CALOTYPE

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Survey of Negative Processes Paper-Based Processes

Contents

[edit] historical background

  • arisen from PHOTOGENIC DRAWING (1834): invented by Henry Fox Talbot[1]
  • CALOTYPE (later called TALBOTYPE): published 1840/ patented 1841, invented by Henry Fox Talbot
  • after exposure latent image has to be developed
  • much shorter exposure times than photogenic drawing (positive images made on printing out paper)
  • neutral image hue
  • chemically more stable than photogenic drawing
  • exclusively used for negatives by Talbot, also for positives by other photographers[2]

[edit] process

[edit] preparation[3] [4]

  • paper mostly sized with gelatin or starch : gelatin (used in GB) creates a warm image hue, starch (used in Germany and France) creates a cold image hue
  • albumen possible with very early paper negatives
  • from 1852 on there exist papers specially made for photography (later on also pre iodized and waxed paper)


[edit] sensitization

photogenic drawing: paper is treated with weak solution of sodium chloride and water, then with solution of silver nitrate (increasing sensitivity by repeating this step)[5]

calotype: different formulations

  • treatment with solution of silver nitrate, drying at dark, bath of potassium iodide , drying (long storage possible): (exposure time: several hours)[6] [7] [8]
  • treatment with solution of silver nitrate, then solution of potassium, again solution of silver (exposure time: 6 to 7 minutes)[9]
  • bath of strong silver nitrate solution, drying, bath of potassium iodide, shortly before use contact with “gallo-nitrate of silver” (silver nitrate, acetic acid, gallic acid): (silver nitrate and acetic acid = solution A, gallic acid = solution B), then wash and dry[10] [11] [12] [13] [14]
  • solution of silver nitrate and sodium chloride with silver nitrate in excess[15]
  • used light sensitive salts: silver chloride, bromide, iodide (+ gallic acid) and nitrate[16]

[edit] exposure[17] [18]

  • light sensitive approximately 24 hours
  • exposure also moist within a glass plate sandwich : increasing sensitivity by moist exposure
  • few seconds exposure time for calotype

[edit] development[19] [20] [21] [22]

  • “gallo-nitrate of silver” (physical development)
  • 1851: pyrogallic acid
  • 1862: alkaline pyro development by Russel (preliminary work by Wardley): more sensitive than acidic development and without addition of silver nitrate

[edit] fixing/ stabilization[23] [24]

photogenic drawing: bath of potassium iodide (1834) or sodium chloride (1835)

calotype:

  • strong solution of sodium chloride: formation of less sensitive silver salts (silver chloride), darkening possible, even if a high amount of light energy needed, highlight areas never pure white, no real fixing, only stabilization[25] [26]
  • other stabilization salts: potassium bromide, potassium iodide[27]

general process: silver ions and unexposed silver halides are converted into silver iodide (less light sensitive, in case of potassium iodide stabilization: should be well prepared, can bleach the image ) or silver chloride and bromide respectively (also less light sensitive, because of salt in excess, before that silver ions in excess)[28] [29]

  • 1840: potassium ferro cyanide[30]
  • sodium thiosulfate (hypo) for fixing by Sir Herschel (1819: Herschel discovers ability of sodium thiosulfate to solve silver salts ): first real fixing agent[31] [32] [33]

general process: silver halides are converted to water soluble silver thiosulfate complexes and can easily washed out during subsequent washing, before fixing remaining silver nitrate must be washed out thoroughly otherwise brownish stains of silver sulfide could be built[34]

[edit] post treatment

Coatings on paper negatives are supposed to increase transparency and therefore increase details in the positive: coating media fills with a refractive index similar to that of cellulose the light scattering areas between the paper fibers. So saturation is more favored than just a coating.[35]

Application possible by bath in warm wax (maybe warmed by a water bath), rubbing in solid wax, melting in on a warm plate, ironing in grated wax.

Excessive wax can be taken off by blotting paper and heat

  • waxing possible (mostly yellow or bleached beeswax, rarely paraffin wax ), also addition of spermaceti[36] [37] [38]
  • other coating media: oil, gums, resins, mixtures (like sandarac, oil, pine resin) , mastic, albumen, Canada balsam, dextrin, isinglass, gelatin, gum Arabic, benzoin, spermaceti, tallow, paraffin, collodion[39] [40]
  • rarely additional resin coatings (probably for accentuating some details, more transparent than wax alone): sandarac[41]
  • sometimes additional coating as paper protection[42]
  • ironing[43]
  • reduction of contrast by rubbing in graphite or colored bathes[44]
  • retouching: 1. graphite rubbed into paper fibers (because of hydrophobic surface difficult to use water based retouching media with waxed negatives) , 2. black gouache[45] [46]

[edit] variations

  • ANS-PAPER (ammonium silver nitrate) by Alfred S. Taylor: sensitization with 2% solution of sodium chloride and diammine silver(I) nitrate: more sensitive paper with rather bluish image hue, more used for positives, more resistant to bleaching[47]
  • WATERLOO PAPER: paper sensitized with silver chloride, subsequent washing with solution of potassium bromide (formation of silver bromide), then silver or ammonium nitrate, stabilization with potassium bromide: very sensitive paper for camera negatives[48]
  • BLANQUART-EVRARD´s PROCESS , ROMAN METHOD, WET PAPER PROCESS: 1847 by Louis-Désiré Blanquart-Evrard, paper floats on the preparation solutions, sensitization by pressing the paper against a silver nitrate and acidic acid coated glass plate, kept damp by several layers moist paper and a second glass plate, exposure of the whole package in a camera, subsequent waxing , much more sensitive and stable than calotype, also developed, dark grey image hue[49] [50]
  • PAPER ROLLFILM: 1854 roll holder by Arthur James Melhuish and J.B. Spencer: no extensive use, several pieces calotype paper glued to one another, 1875 rollpaper cassette by Leon Warnerke for paper with dry collodion coating, 100 exposures: not successful[51]
  • CHRYSTOLOTYPE/ CHRYSTALLOTYPE/ CRYSTALOTYPE: secret process by John Whipple, later name was also used for an albumen-glass- process to produce positives[52]
  • HUMBERT DE MOLARD PROCESS, 1851[53]

variations were the sensitization solutions are brushed on the paper are summarized under the term plain paper negatives.[54]


[edit] Gallery

[edit] References

  1. ? NADEAU, LUIS, 2006. Encyclopedia of Printing, Photographic and Photomechanical Processes (1st eBook ed., V.1.1.). Fredericton, NB (Canada), p 148
  2. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 19
  3. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 19, 34
  4. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  5. ? TAFT, ROBERT, 1964. Photography and the American Scene: A Social History, 1839-1889. New York: Dover (Reprint), p 103 et seq.)
  6. ? TAFT, ROBERT, 1964. Photography and the American Scene: A Social History, 1839-1889. New York: Dover (Reprint), p 103 et seq.)
  7. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 33
  8. ? EDER, JOSEF MARIA, 1932. Ausführliches Handbuch der Photographie. Band 1, Teil 1. 4. Auflage. Halle a.S.: Knapp, p 439 et seq., p 435 et seq.
  9. ? EDER, JOSEF MARIA, 1932. Ausführliches Handbuch der Photographie. Band 1, Teil 1. 4. Auflage. Halle a.S.: Knapp, p 436 et seq.
  10. ? NORRIS, DEBBIE HESS, 1989a. Photogenic Drawings, Calotype Negatives, and Salted Paper Prints. University of Delaware
  11. ? EDER, JOSEF MARIA, 1932. Ausführliches Handbuch der Photographie. Band 1, Teil 1. 4. Auflage. Halle a.S.: Knapp, p 439 et seq.
  12. ? THOMAS, DAVID BOWEN, 1970. The First Negatives: An Account of the Discovery and Early Use of the Negative-Positive Photographic Process. 2nd impression. London: Science Museum p 9et seqq.
  13. ? TAFT, ROBERT, 1964. Photography and the American Scene: A Social History, 1839-1889. New York: Dover (Reprint), p 106 et seq.)
  14. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 33
  15. ? THOMAS, DAVID BOWEN, 1970. The First Negatives: An Account of the Discovery and Early Use of the Negative-Positive Photographic Process. 2nd impression. London: Science Museum p 2
  16. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 20
  17. ? DAFFNER, LEE ANN, 1995. Examination and Investigation of the 19th Century Paper Negatives. A Study of the Process, Materials and Deterioration Characteristics. Topics in Photographic Preservation, 6, 1-10
  18. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 18, 33
  19. ? NORRIS, DEBBIE HESS, 1989a. Photogenic Drawings, Calotype Negatives, and Salted Paper Prints. University of Delaware
  20. ? THOMAS, DAVID BOWEN, 1970. The First Negatives: An Account of the Discovery and Early Use of the Negative-Positive Photographic Process. 2nd impression. London: Science Museum p 9et seqq.
  21. ? TAFT, ROBERT, 1964. Photography and the American Scene: A Social History, 1839-1889. New York: Dover (Reprint), p 106 et seq.)
  22. ? EDER, JOSEF MARIA, 1932. Ausführliches Handbuch der Photographie. Band 1, Teil 1. 4. Auflage. Halle a.S.: Knapp, p 439 et seq., 453, p 454, p 523
  23. ? TAFT, ROBERT, 1964. Photography and the American Scene: A Social History, 1839-1889. New York: Dover (Reprint), p 103 et seq.)
  24. ? REINHOLD, NANCY, 1993. The Exhibition of an Early Photogenic Drawing by William Henry Fox Talbot. Topics in Photographic Preservation, 5, 89-94
  25. ? NORRIS, DEBBIE HESS, 1989a. Photogenic Drawings, Calotype Negatives, and Salted Paper Prints. University of Delaware
  26. ? THOMAS, DAVID BOWEN, 1970. The First Negatives: An Account of the Discovery and Early Use of the Negative-Positive Photographic Process. 2nd impression. London: Science Museum p 2
  27. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 20
  28. ? REINHOLD, NANCY, 1993. The Exhibition of an Early Photogenic Drawing by William Henry Fox Talbot. Topics in Photographic Preservation, 5, 89-94
  29. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 30 et seqq.
  30. ? EDER, JOSEF MARIA, 1932. Ausführliches Handbuch der Photographie. Band 1, Teil 1. 4. Auflage. Halle a.S.: Knapp, p 436 et seq.
  31. ? TAFT, ROBERT, 1964. Photography and the American Scene: A Social History, 1839-1889. New York: Dover (Reprint), p 103 et seq.)
  32. ? EDER, JOSEF MARIA, 1932. Ausführliches Handbuch der Photographie. Band 1, Teil 1. 4. Auflage. Halle a.S.: Knapp, p 436 et seq.
  33. ? THOMAS, DAVID BOWEN, 1970. The First Negatives: An Account of the Discovery and Early Use of the Negative-Positive Photographic Process. 2nd impression. London: Science Museum p 4
  34. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 30 et seqq.
  35. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  36. ? NORRIS, DEBBIE HESS, 1989a. Photogenic Drawings, Calotype Negatives, and Salted Paper Prints. University of Delaware
  37. ? DAFFNER, LEE ANN, 2003. "A Transparent Atmosphere": The Paper Negatives of Frédéric Flachéron in the Harrison D. Horblit Collection. JAIC, 42 (3), 425-439
  38. ? JENNINGS ET AL., 2005. Jennings, Katherine; Chen, Jiuan-jiuan; Albright, Garry E.. The Treatment of Wax-impregnated Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 255-266
  39. ? DAFFNER, LEE ANN, 2003. "A Transparent Atmosphere": The Paper Negatives of Frédéric Flachéron in the Harrison D. Horblit Collection. JAIC, 42 (3), 425-439
  40. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  41. ? DAFFNER, LEE ANN, 2003. "A Transparent Atmosphere": The Paper Negatives of Frédéric Flachéron in the Harrison D. Horblit Collection. JAIC, 42 (3), 425-439
  42. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  43. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  44. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  45. ? DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  46. ? DAFFNER, LEE ANN, 2003. "A Transparent Atmosphere": The Paper Negatives of Frédéric Flachéron in the Harrison D. Horblit Collection. JAIC, 42 (3), 425-439
  47. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 29
  48. ? WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television, p 32
  49. ? NADEAU, LUIS, 2006. Encyclopedia of Printing, Photographic and Photomechanical Processes (1st eBook ed., V.1.1.). Fredericton, NB (Canada), p 38
  50. ? DAFFNER, LEE ANN, 2003. "A Transparent Atmosphere": The Paper Negatives of Frédéric Flachéron in the Harrison D. Horblit Collection. JAIC, 42 (3), 425-439
  51. ? COE, BRIAN, 1986. Das erste Jahrhundert der Photographie 1800-1900. Bindlach: Gondrom, p 55
  52. ? NADEAU, LUIS, 2006. Encyclopedia of Printing, Photographic and Photomechanical Processes (1st eBook ed., V.1.1.). Fredericton, NB (Canada), p 55, 65
  53. ? NADEAU, LUIS, 2006. Encyclopedia of Printing, Photographic and Photomechanical Processes (1st eBook ed., V.1.1.). Fredericton, NB (Canada), p 99
  54. ? DAFFNER, LEE ANN, 1995. Examination and Investigation of the 19th Century Paper Negatives. A Study of the Process, Materials and Deterioration Characteristics. Topics in Photographic Preservation, 6, 1-10
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