I recently decided to share my personal journal, which was originally created to document the process of making Calotype Paper Negatives and Salt Prints for my ongoing project, Temporal Symphony: Cycles of Change.
Through these entries, I offer a glimpse into my creative process, thoughts, and experiences as I work with the rare and historic calotype and salt printing process. Whether you’re an artist, collector, or simply curious, I hope you’ll discover something new, meaningful, or inspiring along the way. Perhaps it will encourage you to slow down, reflect, and see the world through a different lens—just as this process continues for me.
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Calotype Diary 04/09/2025 – Temporal Symphony Plate No. 2
Temporal Symphony: Cycles of Change reflects the natural rhythms of life through the evolving stages of flowers—from bud to bloom to decay. Guided by my Creative Framework Pillars of Resilience, Transformation, and Connection, this series embraces the 19th-century calotype paper negative and salt printing process to capture what lies beyond the surface—transience, subtlety, and the quiet beauty of transformation.
Table of Contents
I let the new calotype dry overnight so I could wax it today. Laying these handmade calotypes on a light table and viewing them transports me back to the beginning of photography in the 1830s, when Fox Talbot pieced together all of the clues from the pioneers who came before him to make photography’s first negative-to-positive process. I doubt that Fox Talbot realized then that his invention would change the course of photography and the modern world.
I decided yesterday to create 8×10 calotypes vs. the smaller 5×7, and after viewing my calotype yesterday and laying it next to a 5×7 calotype, I immediately knew it was the right decision.
I am almost positive that I will trim the 8×10 negatives to the whole plate size (6.5 x 8.5) as shown above from yesterday’s calotype. When looking at the whole plate size calotype printed on 8×10 paper, as shown below, I immediately know that it feels right.
In addition to the visual balance and harmony, this approach aligns with my creative vision to put the prints in the hands of serious collectors to experience and enjoy. The whole plate size calotype perfectly fills up the 8×10 paper, allows the perfect amount of breathing room to show the handmade brush strokes, and allows me to title, sign, and stamp the artwork.
As I mentioned yesterday, I will not be mounting these salt prints because of the potential hazards that mounting tissue and adhesives can cause in the long run. I will place the salt prints in gallery-quality, clear archival sleeves for viewing and handling. The salt prints in their archival sleeves will accompany my artist statement and certificate of authenticity in a wooden collector box, similar to how I approached the Solitary Witnesses Collection.
My Pictorialist Lenses
Today, I used the Wollensak Verito 11 1/2 inch F4 soft focus lens. I have the rare brass version, and while it takes the same photos as the aluminum version, I love the look and aesthetics of the more rare brass version.
My lenses for this project include the Dallmeyer 3B 290mm F3, Auzoux & Bauz 220mm F3 Petzal, the 275mm and 375mm Hermagis Ediscope F4.5 lenses, and the 8 ¾ F4 and 11 ½ F4 Verito lenses. All of these lensboards would have needed to be modified to fit on the 5×7 camera, which in turn would have caused a lot of work and expense to make another set of lensboards and custom mounting flanges. I am delighted I don’t have to manage these issues.
My Calotype Today
Today, creating the calotype was an interesting experience. Just about every challenge that could occur decided to show up, and a couple more…
Lower UV is always a challenge; while techniques exist to try to offset the issue, it is never guaranteed.
The snapshot of the calotype below is still wet, and I won’t be able to wax it until tomorrow after it fully dries. I will follow up tomorrow after I wax the calotype.
The EV rating was much lower today (13) than in the later afternoon light yesterday (15). If I have learned anything about calotypes over the years, it is that they love as much light as you can throw at them, and they look the best in full sunlight. With the lower UV, the exposure time was twice what it was yesterday. It is the only process I know of that benefits from working in full/harsh sunlight in the middle of the day.
To try and compensate for this, I juiced the developer with some extra silver to help build up some density. Once the calotype is fully dry and waxed, I will be able to determine if the extra tricks helped or not. If not, I like where I was headed with this composition, and I will try again and wait for stronger light this time.
Artist Reflections – The Quiet Stand
The lone tulip rising tall among its bowing companions becomes a symbol of Resilience—not through defiance, but through presence. Surrounded by gentle surrender, it holds space for both vitality and vulnerability, reminding us that strength often emerges in the midst of inevitable change.
Artist Story
On this spring morning, the tulips revealed their quiet choreography—most leaning into the arc of time, their petals softening in graceful descent. But one tulip stood apart, upright and calm, not resisting the decline around it but simply existing alongside it.
This moment felt like a visual echo of life’s deeper truths. In the presence of fading beauty, there was one still reaching—offering a quiet stand for all that endures when everything else begins to yield.
This calotype is part of my Temporal Symphony: Cycles of Change project, in which each handmade image meditates on the passage of time, the poetry of impermanence, and the enduring connection between all living things.
My Plans for Tomorrow
It all depends on how the waxed calotype from today looks. If I think it will print well, I will move forward with a new plate. If not, I will make another calotype of a similar composition and wait for stronger sunlight.
I try and make one calotype per working session. The amount of work and preparation is demanding but enjoyable. When I push the work to more than one per day, it becomes less satisfying and tiresome, which is a sign that one per day is the right choice.
By today’s standards, only making one exposure daily sounds absurd. However, I see this as a benefit because I don’t feel rushed, hurried, or compelled to make bad choices. I focus on one thing for the day, and most of the time, it pays off.
Join the Darkroom Diary Premium Membership
This is your invitation to step behind the curtain and experience the real work, challenges, and triumphs of the analog darkroom—shared openly, every week.
Here’s what you get as a Premium Member:
Full-Length Darkroom Videos
Get exclusive weekly access to my creative process in real time. Watch how I make decisions in the darkroom, navigate mistakes, experiment with formulas, and bring prints to life—unedited and honest.
Technical Notes, Formulas, and Master Workflows
You can access my personal darkroom formulas, get access to my workflows, and can ask me a technical or creative question at any time.
Monthly Premium Member-Only Video Q&A
Join me each month for an in-depth video session where I share my latest work and thoughts about analog photography and answer your questions about process, philosophy, technique, and materials.
Creative & Inspirational Articles
Enjoy exclusive articles that explore the deeper side of analog photography—why we do this, what it means, and how to stay inspired and grounded in a digital world.
If you love analog photography and want real access to an active working darkroom artist, this is the place for you.
(Cancel anytime. No gimmicks. Just honest darkroom work.)
Art Collector Resources
- Collector and Student Testimonials [read]
- Collector’s Guide [read]
- Why Analog Photography is Essential to Fine Art Creation [read]
- Why I Create [read]
- Aura – What is it, and why does it matter? [read]
- Why Analog Photography Is a Smart Investment [read]
- Analog photography in the Digital Age: Examining transformation, alienation and authenticity in modern photographic practice. https://doi.org/10.55927/ijads.v2i3.11019
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