A few days ago, it was a beautiful morning, so I headed out before sunrise to expose some new silver gelatin paper negatives. I am working on my new Silver Gelatin Paper Negative Video Workshop and need many examples to illustrate the concepts as I teach them in the course.
I exposed 12 paper negatives at sunrise, then returned to the darkroom and developed them. In the video below, I share the journey from heading out in the dark to making an artist proof of my favorite negative of the day.
Paper Negative Summary Table
All the paper negatives were Ilford RC Grade # 2 glossy silver gelatin paper. I did not use any pre-flashing methods, filters, etc. I created these negatives using my Graflex Auto 5×7 1906 vintage camera and a few lenses. I usually wouldn’t expose this many negatives in one day, but I was testing some lenses for coverage verification and others for comparison.
| Exposure # | Lens Used | Exposure Info | Notes |
|---|---|---|---|
| 1 | 17″ Dallmeyer F/5.6 | ISO 6 – 2s | Scene # 1, I verified this lens does not properly cover 5×7 format. |
| 2 | 17″ Dallmeyer F/5.6 | ISO 6 – 1s | I thought I messed up the Graflex workflow, so I created another exposure. |
| 3 | 17″ Dallmeyer F/5.6 | ISO 6 – 1s | Second attempt to correct # 2. |
| 4 | 17″ Dallmeyer F/5.6 | ISO 6 – 1s | 2nd Scene |
| 5 | 17″ Dallmeyer F/5.6 | ISO 6 – 1/2s | 2nd exposure for this scene. |
| 6 | 9″ Port-Land | ISO 6 – 1/2s | 3rd Scene |
| 7 | 8 3/4″ Verito | ISO 6 – 1/2s | 3rd Scene |
| 8 | 6″ Port-Land | ISO 6 – 1/2s | 4th Scene |
| 9 | 6″ Port-Land | ISO 6 – 1/2s | 4th Scene |
| 10 | 9″ Port-Land | ISO 6 – 1/30s | 5th Scene |
| 11 | 8 3/4″ Verito | ISO 6 – 1/30s | 5th Scene |
| 12 | 6″ Port-Land | ISO 6 – 1/30s | 6th Scene |
In the video at the bottom of this article, I share my thoughts about each of these negatives and I decided to make an artist proof of negative number 12.
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As an artist working with a pure analog process, I find immense value in creating artist proofs (APs) before finalizing a limited edition series. Artist proofs are not just early versions of a print; they represent my creative process in motion—a place where I refine tonal values, contrast, and aesthetic choices before committing to a final edition.
Each paper negative I create is unique, requiring careful handling and exposure adjustments to achieve the desired tonal qualities in my final silver gelatin prints. Unlike digital workflows where adjustments can be made endlessly on a screen, my process demands a deep understanding of light, chemistry, and materials. Every proof helps me assess the subtle nuances of my image—the soft transitions of shadows, the depth of highlights, and how different toning combinations will affect the final piece. I enjoy and appreciate the slow and tactile nature of the pure analog workflow.
I particularly love split or tri-toning my silver gelatin contact prints because it allows me to push the medium’s expressive potential even further. By selectively applying different toners such as selenium, gold, or sepia, I can create rich blacks, warm browns, and cool highlights, or a number of variations of these characteristics, enhancing the depth and emotional resonance of each print. This hands-on approach allows me to experiment with tonal shifts, sometimes revealing unexpected beauty that I could never predict in a purely mechanical or digital process.
There’s a sense of discovery in this workflow that makes every print feel alive. Working with paper negatives means I embrace their organic imperfections, softness, and unique textural qualities, which would be impossible to replicate with digital negatives or modern printing methods. These characteristics give my work a distinct voice—one deeply rooted in historical traditions while simultaneously allowing me to explore new artistic expressions.
These negatives are part of my Solitary Witnesses project. In Solitary Witnesses, I explore the metaphor of isolation and resilience through lone trees—silent observers of a changing world. These trees are captured with a 5×7 large format camera as enduring symbols of strength and solitude. Working with analog paper negatives, I embrace the medium’s expressive depth, allowing emotions to emerge beyond mere representation. Each split or tri-toned silver gelatin contact print is a one-of-a-kind original, embodying themes of resilience and transformation. Through my work, I invite contemplation on the quiet strength of standing alone and the delicate balance between isolation and connection in an ever-shifting landscape.
Ultimately, artist proofs and my pure analog workflow ground me in the physicality of my art. There’s no undo button—only intention, intuition, and the tactile experience of working with light-sensitive materials. It’s a slow, deliberate process, but I love it because it keeps me connected to the fundamental principles of photography: light, chemistry, time, and craftsmanship.
Enjoy the video below. If you are a Darkroom Diary Premium Member, we will discuss these negatives, the entire workflow, and the chemistry in the next group video meeting.
Are You Investing in Your Creative Growth? Photographers often invest heavily in gear, equipment, and supplies—but how often do we invest in ourselves? For just $10 a month, the Darkroom Diary Premium Membership offers you the chance to join a vibrant community dedicated to growth, learning, and sharing creative journeys.
This is more than a membership—it’s a space to connect, evolve your vision, and draw inspiration from fellow analog photography enthusiasts. If you’re ready to take the next step in your creative journey, we’d be honored to have you join us in building this unique community.
