Salt Print

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Salt Print

Kaden K.
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p.1 #1 · Salt Print

It is been a while since I last posted here.

Salt Print (waxed) made from wet collodion negative.

http://kadenca.tumblr.com/

Enjoy!

Sep 30, 2012 at 03:51 AM

RustyBug

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p.1 #2 · Salt Print

Welcome back ... was wondering when we'd hear from you.

Sep 30, 2012 at 04:00 AM

Kaden K.
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p.1 #3 · Salt Print

Thanks.

Sep 30, 2012 at 03:14 PM

AuntiPode
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p.1 #4 · Salt Print

Very sweet!

Sep 30, 2012 at 06:50 PM

Kaden K.
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p.1 #5 · Salt Print

Thanks AuntiPode.

Oct 01, 2012 at 02:47 PM

Bob Jarman
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p.1 #6 · Salt Print

The tones are fetching - very nice. And, I'll resist the "would like to see more of a smile" line even though it is tagged as a portrait

Regards,

Bob

Oct 01, 2012 at 04:34 PM

oldrattler 2-time assignment winner

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p.1 #7 · Salt Print

Very nice...

Oct 01, 2012 at 09:08 PM

Kaden K.
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p.1 #8 · Salt Print

Thanks Bob and oldrattler. The impressive part of the wet and dry negative glass plate
is the control over the density as established far back in 1850. The tonality is established
by the density of the negative and the usage of gel in the chemistry.

We were doing "spirit photography" a common thing in tintypes and carte-de-visite (CDV)
in the 19th century. This was particularly common during the revival of the spiritual movement
in the US. Their images showed often a seance with spirit(s) and people seating around a
table and sometimes the forest and other unusual settings..

I had just done a wet plate glass that looked a little thin and needed redevelopment in order
to increase density. We decided to do another plate (a 40 sec.s exposure) and I forgot to walk
away from the image at 15 sec.s.

The result however reminds me of another common type of images in the 19th century. Mothers
held babies while at the photography studio while portraits were made. Usually the mother(s) was
covered by cloth, even carpet. A perfect metaphor for motherhood - being there unconditionally and
never recognized.

Here are 2 examples: http://boingboing.net/2010/12/30/hidden-mother-tintyp.html

Btw, the redevelopment of wet and dry glass negative properly done with full control of the process
is known and practiced presently by a very small amount of contemporary photographers.

Oct 02, 2012 at 04:41 AM

AuntiPode
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p.1 #9 · Salt Print

Heh! I believe I mentioned I used the mother under a blanket method many times making portraits of infants and small children. Very useful to safely maintain a position and reduces the little one's insecurity whilst allowing the tyke to be the exclusive subject of the image.

Oct 02, 2012 at 07:49 AM

RustyBug

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p.1 #10 · Salt Print

Interesting @ the covering.

There is a statue nearby me with a similar covering, that has always "creeped me out" a bit when I've seen it. Now, it might take on a different perspective next time I view it.

Oct 02, 2012 at 02:58 PM

Kaden K.
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p.1 #11 · Salt Print

AuntiPode I would love to see an example of your portraits of the mother under a blanket method.

Oct 04, 2012 at 10:56 AM

AuntiPode
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p.1 #12 · Salt Print

Wish I had one. I've only retained a couple of images from back in the day. Unfortunately, neither of them are mother's holding children.

Oct 04, 2012 at 07:21 PM

Kaden K.
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p.1 #13 · Salt Print

Thanks.

Oct 07, 2012 at 01:21 AM

Kaden K.
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p.1 #14 · Salt Print

Making Collodio Chloride prints from collodion wet negative plates:

http://kadenca.tumblr.com/

In short, should film ever die we'll always have wet and dry glass negatives.
Vive la photographie.

Oct 08, 2012 at 11:10 PM

AuntiPode
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p.1 #15 · Salt Print

Very nice.

I recently bought a book that collodion chloride printing, among other processes. Looks interesting.

Two questions I'm wondering about:

1. What color is the print after gold chloride toning?

2. Is the finished paper flammable and subject to deterioration the way nitrocellulose film deteriorates?

Oct 09, 2012 at 03:31 AM

Kaden K.
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p.1 #16 · Salt Print

Thanks AuntiPode. Glad to see you are getting into alternate processes. The involvement of
photographers around the world is growing (mainly in Western and Eastern Europe). Kind of
a mini explosion; it remains still a small (but highly literate) community at this point in time.

1. Both developer and toner will cool the image color off. I personally prefer it slightly warm.
The golden color is attractive just like molasses. Obviously the long you tone it the color shifts
and acquires different nuances. I like toning it just slightly when it comes to POP (Print Out
Paper like collodio chloride). Other processes such as albumen I like to leave it into gold
chloride for longer.

2. All types of substrata will deteriorate because of pollutants in the air. Not flammable like
nitrocellulose at all and usually I would wax the print (a very precise process not to damage
the print). It is a mix of bees wax and lavender, which leaves a great smell. The build of wax
will beautifully deepen the print tones and also protects the print.

Btw, from a conservation POV there are ways of slowing down the image deterioration. Fixing
it for the right amount of time is crucial. Using acid free paper is also a must. To prevent
moisture museum conservators are using metallic tapes (better than the best preservation
tapes, like P90) to mount the image. It can alternatively be placed into a mylar holder, and a
sort of thin plastic like cloth on the back of the image in framing which absorbs moisture, called "corrosion intercept". Corrosion intercept was initially developed for space ships and used also
to preserve silver based objects, but is also great for non-ferrous objects.

Here is a write up on it: http://www.interceptshrinkfilm.com/pdfs/TB11.pdf

Hope this makes sense. Probably a little more than you expected.

Oct 09, 2012 at 05:23 AM

AuntiPode
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p.1 #17 · Salt Print

I wouldn't say I'm getting into it, but I admit it's very interesting and appealing.

Oct 09, 2012 at 06:05 AM

Kaden K.
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p.1 #18 · Salt Print

OK. Certainly a whole new world of complexities, beauty and to some extent lost knowledge.

Oct 09, 2012 at 06:09 AM

AuntiPode
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p.1 #19 · Salt Print

And vastly easier to obtain chemistry and equipment in the US than in New Zealand, it seems.

Oct 09, 2012 at 06:30 AM

Kaden K.
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p.1 #20 · Salt Print

That may be the case, even though I am aware of several great alt_photographers in NZ.

Just today I got a passe partout for a half plate daguerreotype I collected a few months ago
and it was made by a NZ daguerreotypist who's work has cased some of the best collections
in the world, including daguerreotypes made by Daguerre himself at a French museum and the
Southworth and Hawes collection for an exhibit in the US. I buy from him because he is simply
the best there is.

In a day and age like today, distance and geography is seldom an impediment.

Oct 09, 2012 at 09:02 PM

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