In a recent article, I shared that I have been working on and have perfected the Le Gray waxed calotype paper negative process. In this article, I share Le Gray’s original workflow based on his discoveries in 1849, which he later published in 1851. English translations from French were produced in 1853 and 1855, and I have included both for you.
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Le Gray’s Introduction to His Waxed Calotype Process
“AMONGST the discoveries of the present day, Photography may be considered as the one likely to render the greatest service to art.
Its influence upon painting must be considerable, for at the same time that it removes many difficulties with which the artist has to contend, it raises the public taste by accustoming them to view nature in all her fidelity, frequently accompanied with exquisite taste and sentiment.
Since its first discovery, Photography has made rapid progress, especially as regards the instruments employed in its practice, it now remains for the artist to raise it to its proper position among the fine arts.
It is my belief that the future success of Photography rests entirely on the paper process; and I cannot, therefore, too strongly recommend the amateur to direct his attention to this branch of the art. He will obtain upon paper as much finish and more artistic effect than upon glass. The pictures upon the latter are certainly very fine but artistically hard, and give often a false appearance as regards the tones of the lights and shadows, not affording an impression true to nature. Pictures upon glass by the aid of Collodion, offer certainly some advantages in the rapidity of the action and exquisite finish; this is of great importance in portraiture, but its fragility made me abandon it after the discoveries I made in 1849.
The success of my process rests entirely on the fabrication of the paper. By the carrying out the method of preparation which I have laid down in the following pages, a good picture cannot fail to be the result. I think every one will agree with me that the paper process is far more agreeable, more convenient for travelling, lighter to carry, and not fragile like glass. I think, therefore, that the results hitherto obtained by the glass process cannot for one instant counterbalance the advantages possessed by the paper.
Gustave Le Gray
Le Gray’s original publication was in French, but it was translated to English in 1853 and again, with minor revisions, in 1855. I have included the PDF documents for each year via the links.
Exploring the Le Gray Waxed Calotype Process: Motivation, Challenges, and Results
In this article, I share my motivation for exploring Gustave Le Gray’s pre-waxed calotype process and share my results after extensive testing. My journey into this historic photographic technique is grounded in years of experience using the Greenlaw 1855 workflow, consistently delivering fantastic results. Greenlaw and Le Gray adapted the original Fox Talbot calotype process, incorporating significant advancements introduced by Blanquart-Evrard and Dr. Guillot-Saguez in 1847. The original Fox Talbot chemistry (potassium iodine, acetic acid, silver nitrate, gallic acid) was still used, but potassium bromide was added to the iodizing solution as per the discovery by Blanquart-Evrard. The dilutions and workflow differed from Fox Talbot, but the underlying chemistry and their reactions remain the same to this day.
Motivation for Testing the Le Gray Workflow
My reason for testing the Le Gray workflow may differ from that of most practitioners. In the 1850s, Le Gray’s process was celebrated for its ability to produce much sharper images compared to earlier methods. While sharpness is often seen as a technical advantage, I usually counteract it by using soft-focus lenses, which better align with the narrative and aesthetic of my work—though not always. However, when I want a very sharp image, I use a lens that will give me that result and the acutance of the waxed paper negative on the right paper is comparable to the clarity and sharpness of wet plate collodion.
The primary challenge of the Greenlaw process lies in its requirement to sandwich the calotype paper negative between two sheets of glass during exposure to maintain flatness. This presents several practical issues, including sourcing modern holders and suitable glass. Through perseverance, I managed to overcome these obstacles across all my working formats, from 5×7 to ultra-large formats such as whole plate, 8×10, 11×14, 8×20, and 14×17. However, the larger ultra-large format (ULF) sizes proved to be particularly cumbersome, requiring extensive engineering solutions to make the workflow manageable.
Another significant limitation of the Greenlaw process is its short shelf life. Once sensitized, the paper must be exposed within 24 hours for the best results, but I was able to push it to 48 hours in cooler weather. While I have found ways to extend this timeframe slightly through modifications to my workflow, the constraint remains a challenge, particularly for long-term projects and travel.
But does that mean I have shifted to the Le Gray workflow for all of my work? No, not at all. I actually prefer my negatives using the Greenlaw workflow and so I use this method whenever possible and if I need to do extensive travel, I use the Le Gray process.
Prior Experimentation with the Pelegry Process
In my pursuit of a more flexible calotype workflow, I experimented with the tannin-based Pelegry calotype process last year. Like Greenlaw’s, Pelegry’s method is a dry process and was the final major advancement in calotype photography before wet plate collodion was the next best thing. While I successfully adapted the Pelegry process to my practice, it proved to be a major challenge. I struggled to connect with the workflow on a creative level, despite its impressive shelf life of 4 to 6 months—a stark contrast to Greenlaw’s 24-hour limit. Unfortunately, the trade-offs in complexity outweighed the benefits.
Advantages of the Le Gray Process
The potential of the Le Gray process to enhance the rigidity of the paper and allow it to be loaded into standard film holders, rather than cumbersome glass plate holders, was a key motivation for me. This improvement could revolutionize my workflow, especially for ultra-large formats such as 11×14, 14×17, and 8×20, where handling and transportation can be significant hurdles.
After rigorous testing, I am pleased to report that I have achieved a 100% reliable waxed paper negative calotype workflow. According to Le Gray’s original notes from the 1850s, sensitized paper had an expected shelf life of 2 to 3 weeks (fortnight). However, with the availability of modern chemical purity and an improved washing protocol after sensitization, I suspect that the shelf life could extend to a month or more. I will be conducting further tests to determine the precise limits within my workflow.
Looking Ahead: Implementation and Future Tests
Excited by these promising results, I am now focusing on pre-waxing and iodizing large batches of paper to build a stockpile. This approach will allow me to streamline my process, enabling me to sensitize and expose negatives as needed without the logistical challenges posed by glass plate holders.
In the accompanying video, I provide a behind-the-scenes look at my journey through the entire workflow. From preparation to exposure, the video helps illustrate all of the steps in the workflow.
By revisiting Le Gray’s advancements with modern refinements, I believe this process can offer an ideal balance between historical authenticity and practical convenience, making it an exciting prospect for both artistic and technical applications.
However, a lot of work and experience must be earned in the weeks and months ahead. In the end, I may end up loving the Le Gray workflow and switch to it exclusively or I may only use it for times when I need to travel. I don’t know what I don’t know at this point, but in the end, I will adjust and adapt to whatever workflow that helps me express my vision without sacrifice. Much more to follow on this as I work my way through the process.
Behind The Scenes Video
The Story Behind The First Negative
There’s an interesting story behind my test negative. I had been waiting for days to complete the testing process—all that was left was to create an exposure and develop the calotype to validate my chemistry and workflow. However, the winter weather refused to cooperate. After enduring three days of frigid temperatures, I finally decided to brave the cold and step outside the darkroom to make a test exposure.
It was so bitterly cold that my fingers began to ache within less than two minutes. The closest subject I could find was a small cedar tree I had planted a couple of years ago. My Dallmeyer 3B 290mm F/3 lens was already mounted on my 8×10 camera and ready to go. I was well aware that the 3B would vignette on 8×10, but that didn’t concern me—in fact, I often use this effect to my creative advantage.
Based on my initial calculations, I estimated a two-minute exposure at F/4. Since the Dallmeyer lens is an F/3, I decided to cut the exposure time in half and shoot for one minute. However, in the freezing cold, I overlooked a small but important detail—I had previously used the lens at F/4 and forgot to adjust it. As a result, I metered for an F/3 exposure, but the lens was still set to F/4.
Fortunately, even with this one-stop discrepancy, I ended up with a good negative. This unexpected mistake taught me something valuable: I can confidently reduce my exposure time when I need a slightly thinner negative.
I was extremely pleased with the results. The negative showed no signs of imperfections, contamination, or technical flaws. This successful test has given me the confidence to move forward and create my best work with this process.
Chemical Evolution of the Calotype
The calotype paper negative process, invented by William Henry Fox Talbot in 1840, revolutionized early photography by introducing a method to create reproducible negatives on paper. Over the next decade, prominent European figures refined the process, each contributing significant advancements that addressed its limitations. Below is a timeline highlighting key innovations and contributors.
1840 – William Henry Fox Talbot (English)
- Invention of the Calotype Process: Talbot introduced a three-step process: iodizing, exciting, and developing paper negatives using silver nitrate, potassium iodide, acetic acid, and gallic acid.
- While groundbreaking, Talbot’s method was complex, requiring precise timing and preparation. The unstable chemistry also posed challenges for photographers.
1847 – Because Talbot’s process was unreliable, various improvements soon emerged. Louis-Désiré Blanquart-Evrard (1802 – 1872) presented to the public a process in which chemicals were applied to paper by immersing or floating, not by brushes. Image quality was improved tremendously. Instead of sensitizing the negative with the so-called “gallo-nitrate of silver,” which very often destroyed paper even before it was exposed, Blanquart-Evrard, in the first step, treated the paper only with silver nitrate. He used gallic acid only as a developer. Guillot-Saguez (1807-1866) fundamentally altered Talbot’s and Blanquart-Evrard’s calotypes. He remarkably simplified the process by eliminating the first silver nitrate bath. Guillot-Saguez iodized the paper, applied silver nitrate, exposed it, developed it, and fixed it. This greatly simplified the process and made it stable and repeatable. From here on, we are no longer talking about calotypes but paper negatives.
1847 – Louis-Désiré Blanquart-Evrard (First Major Refinement) (French)
Louis-Désiré Blanquart-Evrard (1802 – 1872) refined Talbot’s process by applying chemicals to the paper by immersing or floating, not by brushes. Image quality was improved tremendously. Instead of sensitizing the negative with the so-called “gallo-nitrate of silver,” which very often destroyed paper even before it was exposed, Blanquart-Evrard, in the first step, treated the paper only with silver nitrate.
Blanquart-Evrard’s major contributions to the calotype process, made primarily in 1847, were pivotal in advancing photographic techniques and accessibility:
Paper Coating and Preparation Techniques:
- In 1847, Blanquart-Evrard introduced improved methods for coating photographic paper, enhancing the consistency and quality of negatives and prints. This made the calotype process more practical and accessible for photographers.
Albumenized Paper:
- He popularized the use of albumen-coated paper during the late 1840s and early 1850s, which significantly increased image sharpness and tonal range. This innovation became the standard for photographic printing in the mid-19th century.
Commercialization and Dissemination:
- In the early 1850s, Blanquart-Evrard established a photographic printing company in Lille, one of the first large-scale photographic printing operations. This enterprise helped spread photography as an artistic and scientific medium by making high-quality prints more widely available.
- Throughout the late 1840s and early 1850s, his processes emphasized reproducibility and standardization, addressing the inconsistencies of earlier methods and setting the stage for broader adoption of photography.
Blanquart-Evrard’s contributions, especially in 1847 and the years following, were instrumental in transitioning photography from a niche experimental practice to a standardized and widely used medium.
1847 – Dr. Guillot-Saguez (Simplified The Workflow – New Era of Paper Negatives)(French)
- Single-Solution Iodizing: Guillot-Saguez simplified Talbot’s two-step iodizing method, using only potassium iodide to prepare the paper. Silver nitrate was added later during the exciting stage, offering greater control.
- Indicator Color Change: His method produced a tell-tale violet or blue tint when potassium iodide oxidized, signaling when the exciting solution had fully penetrated the paper.
- This innovation laid the groundwork for subsequent advancements, including Gustave Le Gray’s pre-waxed paper technique.
- Technically, Guillot-Saguez refined the calotype process in a new direction, which was considered a paper negative from this point forward.
1851 – Gustave Le Gray (French)
- Pre-Waxed Paper Process: Building on Guillot-Saguez’s simplifications, Le Gray introduced pre-waxing the paper to improve its strength and reduce light scattering.
- Enhanced Practicality for Travel: Pre-waxed paper could be prepared in advance, transported without degradation, and developed later, making it ideal for field photography.
- Le Gray’s process was more stable and versatile than plain calotypes, bridging the gap between the calotype and the collodion processes.
1856 – Alexander Greenlaw (Scottish)
- Adapting to Hot Climates: Greenlaw found that Guillot-Saguez’s method excelled in tropical conditions, where other processes often failed. He tweaked the chemistry to work in the hot climate of India. His name became associated with this variation, which persisted into the 20th century.
- Greenlaw did not pre-wax the paper like Le Gray. His workflow was a dry process, and then he waxed post-mortem after the paper negative was fixed and dried.
1860s – Pelegry Tannin Process (French)
- Tannin-Based Workflow: Pelegry introduced a tannin-modified iodizing step that extended the shelf-life of prepared calotype papers to six months or more, addressing the instability of earlier processes.
- Pyrogallic Acid Developer: Utilized pyrogallic acid in the development stage to enhance the compatibility of the tannin-modified calotypes, achieving greater control over tonal range and density.
- Significance: This adaptation provided unprecedented flexibility for photographers, who could now prepare negatives well in advance without compromising quality. The innovation particularly suited photographers working in remote locations or under time constraints.
Key Contributions and Legacy
Each contributor addressed specific limitations of Talbot’s original method:
- Blanquart-Evrard improved Talbot’s original workflow by immersing or floating the paper during sensitization versus using a brush. He also modified Talbot’s original “gallo-silver nitrate” chemistry to only be silver nitrate in the first step of the process. He is also responsible for improving paper preparation and commercialization.
- Guillot-Saguez simplified and stabilized the iodizing stage, effectively creating the paper-negative process of the Victorian era and beyond.
- Le Gray enhanced practicality for travel with pre-waxed paper.
- Greenlaw modified the Guillot-Saguez improvements and ensured viability in extreme climates.
- Pelegry extended the shelf-life of paper negatives using a tannin method and introduced new development techniques with pyrogallic acid.
By the late 19th century, the calotype process reached a point of chemical refinement, balancing sensitivity, stability, and practicality. These innovations highlight the collaborative and iterative nature of photographic development, transforming early photography into a more accessible and versatile medium for artists and scientists alike.
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