In today’s video, I take you behind the scenes on the second day of making this new 16×20 Ultra Large Format contact print.
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I will share additional episodes as I make the final print for my exclusive Tim Layton Fine Art Ultra Large Format Analog Print Club Membership.
I am using a silver gelatin paper negative that I created in my studio and printing it on Ilford Warmtone fiber paper for this new limited edition print. I share a photo of the negative below the video.
I share the fully dried-down first print made with a 10-second split-grade exposure in today’s video.
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Come with me behind the scenes in the field and my darkroom as I create my latest plates and handmade prints. Whether you are technical and want access to my Darkroom Diary notes and formulas or an art buyer who wants a personal connection with me, I have you covered and am excited to learn more about you.
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Here is a closer look at the 16×20 ULF silver gelatin paper negative.
For this print, I used Ilford Warmtone Semi-Matt fiber paper, which I developed in Ilford Multigrade Paper Developer and fixed with TF-4.
The photo below is of the wet print that was just placed on the drying screen. I will allow it to dry fully overnight, and then tomorrow, I will make some new prints that I will tone and use this print as a reference for comparisons.
I created this print using my simple DIY contact printing setup. If you haven’t seen the behind-the-scenes video where I share the entire configuration, be sure to check that out.
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This is just day one for this print, and I typically make a good print and let it fully dry before I make any other decisions.
By doing it this way, I see the full dried-down effect. I also use this as my standard and unaltered reference print before I tone with selenium or gold or both or possibly make additional adjustments before moving forward.
In the next episode, I will show you the dried-down print and then make a couple more prints the same way that I made the reference print. I plan to tone one with Selenium, a second with Nelson’s Gold Toner, and a third using both toners for a dual-toning effect. I might even try to make a Lith print version, too.
The next day, I review all of the prints together and decide on my final direction.
I usually invest 3 to 5 sessions for each print I intend to add to my portfolio.
Stay tuned and if you want access to my technical notes for every Darkroom Diary episode, join me as a Darkroom Diary member and take advantage of all the benefits that I share with you.
Come with me behind the scenes in the field and my darkroom as I create my latest plates and handmade prints. Whether you are technical and want access to my Darkroom Diary notes and formulas or an art buyer who wants a personal connection with me, I have you covered and am excited to learn more about you.
