“You must always believe that there is fertile soil for your ideas. If you lose hope then you will miss opportunities to plant a seed.”
The captivating world of photography extends far beyond digital screens and instant prints. For those seeking a deeper connection with the craft, printing-out processes (POP) offer a fascinating journey into the historical roots of image-making. Dating back to the late 19th century, POP represents a unique method of creating photographic prints using ultraviolet (UV) light to develop a visible image directly on specialized paper, without the need for chemical developers in a darkroom. This technique, initially popularized in 1891 by the Ilford Company with their gelatin-chloride papers, provides a hands-on approach to photography, allowing enthusiasts to recreate the charming aesthetics of early photographic prints. This exploration will delve into the intricacies of printing-out processes, drawing from the expertise of Steve Anchell, a renowned authority in alternative photographic techniques, and his seminal work, The Darkroom Cookbook.
Understanding Printing-Out Processes: A Historical and Technical Overview
Before the convenience of modern darkroom development, printing-out papers were the go-to choice for producing photographic prints. Predominant before the 1880s, their appeal lay in their ability to generate images simply through exposure to sunlight. The process is elegantly straightforward: a negative is placed in direct contact with the printing-out paper, and sunlight, or an artificial UV source, is used to expose the paper. This exposure causes a visible image to form gradually on the paper itself, eliminating the necessity for traditional chemical development. While sunlight remains a viable option, modern UV lamps, readily available from hardware and grocery stores, offer a consistent and controllable light source.
Exploring the Roots of Photography: Steve Anchell’s “The Darkroom Cookbook” and the Art of Printing-Out Processes
Several types of printing-out papers exist, each distinguished by the binding medium used to hold the light-sensitive silver salts. These include:
- Salted Paper: The most basic form, where silver is absorbed directly into the paper fibers.
- Albumen Paper: Utilizes egg whites as a binder, creating a glossy surface and finer detail.
- Gelatino-Chloride Paper: Suspends silver in a gelatin layer, offering enhanced image quality and stability.
- Collodio-Chloride Paper: Employs cellulose nitrate as a binder, known for producing exceptionally stable and archival prints.
Regardless of the specific type, the core light-sensitive component in all these papers is silver chloride, combined with an excess of silver nitrate. Once the image is fully printed-out and toned, the subsequent steps mirror those used for traditional silver prints: fixing, washing, drying, and archival preservation.
However, it’s crucial to note that the silver particles in printing-out images are finer than those in developed-out prints, making them potentially more vulnerable to environmental degradation. Proper processing is therefore paramount to ensure their longevity, allowing them to endure as well as conventionally developed photographs. Collodio-chloride prints stand out for their remarkable stability, as the nitrocellulose binder effectively seals the silver image layer, protecting it from atmospheric pollutants that can fade other silver-based prints.
Printing-out papers are exclusively designed for contact printing, meaning the negative must be the same size as the desired print. Consequently, larger negatives, typically 4×5 inches or greater, are preferred to maximize image detail and quality. Ideal negatives for POP are dense with ample shadow detail and a clear base in the deepest shadow areas. These papers leverage a “self-masking” effect: thinner areas in the negative allow light to rapidly darken the paper, subsequently blocking light from reaching deeper layers of the sensitized coating. This self-regulation subtly holds back shadow areas, enabling highlight details to print effectively and creating a balanced tonal range in the final image.
Paper Selection and Preparation: Laying the Foundation for Your Print
The journey of creating a silver chloride salt print begins with the careful selection and preparation of the paper itself. For beginners, Arches Hot Press Watercolor and Crane’s Kid Finish AS 8111 are highly recommended for their quality and suitability for POP. However, experimentation with any high-quality 100% cotton paper is encouraged to discover unique textures and artistic effects.
Identifying the front side of the paper is crucial, as fine art papers are manufactured with a specific printing surface. This can become challenging once the paper has been treated with sensitizing solutions. If the paper is part of a pad or tablet, the top surface is generally the front. For individual sheets, holding the paper up to a light source to locate the watermark is a reliable method. A watermark that reads correctly from left to right indicates the front side. If no watermark is present, the front surface is usually smoother and brighter. Additionally, a factory-deckled edge will always bevel upwards towards the front surface. Once identified, marking the back of the paper with a pencil is advisable to avoid confusion during the coating process. Many experienced printers opt for paper slightly larger than the negative, providing a border and room for handling – for instance, using 9×12 inch or 11×14 inch paper for 8×10 inch negatives.
Salting the Paper: Preparing the Surface to Receive the Image
The next critical step involves coating the paper with a salting emulsion, often composed of gelatin or starch. This process, known as “sizing,” serves a dual purpose. Firstly, it prepares the paper to effectively absorb the silver nitrate sensitizer. Secondly, it creates a surface finish that prevents the image-forming silver from sinking too deeply into the paper fibers, ensuring image sharpness and clarity. Traditional salt prints utilize either sodium chloride or ammonium chloride, offering subtle variations in the final print’s characteristics. The choice of salt is one of the creative variables that photographers can manipulate to influence the aesthetic outcome.
Salting solutions incorporating gelatin tend to produce cooler image tones compared to those using starch. The application of the salting solution can be achieved through several methods: floating the paper on the solution, immersing it completely, or brushing it onto the surface. Floating or immersion, typically for 2 to 3 minutes, generally results in a more even coating but consumes more solution. Brush coating is economical in solution usage but requires careful technique to ensure uniformity. Papers coated by floating or immersion are usually dried by hanging with plastic clothes pins, while brush-coated papers can be expedited with a hairdryer on a cool setting.
Camera Obscura: A Gold-Toned Salt Print Exemplifying Printing-Out Processes
Sensitizing the Paper: Making it Light-Sensitive
Once the salted paper is thoroughly dry, it needs to be sensitized to light before printing. This step involves applying a silver nitrate solution, and while it can be performed under tungsten light, a dim Kodak OC safelight is preferable to minimize unwanted exposure. Similar to salting, sensitizing can be done by floating the paper on the silver nitrate solution or by brush coating. Immersion in silver nitrate is not recommended. If brush coating, apply the solution in lengthwise strokes followed by crosswise strokes to ensure even distribution.
After sensitizing, the paper becomes highly light-sensitive and must be handled with care. It can be dried using a hairdryer on a cool setting under safelight conditions or allowed to air dry in complete darkness. 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 to lower the pH to around 3.5 can help slow down discoloration.
Caution: Silver nitrate is a staining agent. Always wear rubber gloves during the sensitizing process to protect your skin and clothing. If staining occurs, specialized stain removers designed for silver nitrate (available under “Formulas: Miscellaneous” in photographic resources) can be used.
Coating Techniques: Brushing and Floating for Solution Application
Efficient and even coating is paramount for consistent results in printing-out processes. Two primary techniques are employed: brush coating and floating.
Brush Coating: Precision Application for Smaller Batches
For brush coating, prepare a flat, rigid board by covering it with a sheet of blotting paper and taping the edges to secure it. Plywood or even a clean breadboard works well. A Lazy Susan placed beneath the coating board can significantly simplify the process by allowing easy rotation of the paper for multi-directional brushing.
To begin, lightly mark the corners on the blotting paper where the negative will be positioned. Secure the paper to the coating board using tape or pins at the corners. Using a quality artist’s brush – inexpensive foam brushes are functional but tend to absorb a significant amount of solution – apply the salting solution and then the sensitizer over an area slightly larger than the intended print, using overlapping strokes. 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 subsequent brushings are crucial for distributing the solution uniformly across the paper surface.
Mastering brush coating often presents a challenge, as both the sizing and salt solutions are clear and invisible during application. Consistency in brush strokes and rotation technique is key to overcoming this hurdle.
Note: As an alternative to brush coating, a glass coating rod, available from specialized photographic suppliers like Photographers’ Formulary and Bostick and Sullivan, can be used. This method is favored by many platinum printers for achieving exceptionally smooth and even coatings.
Floating: A Traditional Technique for Uniform Coverage
Floating the paper on the solution was the prevalent coating method in the 19th century, renowned for its ability to produce consistently even coatings. Pour the salting or silver nitrate solution into a clean glass dish, such as a Pyrex baking dish, larger than the paper size. Plastic trays with flat bottoms can also be used, though glass is easier to clean thoroughly.
Prepare the paper for floating by either folding two opposite corners to create small tabs or folding 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 until it makes contact with the solution. 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 starts to curl, gently hold the flaps with your fingertips and breathe onto the back of the paper. The increased humidity from your breath will relax the paper fibers. Float the paper on both the salting and silver solutions for approximately 1-2 minutes each. Dry the coated paper by hanging it on a line using plastic clothes pins.
Printing: Harnessing Light to Create the Image
Printing-out papers are designed for contact printing, typically using a wooden contact-printing frame with a hinged back or simply between a sheet of glass and a flat plywood board. Ensuring the paper is thoroughly dry before printing is essential, as residual moisture can cause stains on the negative. If you are concerned about potential damage to a valuable or historical negative, placing a thin sheet of clear acetate between the negative and the paper offers a protective barrier.
Expose the printing frame to a light source – either a sunlamp or direct sunlight. Initially, the paper will darken relatively quickly, and then the rate of darkening will slow down. When using a contact-printing frame, you can monitor the print’s progress periodically. In a dimly lit room, away from direct light, unhinge one side of the frame’s back and gently peel back a corner of the print to inspect the image density. Exercise caution not to expose the paper to bright light during inspection and avoid shifting the registration of the negative and paper. The highlights in the print should appear darker than the desired final tone, and the shadow areas might exhibit a metallic sheen known as “bronzing.” With practice, you will develop the ability to judge the optimal printing density by visual inspection.
Contrast Control: Fine-Tuning Your Prints
Achieving the desired contrast in printing-out papers can be manipulated through several techniques:
- Slow Printing: Printing in shade on a sunny day or utilizing artificial light sources slows down the printing process and increases contrast.
- Tracing Paper Diffusion: Placing a sheet of tracing paper over the glass of the printing frame diffuses the light, similarly slowing down printing and enhancing contrast, whether in shade or under artificial light.
- Ammonia Fuming: Fuming the sensitized paper with ammonia vapor alters the pH of the silver halide to an alkaline state, boosting contrast and printing speed.
- Potassium Dichromate in Salting Solution: Adding potassium dichromate to the salting solution acts as a restrainer, increasing contrast during printing.
Chemical Contrast Control: Ammonia Fuming
Ammonia fuming was a common practice in the 19th century for controlling contrast in all types of printing-out papers. To fume paper, you’ll need a large plastic storage box and cotton wool. Line the bottom of the box with cotton wool and evenly drizzle about three ounces of household ammonia over the cotton. Close the lid tightly. Avoid inhaling the fumes when opening the box. To fume, tape the sensitized paper, emulsion side down, to the underside of the lid at the corners. Replace the lid and fume for approximately 1-3 minutes. Remove the paper and allow it to outgas in a well-ventilated area for about two minutes before placing it in the printing frame. Ammonia fuming is a potent technique that significantly accelerates printing and increases image contrast.
Light Source Contrast Control: Harnessing UV Intensity
The choice of light source profoundly influences print contrast. Slower printing generally yields higher contrast, while higher levels of ultraviolet (UV) light tend to reduce contrast.
Sunlamps and direct sunlight are rich in UV light and therefore produce lower contrast prints. Conversely, increasing contrast can be achieved by reducing UV intensity. Placing one or more sheets of tracing paper or a sheet of frosted glass over the printing frame effectively filters UV light, dramatically increasing contrast. Similarly, positioning the printing frame in the shaded side of a building on a sunny day will achieve a comparable contrast-enhancing effect.
Processing: From Latent Image to Permanent Print
Once the print has reached the desired density in the printing frame, it needs to be processed to become permanent. The initial step is washing to remove residual silver nitrate, which can interfere with subsequent toning and fixing stages. Use tap water containing chlorine for this wash, as chlorine helps precipitate excess silver. If your tap water is chlorine-free, add a small pinch of table salt to the wash water. Wash until the milky appearance caused by silver precipitate disappears from the water. Using a dark tray or placing a sheet of black Plexiglas at the bottom of the tray can make it easier to observe the precipitate. After this wash, the paper’s light sensitivity is significantly reduced, but it remains light-sensitive until fixed.
Toning: Enhancing Image Tone and Permanence
Without toning, printing-out papers typically exhibit a warm brown image tone. Toning, performed after the initial wash and before fixing, offers a way to modify the print’s color and enhance its archival stability.
Gold toning allows for a spectrum of tones, ranging from reddish-brown to purple and even blue-gray. Similar to silver-gelatin prints, gold toning also significantly improves the print’s permanence.
Acidic toners, such as P.O.P. Borax Toning Bath, generally act slowly and impart warmer tones. Alkaline toners, like P.O.P. Thiocyanate Toning Bath, work more rapidly and tend to produce cooler, blueish tones. If gold toning is planned, trimming the unexposed darkened edges from around the print beforehand minimizes gold solution waste.
Judging the final tone of POP during toning can be tricky, as the color tends to cool down as the print dries. Creating step tablets – a series of test strips toned for varying durations (e.g., at 3-minute intervals) – and carefully labeling them provides valuable references for visualizing final tones and controlling the toning process.
Fixing: Stabilizing the Image for Longevity
Following toning, the print needs to be fixed to remove unexposed silver halides and render the image permanent and light-fast. Use a fixer without hardener for approximately five minutes. After fixing, immerse the print in a Hypo Clearing Agent (HCA) to aid in removing residual fixer, followed by a thorough wash similar to that used for double-weight, fiber-based silver-gelatin papers. Proper fixing and washing are crucial for the long-term archival stability of printing-out process prints.
Beyond Salt Prints: Exploring the Family of Printing-Out Processes
Mastering salted paper printing provides a solid foundation for understanding and exploring other printing-out processes. The processing steps – washing, toning, and fixing – are largely consistent across the different types of POP. Alternative printing processes, including albumen, gelatin-chloride, and collodio-chloride, as well as even more complex processes like platinum/palladium and carbro, offer diverse creative avenues. While each process has its nuances, the fundamental principles and techniques learned with salt printing are transferable, making it an excellent entry point into the broader world of alternative photographic printing. The relatively low technical barrier combined with the immense creative control and expressive potential makes printing-out processes a rewarding pursuit for photographers seeking to connect with the history and artistry of image-making.
Concluding Thoughts: Embracing the Legacy of Printing-Out Papers
Printing-out processes offer a unique window into the history of photography and a hands-on approach to creating beautiful and enduring photographic prints. While the quest “Where Can I Print Out Papers” in a modern context often leads to digital print shops, exploring POP redirects this question to a journey of self-creation. It’s about where can you set up your own printing process, where can you learn these techniques, and where can you find the resources to embark on this rewarding photographic adventure. By delving into the techniques outlined by experts like Steve Anchell, photographers can not only recreate historical photographic aesthetics but also gain a deeper appreciation for the craft and the enduring magic of light-sensitive materials. The journey into printing-out processes is not just about producing images; it’s about experiencing the rich heritage of photography and cultivating a profound connection with the art of image-making.
