One of the most persistent myths in alternative photographic circles is the idea that salt prints are not archival—that they fade quickly, degrade over time, and aren’t worth the effort if permanence is your goal.
This is simply not true.
We know with confidence that salted paper prints, when properly made and cared for, can last nearly 200 years at a minimum based on original salt prints made by Fox Talbot. As of 2025, several institutions around the world, including the National Gallery of Australia, still hold original salt prints made by William Henry Fox Talbot in the early 1840s. These prints are now 185 years old and remain in remarkably good condition. There is no logical reason to believe there will be any sudden or drastic changes in these prints.
That kind of longevity speaks for itself. Salt prints—done right—are absolutely archival and on par with more modern prints like selenium toned silver gelatin prints.
So, if you have been holding out and not making salt prints because you thought they were not archival, this article is for you.
The Source of the Myth
So where did this myth come from?
The misunderstanding goes all the way back to the 1840s, when the salted paper process was first introduced. In those early years, many pioneers were still learning how to properly process their prints. Fixing baths were often weak or insufficient, washing was rushed or incomplete, and in some cases, the role of toning wasn’t even fully understood yet.
As a result, many early prints that were not carefully fixed or washed began to fade, stain, or discolor over time, especially when exposed to air pollution, light, or humidity. These visibly deteriorated prints—many of which have survived in compromised form—became the unfortunate “proof” behind the myth that salt prints are inherently unstable.
But the truth is this: those prints failed because of poor technique, not because of the process itself.
We Know How to Fix It—And We Have for a Long Time
Thanks to the detailed experiments and notes of early photographic scientists like Talbot, Herschel, and later, Blanquart-Evrard, we now fully understand how to make archival-quality salt prints:
- Proper clearing with salt and/or other agents to remove residual silver halides
- Toning (often with gold) to increase image stability and deepen tones
- Effective fixing using fresh sodium thiosulfate (hypo) to halt further silver reactions or a modern rapid fixer works as well
- Extensive washing to remove all residual chemistry, especially fixer and byproducts
When these steps are followed correctly—and the prints are stored in reasonable conditions—salt prints are just as archival as platinum, silver gelatin, or albumen prints.
I have a complete series of articles and guides in the Darkroom Diary Premium Member Library that digs into this issues.
The Real Problem? Poor Technique Still Exists
Unfortunately, even today, many salt prints are still made with incomplete or inconsistent workflows. People don’t take the time to understand the chemistry or dig into the historic literature and truly learn and understand. Most opt for a YouTube video and trust someone that is likely not an expert and is making a video for “views” or “likes”. We live in a silly world today…
In the rush to make beautiful images, some printers skip critical steps, use outdated formulas, or don’t wash their prints thoroughly. The internet is filled with tutorials that offer just enough to get started, but not enough to finish well.
Using pre-mixed “kits” that don’t align with the proper ratios of salt and silver compounds are commonplace unfortunately.
The result? Fading, stains, and weak tonal permanence—all of which fuel the same old myth.
But the information to do it correctly is freely available, and has been for decades. The science is not in question. What matters now is discipline in the darkroom, attention to detail, and respect for the chemistry.
The Takeaway
Salt prints are not fragile or short-lived when made with care. In fact, they are a deeply archival photographic medium with a proven track record of 185 years and counting. The myth that they are unstable is not based on the process itself, but on early—and modern—mistakes in practice.
If you’re going to work in this noble medium, take the time to learn the complete workflow. Your prints, and the people who see them generations from now, will thank you.
—Tim Layton
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