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I’ve used a couple different kinds of paper. I believe it’s always watercolor paper of some variation. Fabriano, I’ve used an inexpensive type from Walmart, I’ve also used Lana 140lb watercolor. You’ll want to double check your chemistry I think, making sure that you’ve got the correct mixtures of everything. The gelatin/salt in the salting solution, the correct kind of silver nitrate in the silver, make sure the negative it good and especially that the glass in your contact printing frame doesn’t filter out UV light. Check out Borut Peterlin here on TH-cam. He gave me his chemistry notes to be able to do this.

This is me on a different account, but I decided not to keep it because it would be too irregular, like some larger strokes would still go under the mat, while some of it would be left with more white. I'm happy with it the way it is, and while I made sure not to permanently fasten the top layer to the bottom with more than just a hinge.

I believe it will keep the print in a dark brown tone, keep the contrast lower, and make it not as archival. I’m not too sure about other toner choices, but the toner I got for this didn’t cost too much, even having gold in the name. I think I got mine from Bostick & Sullivan. Not sure where they ship.

@@andrewlaverghetta715 Can toner prevent deterioration in storing photos for a long time?

I don’t totally recall, but I believe it helps the salt have a better place to dry, more uniform and thicker, instead of just letting salt dry on the paper.

Cássio Renan I couldn’t tell you how long it should be if you use a pinhole. Are you talking about using a paper negative from pinhole? If you’d try to make a salt print negative from a pinhole, that’d take forever. My salt solution has gelatin in it, so I believe that it’s helpful to keep it cool so it doesn’t grow mold.

@@andrewlaverghetta715 what i am planning on doing is putting the sensitized paper inside the pinhole camera instead of a photographic paper and expose it, will that work? in a sunny very light day I will try tomorrow, finally got everything ready today, almost messed up mixing the silver nitrate man, was scared asf lol thanks for helping out it's been so much info to process

@@andrewlaverghetta715 hey bro i tried exposing it yesterday for even more than 4 hours but the paper just got a bit more yellowish but no image whatsoever (by researching a bit more I then learned that Talbot had tried that and haven't had any success either) then I tried making photogenic drawings and it worked pretty well. By reading in the web I understood that I can accomplish what I want by using the calotype process, the only additional things I need are potassium iodide and gallic acid which I already found online to buy but I'm unsure if they're too dangerous for me to work with so I'm looking up about that and I also need to figure out what paper I can use to make the negative since they say the end result for his negative was translucent I have looked it up but cant find what kind paper it is.

Cássio Renan yeah if you’re just using the salt stuff and silver it’s not very sensitive. I know there are ways to make it more sensitive though. I know there’s an orange powder that’s used for carbon printing but I’m not sure how much of whatever it’s called to use. Thing to keep in mind is even doing a salt print contact print, it takes 5-10 minutes in direct sunlight. I’m not sure what f-number that would be, but you’d have to double it many times to have the exposure at f/100something like you get from a pinhole. Still, it’s going to be a negative, and then you’ll have to make a really long exposure for the contact print too.

@@andrewlaverghetta715 yeah i Will keep experimenting. do u ever any Idea what kind of paper I should use to make the negative for the calotype process?

Thanks for the input! What are you listening on? I just went back to double check and can still hear myself quite clearly except for when I showed the print outside before waxing. The music does get louder in between sections, but it should come down to a lower level when I’m talking. Have fun!

Actually ya know what? I think you’ve just got bad hearing. I’ve watched through this a number of times and the volume is fine.

@@andrewlaverghetta715 If I had bad hearing I would not hear it...

Hey, sorry for the slow reply. I was just using a standard HP C4200 all in one inkjet. Doesn't take anything too sophisticated. I did recently get a Canon Pixma Pro-100, so hopefully I'll try that soon. It doesn't take a fantastic printer to do salt prints or cyanotypes. Thanks for the compliments as well. I'm hoping to get a couple uploaded this week and get back into some salt prints. I usually get very little done over the winter unless it's digital photography.

Richard Rollinson - My Analog Life, Make sure you have pretty subdued lighting. Get it as dark as you can, even dark enough for normal darkroom conditions. Also, I've had better luck using the hairdryer with the "cool" setting. I'm not sure if the heat is doing anything to it, but I've had the chemistry start to brown very slightly while drying it myself. I try to stay further from the 60watt bulb, turn off computer lights, etc. Before I changed and solved the browning problem, it didn't seem to affect my prints too much.

Thanks, it doesn't mention any of this in my fotospeed kit :/ Really need to buy better chemicals

Richard Rollinson - My Analog Life, I've had a great time learning all of this. I started with a kit (photographers formulary?) and god a few decent prints, but realized I'd rather mix fresh chemistry and ended up spending about $150 for a heck of a lot more chemistry through Bostick and Sullivan. They've been great to work with. The stuff that gave me the best progress was making digital negatives on Pictorico transparency, and letting the image print in until I felt like it was just barely ruined, and it always seemed to lighten up quite a bit in the fix.

I have not done anything like this before and have been watching a lot of Borut Peterlin, so I am giving it a go :) Here in the UK it's hard to find supplies, so thought I'd buy a kit first just to see what it's like. I have also found a guy who said he will teach me wet plate. It's great to see how even your printing changed from the carnations one to this, it's was really deep. Keep up the cool work and look forward to seeing your next video :)

www.firstcall-photographic.co.uk/firstcall-pictorico-premium-ohp-transparency-film-a3-pack-of-20/p6935 :)