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Gotta love it... Excellent timing. I have several more coming in this series and I have been working on a brand new silver gelatin paper negative video workshop where I go super deep in areas I have never seen anyone else do. Keep me posted on how things go for you.

Wonderful stuff... Keep me posted on how you are doing.

Hi, I have not had that issue on my side, but it does make sense how that could happen based on the thickness of the heavier glass. Thanks for watching and commenting.

@@TimLaytonDarkroomDiary BTW your post regarding a new camera for photographing wild horses is a dead link.

Yes, thank you. The system had an error and posted it as a backdated article and I caught it and got it lined it. It is scheduled properly now and will release. Thank you for reporting it.

Well, that is awesome. Glad you find it helpful. Thanks for watching and commenting.

You are welcome and thank you for watching and commenting. I appreciate it.

Thank you!

I am glad you liked it. Thanks for watching and commenting.

@@TimLaytonDarkroomDiary Just sent you an E-Mail... ;-)

Awesome, thank you for your continued support. I appreciate it.

Thank you. All we can do is make good decisions and do the hard work. I appreciate you watching the video and commenting.

Hi, you are welcome. I appreciate the support and encouragement.

Hi, yes, I have created extensive bodies of work using silver gelatin paper as my negative medium. I use it extensively with my ULF cameras making everything from the obvious silver gelatin and silver chloride contact prints to even historic prints like platinum, kallitype, etc. Your question is very timely because I am starting a new series next week where I am using my 5x7 Graflex loaded with 12 sheets of silver gelatin paper for my negative and I am going to make a variety of print types from them and discuss all the details along the way. If you are a Darkroom Diary Premium Member, I go a lot deeper on the technical details and host live video sessions to discuss/review, etc. In case you are interested, here is the link to join - timlaytonfineart.com/membership-join/

I am indeed a premium member, so will look there for more details. Most of my cameras for this type of work are either pinhole, or antique 4x5.

Awesome. I am not sure if you saw my email or not, but I am hosting a live video meeting this morning at 11 AM CT to discuss my Platinum/Palladium Master Workflow.

You are welcome and thanks for watching and commenting.

@TimLaytonDarkroomDiary the best channel of Large and Ultra Large Format Photography(ART)!!!!

I appreciate that... We just need to get TH-cam on board and have them suggest my videos... Your comments and likes help a lot, so thank you.

Hi, I just replied to your other comment. Your timing is really good as noted in my other reply. Thanks for watching and commenting.

That is funny... :). Yea, having 12 exposures at the ready is crazy. I am getting ready to start a new challenge next week using the 5x7 Graflex Auto with just one lens for all 12 exposures for my Solitary Witnesses project. I will be posting a video about that shortly. Thanks for watching.

Hi Chris, thank you.

Hi David, you are welcome and thanks for taking time to comment. I appreciate your support.

Hi James, that is great to hear. Thank you for taking the time to let me know.

I really appreciate that very much. Comments like yours make me want to continue sharing.

I appreciate your kind words. I really like the calotype paper negative with the Ammonium Citrate at 75C on Arches Platine 310. That combo really works for my Solitary Witnesses project. At 20C, you get a much different look as well.

Thank you. It took my son, Tim Jr and I a lot of work over the past 3 1/2 years to get it where it is today. Thanks for your kind words and support.

Excellent idea. Also, you can vary the dilution ratio of the developers too. For example, Potassium Oxalate is typically mixed at 35% and Ammonium and Sodium Citrate are usually mixed between 20% to 35% dilutions. By varying those, plus testing at different temperatures, you will likely discover something new and exciting that fits with your work. Keep me posted!

To me , the sodium citrate looks like a go between the two. I actually like the ammonium citrate contrast best.... maybe a little longer exposure? Keep up the good work, I thoroughly like your content and your art!

Hi, I was thinking the same thing about it could possibly benefit from a little more exposure. It is interesting that this developer will benefit from more exposure as compared to the other two. I am going to print this again tomorrow and start making some more prints from other similar calotype negatives. Thanks for watching and commenting.

I appreciate the kind words and you taking time to comment. Stay in touch.

Hi Daniel, that is good to hear. Thanks for the feedback, and I appreciate you supporting the work with your premium membership.

Hi, thanks for watching.

Excellent idea. I will think about this and give it a try.

Hi Terry, thank you and same to you as well.

I have found for my work that I prefer Arches Platine 310. For this project, I tested Arches 310, COT 160, COT 320, Platinum Revere, Rives BFK, and Hahnemuhle Platinum Rag. The color and overall feel for this project rendered the best with Arches.

@@TimLaytonDarkroomDiary thank you soooo much

You are welcome.

Your Calotype videos have inspired me to give it try. I have chemicals on order. Thanks

Hi Larry, good to hear from you. That is awesome. I know you will love making the Calotypes. They are magical.

Hi Michael, good to hear from you. Thank you. I will share some of my examples in future videos. I feel pretty good about 2 of the options I have explored so far.

Thanks for watching and commenting. I appreciate it. Stay in touch.

I appreciate it. Thanks for watching and commenting.

Thank you. I appreciate it.

I really appreciate that. It is a lot of fun to share and get the community involved. Make sure you are subscribed to my newsletter and feel free to join a future episode. If you haven't already done that, you can join at timlaytonfineart.com/subscribe/

Hi David, great to hear. Keep me posted on how you are doing. Thanks for watching and commenting.

Hi Terry. Thanks for watching and commenting. I appreciate it.

Hi Chris, thanks for watching and commenting. I appreciate it.

Hi, thanks for asking. This work is directly tied to my project. You can read the artist statement and my creative framework on my website at timlaytonfineart.com/temporal/

Thank you. I appreate it. Thanks for commenting.

Thanks Michael. I appreciate it. I think you will really enjoy the calotype process. Many more of these episodes to come. My plan is to explore Greenlaw's history and background next and then do a super deep dive in the his chemisty tweaks and how incredible his workflow from the 1850s is still perfect today in 2024.

Hi, how are you? Thanks for commenting. You are correct on both statements... :)

@@TimLaytonDarkroomDiary Excepting my iPhone, photography's been on hold and will be on hold for a while, though I have a long list of projects I want to try when circumstances are better for them: ULF, stereo, get my OM-1 refurbed, film making, various alt print processes, perhaps even brief excursions into wetplate and dags (probably workshops for bragging rights more than long term interest). I enjoy the videos and your work. The chemist in me felt compelled to say, "yes, you remembered correctly" about Potassium Nitrate.

@@fr.marklichtenstein8892 Sounds like a wonderful list of things to pursue when you have the time. Stay in touch and keep me posted on how things are going.

Hi David, always good to hear from you. Thanks for watching and commenting. The holders used are regular wet plate holders and I sandwich the calotype between two thin sheets of glass. The registration works out perfectly, just like wet plate, so no worries about that thankfully. I think you would really enjoy the calotype process. I have a lot of new videos coming up that share the process in detail and I will be hosting some live shows in the near future as well that I think you will enjoy. Stay in touch.

@@TimLaytonDarkroomDiary Thanks Tim: the focal plane tolerances perhaps become a bit looser the larger the format you go! A couple of mm probably doesn't make too much difference.

Hi, I am not making prints for this series, the calotype is the final artwork. I am making videos right now where I have the calotype mounted and I will be discussing the narratrive of the work and sharing the artist motivations, etc. I think you will enjoy this. These videos are all about the process (behind the scenes) and the subsequent videos are about the the art. Thanks for commeing and sharing. I appreciate it.

@@TimLaytonDarkroomDiary your videos are relaxing and interesting, thank you so much

@@chriscard6544 Thank you... Very kind. I appreciate it.

Thanks Michael. Now, it is full steam ahead with using the DIY glass coating rods on the Vellum paper that is available in 19x24 sheets. We know this works based on the 8x10 coating tests, so now it is just waiting for the Amazon delivery so I can start coating 14x17 ULF Calotypes...

Hi David, you are welcome. Thanks for watching and commenting. I appreciate it.

Hi Jeff. I have large trays all the way up to 40x50. For my ULF contact prints, I only go up to 20x24 and those trays are very common as you probably know.

Thank you!! I appreciate your support.

Much appreciated, thank you very much.

Hi Kevin. I have tested just about every silver gelatin paper that I can think of over the last 5 years to use as a negative and I found that Ilford Warmtone Semi-Matt gives me the best tonal range and rendering by far. The second best is Ilford Class Matte. Both in fiber of course and not RC. I develop in Ilford Multi-grade 1:30 by inspection with a normal development in the 2 minute range at 20C. If you purcahse the paper in 50 packs in the USA, the cost comes down to about $7 a sheet vs. $25 for Ilford FP4 or HP5. I am also currently testing a new blue half-speed X-Ray film in my 14x17 to see how it compares to the paper. I will be sharing that series coming up shortly. I am not sure if you are a Darkroom Diary Member or not, but I share all the technical details and workflows with members which it sounds like would be helpful for you. More info on that at timlaytonfineart.com/darkroomdiary/.

@@TimLaytonDarkroomDiary Thanks for the detailed explanation.

@@kevinthephotographer9346 You are welcome.