers’ (DOP) which require chemical developers to reveal the latent image. The term POP itself emphasizes this self-developing characteristic, making it an intriguing process for those seeking a more direct and historically resonant approach to photography. The beauty of print out papers lies in their capacity to produce an image purely through the interaction of light and chemistry, a process that feels almost alchemical.

A Journey Through History: The Legacy of Print Out Papers

Before the advent of development-based photographic papers, print out papers were the cornerstone of photographic printing. Their prominence in the 19th century underscores their significance in the evolution of photography. The simplicity of the process—image formation solely by light—made photography accessible and captivating. As photography advanced, and development papers became more refined and convenient, print out papers gradually became less common for mainstream use but retained their appeal for artistic and historical processes. Today, there’s a resurgence of interest in print out papers among photographers seeking to connect with historical techniques and achieve unique aesthetic qualities in their work.

Exploring the Variety: Types of Print Out Papers

The world of print out papers is diverse, encompassing several types, each distinguished by the medium used to bind the light-sensitive silver salts to the paper. The primary variations include:

• Salted Paper: In salted paper prints, the light-sensitive silver is held directly within the paper fibers. This was one of the earliest forms of print out paper, known for its soft, matte finish and warm image tones. The simplicity of salted paper makes it a favorite for historical process enthusiasts.

• Albumen Paper: Albumen papers utilize egg whites as a binder, creating a smooth, glossy surface that was highly popular in the late 19th century. The albumen layer allowed for finer detail and richer tones compared to salted paper. Albumen prints are recognizable for their characteristic gloss and often warm brown image color.

• Gelatino-Chloride Paper: These papers suspend silver chloride in a gelatin layer. Introduced commercially by Ilford, gelatino-chloride papers provided improved image sharpness and tonal range. Gelatin offered a robust and consistent binder, contributing to the popularity of these papers.

• Collodio-Chloride Paper: Collodio-chloride papers use cellulose nitrate as a binder. Often considered the most archival of the print out paper types, collodio-chloride prints have a unique, glossy surface and are known for their stability over time. The collodion binder effectively seals the silver image, protecting it from environmental degradation.

Each type of print out paper offers a distinct aesthetic and handling characteristic, providing photographers with a spectrum of choices to match their artistic vision and practical needs.

The Science Behind the Image: Chemistry of Print Out Papers

At the heart of all print out papers lies silver chloride as the primary light-sensitive compound, always used with an excess of silver nitrate. When exposed to UV light, the silver chloride undergoes a photochemical reaction, reducing to metallic silver, which forms the visible image. The density of the silver deposit corresponds to the amount of light received, creating a tonal range in the print. The excess silver nitrate enhances sensitivity and contributes to the rich image tones characteristic of print out papers.

Once the image is fully “printed out” by light, the subsequent steps mirror those for traditional silver prints. The print is fixed to remove unexposed silver salts, washed to eliminate residual chemicals, dried, and then preserved. These post-printing processes are crucial for ensuring the longevity and archival quality of print out paper images.

Why Choose Print Out Papers? Advantages of the Process

Opting for print out papers offers several compelling advantages, particularly for those interested in alternative processes and historical techniques:

• Darkroom-Free Printing (Image Formation): The most significant advantage is the ability to create a visible image without chemical development. This simplifies the process and reduces the need for extensive darkroom facilities. The image emerges under light, offering a unique and engaging visual experience.

• Contact Printing: Print out papers are inherently contact-printed, which is ideal for showcasing the detail and tonality of large format negatives. Contact printing provides a one-to-one reproduction, preserving the sharpness and nuances of the negative.

• Historical Connection: Working with print out papers provides a direct link to the early days of photography. It’s a tangible way to experience the processes used by photographic pioneers and to appreciate the historical evolution of the medium.

• Unique Aesthetic: Print out papers offer a distinctive look, often characterized by rich tones, delicate highlight detail, and a unique surface quality depending on the paper type. This aesthetic differs significantly from modern silver gelatin prints, providing an alternative visual language.

• Educational Value: Engaging with print out processes offers invaluable insights into photographic chemistry, light sensitivity, and the historical context of photographic technology. It’s a hands-on learning experience that deepens understanding and appreciation for the craft of photography.

Selecting the Right Paper: Foundation for Success

Choosing the appropriate paper is crucial when venturing into salt printing, a foundational type of print out paper. For salt printing, high-quality, 100% cotton papers are recommended. Arches Hot Press Watercolor paper and Crane’s Kid Finish AS 8111 are excellent starting points, known for their quality and suitability for alternative photographic processes. Experimentation is encouraged, and any good quality cotton paper can yield interesting results.

Before any coating, it’s essential to identify the front side of the paper. Fine art papers are crafted with a specific side intended for image reception. Identifying the front becomes more challenging once the paper is treated. If the paper is from a pad or tablet, the top side is generally the front. For individual sheets, holding the paper up to the light to locate the watermark is a reliable method. A correctly reading watermark indicates the front orientation. If no watermark is present, the front surface is typically smoother and brighter. Lastly, a factory-deckled edge will always bevel upwards towards the front surface. Once identified, marking the back with a pencil can prevent confusion during the coating process. Many experienced printers also prefer using paper slightly larger than the negative, providing a border and handling room.

Salting the Paper: Preparing for Sensitivity

The next critical step is salting the paper, also known as “sizing.” This process involves coating the paper with a gelatin or starch-based salting emulsion. The salting formula serves two primary purposes: it prepares the paper to receive the light-sensitive silver nitrate and it creates a surface finish that prevents the image from sinking too deeply into the paper fibers, ensuring image clarity and surface quality. Salt prints traditionally utilize either sodium chloride or ammonium chloride. The choice of salt is a significant creative variable, influencing the final image’s look and feel. Gelatin-based salting formulas tend to produce cooler image tones, while starch-based formulas often result in warmer tones.

Application methods for the salting solution include floating the paper on the solution, immersing it entirely, or brushing the solution onto the surface. Floating or immersion typically ensures a more even coating but consumes more solution. Brush coating can be more economical with the solution but requires careful technique to avoid unevenness. Regardless of the method, after salting, the paper must be thoroughly dried before proceeding to the next step. Brush-coated papers can be dried with a hairdryer, while floated or immersed papers are usually hung to dry using plastic clips.

Mark Osterman’s “Camera Obscured,” a gold-toned salt print, exemplifies the artistic potential of print out processes, showcasing rich tonality and fine detail achievable with these historical methods.

Sensitizing the Paper: Making it Light-Reactive

Once the paper is salted and completely dry, the next stage is sensitization, rendering it light-sensitive. Sensitizing should be performed under subdued light conditions. While tungsten light is permissible, a Kodak OC safelight is preferable to minimize unwanted exposure. Similar to salting, sensitization can be achieved by floating the paper on a silver nitrate solution or by brush coating. Immersion in silver nitrate is not recommended. If brushing, apply the sensitizer first lengthwise and then crosswise to ensure uniform distribution.

After coating with the sensitizer, the paper becomes highly sensitive to light. It must be dried in darkness or under safelight conditions. A hairdryer on a cool setting can expedite drying under safelight. In humid environments, it’s best to use the paper immediately after drying to prevent discoloration. Adding a few drops of glacial acetic acid to the silver nitrate solution can lower the pH to around 3.5, which helps to inhibit discoloration and extend the usable life of the sensitized paper.

Caution: Silver nitrate is a staining agent. It will stain skin and clothing. Always wear rubber gloves when handling silver nitrate solutions and sensitized paper. Should staining occur, stain removers designed for silver nitrate, often listed in photographic chemical formula resources, can be used.

Coating Techniques: Brush and Float Methods Explained

Achieving an even coating of both salting and sensitizing solutions is crucial for consistent print quality. Two primary methods are commonly employed: brush coating and floating.

Brush Coating Techniques for Solutions

For brush coating, prepare a flat, stable surface by covering a board with blotting paper. Plywood or even a breadboard works well. Secure the blotting paper to the board edges with tape. A Lazy Susan placed under the coating board is a helpful addition, allowing for easy rotation of the paper during coating.

To begin, lightly mark the corners on the paper where the negative will be positioned. Secure the paper to the coating board using tape or pins at these corners. Using a quality artist’s brush—foam brushes are inexpensive and effective, though they absorb more solution—apply the salting solution or sensitizer in slightly overlapping rows, covering an area slightly larger than the intended print size. After the initial coating, rotate the board 90 degrees and brush the paper again without adding more solution. Repeat this rotation and brushing a third time. These multiple brushings help to distribute the solution evenly across the paper surface.

Mastering brush coating is often the most challenging aspect for beginners, primarily because both the sizing and salt solutions are clear and invisible during application. Practice and careful technique are key to achieving uniform coatings.

Note: An alternative to brush coating is using a glass coating rod. These rods, available from specialized photographic suppliers, are dragged across the paper surface, depositing a smooth, even layer of solution. This method is favored by many platinum printers for its consistency.

Floating Paper on Solutions: A 19th-Century Approach

Floating paper on the solution was the predominant coating method in the 19th century and remains a viable technique today. For this method, pour the salting or silver nitrate solution into a glass dish or tray that is larger than the paper size. Pyrex baking dishes are ideal for prints up to 8×10 inches. Plastic trays can also be used but are more difficult to clean meticulously.

Prepare the paper for floating by either folding small tabs at two opposite corners or creating a ¾-inch flap along two opposite edges. Holding the paper by these tabs or flaps, allow the center of the paper to sag slightly downwards. Gently lower the center of the paper until it contacts the solution, then gradually lower the sides until the entire sheet floats on the surface. Take care to prevent the solution from reaching the back of the paper. If the paper begins to curl, gently breathe onto the back surface while holding the flaps. The increased humidity from your breath will relax the paper fibers. Float the paper on the salting and silver solutions for 1 to 2 minutes each. After floating, hang the paper to dry using plastic clothes pins.

Printing with Print Out Papers: Bringing the Image to Light

Print out papers are exclusively contact-printed. This necessitates using negatives that are the same size as the desired final print. For optimal results, negatives should be dense with good shadow detail and a clear base in the deepest shadow areas. A 4×5 inch or larger negative format is generally preferred to maximize image quality and detail in the print.

Printing is typically done using a wooden contact-printing frame with a hinged back, or simply between a sheet of glass and a flat plywood board of equal size. Ensure the sensitized paper is thoroughly dry before printing, as residual moisture can cause staining on the negative. If you are concerned about potential damage to your negative, especially when using historic or irreplaceable negatives, place a thin sheet of clear acetate between the negative and the print out paper for protection.

Exposure is achieved using a UV light source, which can be sunlight or a UV lamp. During exposure, the print out paper will darken progressively, initially quickly, then slowing as the image develops. When using a contact-printing frame, you can monitor the printing progress without fully interrupting the exposure. In a dimly lit room, take the printing frame away from the primary light source and unhinge one side of the back. Carefully peel back a corner of the print to inspect the image density. Be cautious to avoid fogging the paper with excessive light exposure or shifting the registration between the negative and paper. Aim for highlights in the print to appear darker than the desired final tone, and shadows may exhibit a metallic sheen, known as bronzing, in the print-out stage. With practice, you’ll develop an eye for judging when the print has reached the optimal density under exposure.

Mastering Contrast: Techniques for Control

Controlling contrast is a key aspect of print out paper printing. Several techniques can be employed to adjust the contrast of the final print:

1. Printing Speed and Light Intensity: Printing slowly, in shaded sunlight or under artificial light, tends to increase contrast. Conversely, faster printing in direct, intense sunlight reduces contrast.

2. Tracing Paper Diffusion: Placing a sheet of tracing paper (or multiple sheets) over the glass of the printing frame diffuses the light and slows down the printing process, thereby increasing contrast. This technique is effective in both sunlight and artificial UV light conditions.

3. Ammonia Fuming: Fuming the sensitized paper with ammonia vapor prior to printing significantly alters its sensitivity and contrast characteristics.

4. Potassium Dichromate in Salting: Adding potassium dichromate to the salting solution acts as a restrainer, influencing contrast and printing speed.

Chemical Contrast Control: Ammonia Fuming Explained

Ammonia fuming is a powerful method to chemically alter the contrast of print out papers. The ammonia fumes change the pH of the silver halide in the paper to an alkaline state, making it more reactive and increasing contrast. This technique was commonly used in the 19th century with various print out papers to enhance image characteristics.

To fume paper, you’ll need a large plastic storage box with a lid. Line the bottom of the box with cotton wool and evenly drizzle about three ounces of household ammonia over the cotton. Close the lid to contain the fumes. Caution: Avoid inhaling ammonia fumes directly. To fume the paper, tape the sensitized side of the paper face-down to the underside of the lid, securing it at the corners. Replace the lid and allow the paper to fume for 1 to 3 minutes. The duration depends on the desired effect and paper type; experimentation is key. After fuming, remove the paper from the box and allow it to out-gas in a well-ventilated area for about two minutes before placing it in the printing frame and proceeding with exposure. Fuming dramatically increases paper speed and contrast, requiring adjustments in exposure times.

Light Source Contrast Control: Harnessing UV Intensity

The choice of light source and its modification provides another avenue for contrast control. Higher amounts of ultraviolet (UV) light in the exposure source tend to lower contrast, while reducing UV intensity increases contrast.

Direct sunlight and sunlamps emit relatively high levels of UV radiation, resulting in lower contrast prints. To increase contrast when using these sources, you can significantly reduce the UV intensity by placing one or more sheets of tracing paper or a sheet of frosted glass between the light source and the printing frame. Alternatively, printing on the shaded side of a building on a sunny day provides a similar effect by reducing the intensity of direct UV light, leading to higher contrast prints.

Processing the Print: From Latent Image to Lasting Print

After achieving the desired print-out density, processing is essential to stabilize and enhance the image. The processing sequence typically involves washing, toning, and fixing.

Washing: Removing Residual Silver Nitrate

The first processing step is washing the print to remove any free silver nitrate remaining in the paper. If not removed, free silver nitrate can interfere with the toning bath by precipitating gold and also impact the fixing process. Washing is done using tap water that contains chlorine, which helps to precipitate excess silver. If your tap water is chlorine-free, add a small pinch of table salt to the wash water to achieve the same effect. Wash the print until the milky appearance in the water (caused by silver chloride precipitate) is no longer visible. Using a dark tray or placing a sheet of black Plexiglas in the bottom of a white tray can make it easier to see this precipitate. At this stage, the paper has significantly reduced light sensitivity but remains sensitive until it is fixed.

Toning: Enhancing Color and Permanence

Untoned print out papers typically exhibit a warm brown color. Toning, performed after the initial wash and before fixing, allows you to modify the image color and significantly enhance the print’s permanence, much like with silver-gelatin papers.

Gold toning is a popular choice, enabling a range of colors from reddish-brown to purple to blue-gray, depending on the toner formulation and toning duration. Generally, acid toners, such as P.O.P. Borax Toning Bath, are slower-acting and tend to produce warmer tones. Alkaline toners, like P.O.P. Thiocyanate Toning Bath, act more rapidly and lean towards cooler, blue tones. If gold toning is planned, trim any unexposed, darkened edges from around the print before toning to avoid wasting gold toner solution.

Judging the final toned color can be challenging as the print color typically becomes cooler as it dries. A useful technique is to create a series of step tablets—small test prints—and place them in the toner at timed intervals, such as every 3 minutes. Carefully label each tablet and keep them as reference samples to visually gauge toning progress and final color outcomes for future prints.

Fixing: Stabilizing the Image

Following toning, the print must be fixed to remove any remaining light-sensitive silver halides, making the image permanent. Use a fixer without a hardener for print out papers. Fix for approximately five minutes. After fixing, immerse the print in a Hypo Clearing Agent (HCA) to aid in the removal of fixer from the paper fibers. Finally, wash the print thoroughly, similar to washing double-weight, fiber-based silver gelatin papers, to ensure complete removal of processing chemicals and ensure archival stability.

Beyond Salt Prints: Exploring Other Printing-Out Processes

Salt printing serves as an excellent introduction to the broader family of print out processes. The fundamental processing steps—washing, toning, and fixing—remain consistent across most print out paper types. Alternative printing processes such as albumen, gum, gelatin-chloride, collodio-chloride, platinum/palladium, and carbro each offer unique creative avenues. While each process has its nuances, mastering one type provides a solid foundation for understanding and exploring others. The slight increase in complexity is often outweighed by the enhanced control and artistic expression these alternative processes offer.

Scully & Osterman on Gold Toning: Expert Insights

France Scully Osterman and Mark Osterman, renowned experts in historical photographic processes, offer valuable insights into gold toning for print out papers:

A critical factor often overlooked is the depth of the printed-out image before toning. Many issues with weak or undesirable final tones stem from insufficient print-out density or negatives lacking in density and spectral density, or having fogged bases.

The bicarbonate toner formula described below yields a range of warm red-brown to cool brown to purple-brown tones, depending on the initial print-out depth and the duration of toning. This toner can be used immediately after mixing.

This formula is rooted in 19th-century methods of adding gold by weight (grains) to water but has been adapted to use percent solutions for modern convenience. A standard gold chloride stock solution is made by dissolving 1.0 gram of gold chloride in 154.0 ml of distilled water. In this stock solution, every 10 ml contains the equivalent of one grain of gold, allowing for easy conversion from historical grain-based formulas.

Gold-Bicarbonate Toning Formula for Albumen, Salt, and Collodion Paper:

• Gold Chloride Stock Solution: 20 ml (equivalent to 2 grains of gold)
• Distilled Water: 700.0 ml

Instructions:

1. Combine the gold chloride stock solution and distilled water.
2. Add bicarbonate of soda (sodium bicarbonate) gradually while testing the pH until it reaches pH 8. Use pH test strips for accurate measurement.
3. Adjust water or gold concentration to control toning speed as needed. For salt prints, which tone more quickly, start with 1 gram of gold chloride and adjust as needed.

Sel d’Or (Gold with Hypo) One-Step Fix/Tone for Salt and Albumen Prints:

This formula combines fixing and toning into a single step and is often mixed “to taste,” meaning proportions can be adjusted based on visual assessment and experience. A typical starting point is approximately four to six grains of gold stock solution in a mixture of 1000 ml of water with 150 grams of hypo (sodium thiosulfate) and a small pinch of bicarbonate of soda. When a print is placed in this solution, it will initially lighten slightly as the hypo begins to act, then gradually darken as gold replaces silver in the image.

Like all toners, Sel d’Or works best when the toning action is slow and controlled. Adjust the gold content to achieve a toning time of about 5 to 10 minutes, rather than a very rapid tone change. Sel d’Or represents one of the earliest toning approaches for photographic prints, directly adapted from gilding techniques used for daguerreotypes, although daguerreotype gilding involved heating the plate during the process.

Collodio-Chloride Printing Out Paper: A Deeper Dive

Collodio-chloride print out paper, also historically known as Collodion Aristotype Paper, holds a distinguished place in photographic history. Mark Osterman, a renowned process historian at the George Eastman House, provides valuable insights into this process.

The concept of using collodion for emulsion processes was proposed as early as 1861 by Marc Gaudin, but it was G. Wharton Simpson who first commercially produced collodion chloride emulsion papers by 1865. However, these papers did not gain widespread acceptance until the 1880s, coinciding with the adoption of clay-coated paper stock in photography. In 1884, Liesegang introduced a collodion chloride emulsion for paper he named “Aristotype,” a term that became associated with both gelatin and collodion chloride papers manufactured by the Aristotype Company in Jamestown, New York.

The Aristotype Company’s collodion papers were immensely popular, offered in glossy and matte finishes. Glossy papers were typically toned to a purple-brown hue using gold chloride, while matte papers were often toned with platinum and gold, closely resembling platinum prints in appearance. Notably, collodion papers are considered the most archival of all silver halide photographic papers. Their excellent preservation over time makes them easily identifiable in historical collections today.

Collodio-Chloride Emulsion Formula: A Detailed Recipe

Caution: Collodion, the binder in this emulsion, is a flammable solution of nitrated cellulose in ether and alcohol. Exercise extreme caution to avoid sparks or flames when coating papers or handling open containers of collodion. Work in a well-ventilated area and away from ignition sources.

The following formulas and mixing instructions can be performed under standard household lighting.

SOLUTION A (Chloride Solution)

• Strontium Chloride: 1.0 g
• Ethyl Alcohol (Ethanol or Grain Alcohol), high proof: 4.0 ml
• Glycerin: 4.0 ml
• Distilled Water: 5.0 ml

Instructions for Solution A:

1. Add strontium chloride to distilled water.
2. Dissolve completely using gentle heat and stirring with a glass rod.
3. Add alcohol and glycerin to the solution.
4. Mix thoroughly.

SOLUTION B (Collodion Solution)

• Collodion USP: 250.0 ml
• Ethyl Alcohol (Ethanol or Grain Alcohol), high proof: 85 ml

Instructions for Solution B:

1. Add alcohol to the collodion.
2. Mix until completely dissolved.
3. Add Chloride Solution A to Collodion Solution B.
4. Mix well. This mixture is now referred to as “Salted Collodion.”

SOLUTION C (Citric Acid Solution)

• Citric Acid: 1.8 g
• Ethyl Alcohol (Ethanol or Grain Alcohol), high proof: 2.0 ml

Instructions for Solution C:

1. Add citric acid to alcohol.
2. Mix until citric acid is fully dissolved.
3. Add this solution to the Salted Collodion Solution (Solution B).

SOLUTION D (Silver Nitrate Solution)

• Silver Nitrate: 6.0 g
• Distilled Water: 7.0 ml
• Ethyl Alcohol (Ethanol or Grain Alcohol), high proof: 20.0 ml

Instructions for Solution D:

1. Add silver nitrate to a portion of the distilled water. Use minimal water necessary to dissolve silver nitrate.
2. Dissolve silver nitrate completely.
3. Add alcohol to the silver nitrate solution.
4. Mix until dissolved.

You will now have two primary solutions: the Salted Collodion (Solutions A+B+C) and the Silver Nitrate Solution (Solution D). The collodio-chloride emulsion is created by carefully combining these two solutions under safelight conditions.

Making the Collodio-Chloride Emulsion: Step-by-Step

Emulsion making should be performed under safelight conditions using either amber or red safelight. A mechanical magnetic stirrer is ideal for emulsion making, ensuring consistent agitation. If a stirrer is unavailable, manual stirring with a glass rod in one hand while adding the silver solution with the other is necessary.

The process involves adding the Silver Nitrate Solution (Solution D) to the Salted Collodion Solution (Solutions A+B+C) in a controlled manner with constant agitation. The silver nitrate solution can be added slowly using a plastic hypodermic syringe with a fine opening, or by spraying it in a thin, continuous mist while stirring the collodion solution. As silver nitrate is added, the clear collodion mixture will transition to an opalescent color.

Once all the Silver Nitrate Solution has been added, immediately pour the emulsion into a very dark brown or black glass bottle. Cork the bottle tightly and shake it vigorously for a couple of minutes to ensure thorough mixing. Then, set the bottle aside in a cool, dark place and allow it to rest undisturbed for at least 24 hours. Crucially, do not shake the emulsion again after this initial mixing. Subsequent shaking will disrupt the emulsion, causing precipitates and fine bubbles that will make even coating impossible. Properly stored in a cool, dark location, the mixed emulsion has a considerable shelf life.

Coating Paper with Collodio-Chloride Emulsion: Technique and Tips

Collodio-chloride emulsions are solvent-based (alcohol/ether), necessitating specific paper preparation for coating. Paper must be either heavily sized with hardened gelatin or coated with a baryta layer. Baryta coated papers, which contain an inert white pigment (baryta) in hardened gelatin, were standard for commercial silver-based photographic papers. However, baryta-coated papers are becoming increasingly difficult to source as traditional photographic paper production declines. If uncoated papers are used, the solvents in the collodion emulsion will penetrate directly through the paper fibers, resulting in unsatisfactory coatings.

For coating, cut a sheet of clean glass approximately one inch larger on all sides than the paper you intend to coat. De-sharpen all glass edges with a sharpening stone to prevent cuts. Fold up a ½-inch margin on all four edges of your paper and carefully secure the paper to the glass sheet using small pieces of masking tape, creating a shallow well.

If you are familiar with the wet collodion process, the coating technique for collodio-chloride emulsion is similar to coating glass plates. Holding the glass sheet with the paper secured on top in one hand, pour a pool of collodion emulsion onto the center of the paper. Tilt the glass sheet so that the emulsion flows evenly to all corners, covering the entire paper surface. Then, pour off the excess emulsion from one corner back into the bottle with a smooth, continuous motion. During this draining step, diagonal lines may form on the coating surface. To minimize these “draining lines,” gently rock the glass plate from side to side as you drain off the excess emulsion. Keep the corner from which you are draining the collodion lower than the rest of the plate until the collodion starts to gel and set into a firm film.

Once the collodion has set (it will become tacky and no longer flow), carefully detach the paper from the glass support. Pin the coated paper up by one corner and allow it to dry in a darkened room. Due to the solvent base of collodion emulsions, the coating will dry to a hard, flexible film within minutes. Once dry, collodion-coated print out paper can be used immediately or stored for days in a light-tight box until ready for printing. Collodion printing out paper is processed (toned and fixed) using the same methods as described for salt printing.

A minor difference with collodion-coated papers is that they may curl slightly during processing, as the collodion layer is less absorbent to aqueous solutions. This curling can be mitigated by using slightly warmed processing solutions or reducing the volume of solutions used in each tray to minimize soak and swell.

Conclusion: Embrace the Art of Print Out Papers

Exploring print out papers opens a gateway to the rich heritage of photographic processes and offers a unique blend of historical technique and artistic expression. From the simplicity of salt prints to the archival permanence of collodio-chloride, these methods provide photographers with a hands-on connection to the roots of photography and a distinctive aesthetic that sets them apart from contemporary digital and development-based processes. Whether you are drawn to the historical significance, the unique image qualities, or the engaging hands-on nature of the process, print out papers offer a rewarding journey into the art and science of photography. Embrace the magic of print out papers and discover the timeless beauty they can bring to your photographic vision.

About the Author: Steve Anchell

Steve Anchell is an internationally recognized photographer and author, with his fine art photography exhibited in galleries and private collections worldwide. His extensive exhibition record includes 50 shows, with 26 solo exhibitions highlighting his mastery of photographic arts.

Anchell is also celebrated for his influential books on photographic processes. His publications, The Darkroom Cookbook, The Variable Contrast Printing Manual, and The Film Developing Cookbook, are international bestsellers and essential resources for photographers. The Variable Contrast Printing Manual was honored by Photo-Eye Books as the best technical photography title of 1997, underscoring Anchell’s expertise and contribution to photographic literature.

Get the Darkroom Cookbook: Your Guide to Alternative Processes

The Darkroom Cookbook (Alternative Process Photography)

By Steve Anchell

Description: An encyclopedic guide detailing 170 photographic processes, The Darkroom Cookbook is an indispensable resource for anyone interested in exploring traditional and alternative photographic techniques, including comprehensive information on print out papers and related processes. It provides detailed formulas, step-by-step instructions, and invaluable insights into the art and science of darkroom photography.