The Alchemy of Salt: A Comparative Study of Salt Prints
I am conducting a formal study comparing the effects of five different salting agents—NaCl, KCl, NH₄Cl, Rochelle Salt, and SrCl₂—on salted paper prints, with and without the addition of citric acid. The goal is to determine whether these variables influence final image tone, contrast, and clarity after standard gold chloride toning. The same calotype negative is used throughout to ensure accurate comparisons.
👉 View the full study
The salt print is the earliest stable photographic printing process. It has a rich and fascinating history, closely intertwined with the development of photography itself in the 19th century.
View some of Talbot’s Salted Paper Prints From Calotype Negatives and some from here.
We know based on historic salt prints that a correctly coated, exposed, processed, and stored print has a proven lifespan of at least 185 years (as of 2025), because institutions like the National Gallery of Australia still hold original prints made by Fox Talbot in the 1840s—and many remain in excellent condition. You can read my article where I debunk the myth that salt prints are not archival.
Despite this proven longevity, a persistent myth lingers that salt prints are not archival or prone to rapid fading. This misconception largely stems from poorly processed prints made during the early experimental phase of the 1840s, when photographers were still learning how to properly fix and wash their prints. Many of these early images were not fully stabilized, leading to discoloration or fading over time—especially when exposed to light or environmental pollutants. However, when salt prints are made using correct procedures—including thorough fixing, extensive washing to remove residual chemicals, and proper storage—they are remarkably stable. Modern conservation science confirms that well-made salt prints can endure for centuries without significant deterioration, putting them on par with some of the most archival photographic processes ever developed.
Its invention, usage, and eventual decline, as well as its relationship with the calotype process, are pivotal in understanding the evolution of photography.
As an artist deeply committed to the roots of photography, I specialize in crafting handmade calotype paper negatives and salt prints, following the original methods of the 1830s and 1840s.
This technique, pivotal in the dawn of photography, is a rare art form today.
Salt prints represent the first negative-to-positive photographic technique. Introduced by Englishman William Henry Fox Talbot in 1839, it is the process from which most nineteenth and twentieth-century photographic formats were derived.
Temporal Symphony: Cycles of Change Full Workflow
Salt Prints from Calotype Paper Negatives
Collections of salt prints found in libraries, archives, and museums at Harvard University include some of the earliest photographic images created, representing a seminal chapter in the history of photography. Together, these holdings reveal technological developments in the medium and pioneering uses of photography across the sciences and humanities.
My unique contribution to the art world is my large or ultra-large format original handmade calotype paper negatives and salted paper prints.
In contrast to the typical modern photographer, who often creates with commercial interests or pursues aesthetic beauty without deeper intent, my approach to photography is an exploration of self-expression, unique to my life and experiences.
In a world where many are fixated on the latest gear or emulating social media trends, I aim to highlight the profound potential of photography as an art form. While this perspective may seem critical, it is a necessary voice in the dialogue about the essence of photography in the 21st century.
Many photographers experiment with salt printing, often incorporating digital technology, but this interest frequently fades as they move on to other “alternative” processes. This transient engagement underscores a deeper search for meaning or fulfillment in their aimless wandering from one thing to the next.
It’s revealing that only a small fraction of people today have experienced the authenticity of a real handmade calotype paper negative and salt print. In fact, it’s likely that most will never encounter these historic art forms in their lifetimes. My mission is to alter this reality, encouraging photographers to pursue their craft with purpose and to use photography as a medium for significant self-expression.
We often refer to salt printing and similar historical methods as “alternative” printing processes in contemporary times, implying they are substitutes for modern digital cameras and inkjet printing. However, I prefer to describe these techniques as handmade analog photography, distinguishing them from modern digital methods.
My artistic process is entirely analog, free from reliance on computers, software, or digital technology. Though I benefit from modern conveniences like running water, electricity, and readily available chemical ingredients, my methods could be adapted to an off-grid setting. When away from my studio, I embrace these more primitive approaches, adding joy and authenticity to my work.
Salt Printing Invention and Timeline
- 1834-1839: The salt print technique was invented by William Henry Fox Talbot, an English scientist and photography pioneer. His early experiments led to the creation of the first paper negative. [View some of Talbot’s Salted Paper Prints From Calotype Negatives]
- 1840s-1850s: This period saw the peak usage of salt prints, particularly in England and France. Talbot’s calotype process, which used paper negatives to create salt prints, was widely adopted.
- 1860s Onwards: The popularity of salt prints began to decline with the advent of albumen prints, which offered a glossy appearance and finer details and were more commercially viable.
- Late 19th Century: Salt prints became rare as newer photographic processes, such as gelatin silver printing, dominated the field.
Relationship with Calotype Process
- Calotype Process: Invented by Talbot, this involved creating a paper negative, which was then used to produce positive prints. The negative was made light-sensitive by treating it with silver nitrate and potassium iodide. [View some of Talbot’s Salted Paper Prints From Calotype Negatives]
- Salt Prints from Calotypes: The calotype negatives were used to make salt prints. This process involved placing the negative over a sheet of paper coated with a salt solution and exposing it to light. The areas of the paper that received more light (through the less opaque parts of the negative) became darker, resulting in a positive image.
Chemistry of Salt Printing
- Salt Solution: Typically, sodium chloride (table salt) was used. The salt acted as a binder for the silver nitrate, which would later be applied to form light-sensitive silver chloride. Modern salt that is iodized won’t work, so you need something like natural sea salt.
- Silver Nitrate: Applied to the salted paper, it reacted with the salt to form silver chloride, the light-sensitive compound central to the process.
- Exposure to Light: The silver chloride in the paper darkened upon exposure to light, creating an image. The intensity of the darkening depended on the amount of light; more light led to darker areas.
- Fixing the Image: Typically, a sodium thiosulfate (hypo) solution was used to fix the image, making it no longer sensitive to light. This step was crucial in preserving the photograph.
- Gold Toning: The print is typically toned with gold chloride to change the color and increase the image’s stability. The most common gold toner was probably Gold Borax.
- Washing: The final step involved thorough washing to remove any residual chemicals, ensuring the longevity of the print.
At first glance, salt printing might seem straightforward, particularly for photographers experienced with other analog techniques. However, its subtleties and challenges are not immediately apparent. Historically, salt prints were often produced using exceptionally dense calotypes or collodion negatives, which had a wide contrast scale. Many contemporary photographers, unfamiliar with creating such negatives using today’s analog methods, turn to digital negatives instead.
Moreover, there’s a common misconception about the archival stability of salt prints, often leading to an undervalued appreciation of their longevity. Contrary to popular belief, salted paper prints are durable and gold or platinum-toned when processed to archival standards. The longevity of any art form significantly depends on the environment and handling, and salt prints are no exception.
Read my formal research about contemporary salt prints’ archival stability and conservation.
It’s important to note that the historical instances often cited for poor performance are typically not salted paper prints but albumen prints, which are more prone to yellowing and decay, especially in the highlights.
Albumen prints, which succeeded salted paper prints, were favored for their glossy finish. However, this shift towards albumen, combined with subpar processing techniques, contributed to the negative perception of early photographic prints’ durability.
Properly processed and gold or platinum-toned salted paper prints can endure multiple lifetimes when stored and handled with standard archival practices.
Albumen vs. Salt Prints
Albumen prints and salt prints are two distinct types of photographic processes, each with unique characteristics and historical significance.
Albumen Prints
Process: Albumen prints, introduced in the 1850s, use albumen (egg white) mixed with salt (typically sodium chloride) and coated onto a paper surface. The albumen acts as a binder for the photographic chemicals. After the albumen-coated paper dries, it is sensitized with a solution of silver nitrate, creating a light-sensitive layer of silver salts.
Appearance: Albumen prints are known for their fine detail and rich, glossy surface. The use of egg white gives these prints a characteristic sheen and a slightly warmer tone.
Usage and Popularity: They became the most popular form of photographic print in the mid to late 19th century, particularly for portrait photography. The process was widely used until the early 20th century.
Longevity: While albumen prints can be stable, they are also known to yellow and fade over time, especially if not processed or stored properly. This yellowing is often more pronounced in the highlights.
Historical Significance: The albumen print was the first commercial method of producing photographic prints from negatives, leading to the widespread dissemination of photographic images.
Salt Prints
Process: Salt prints, an earlier photographic technique developed in the 1830s by William Henry Fox Talbot, involve coating paper with a solution of salt (sodium chloride) and then brushing it with silver nitrate, creating light-sensitive silver chloride. The paper is then exposed to light through a negative.
View some of Talbot’s Salted Paper Prints From Calotype Negatives.
Appearance: Salt prints have a matte finish and a softer, less-defined appearance than albumen prints. Depending on the paper and the exact process used, the tones can range from light reddish-brown to purplish-black.
Usage and Popularity: Salt prints were the first photographic prints made from paper negatives. They were widely used until the 1860s when albumen prints became more popular.
Longevity: When properly processed and stored, salt prints can be stable and last for many generations. However, like many early photographic processes, they were susceptible to fading and deterioration because of the lack of archival processing standards and because they were often exposed to poor environmental conditions. The key issues related to salt prints’ bad reputation regarding stability and archival permanence have been resolved in modern times. Read my formal research about contemporary salt prints’ archival stability and conservation.
Historical Significance: Salt prints were crucial in developing photography as a practical method of capturing and reproducing images. They represent the first generation of photographic printing processes.
In summary, while albumen and salt prints are early photographic processes that use paper as a base, they differ significantly in their materials, appearance, and historical contexts. A glossy finish and finer detail characterize albumen prints, while salt prints are noted for their matte surface and softer image quality.
Summary
The salt print process, with its unique chemistry and relationship with the calotype process, represents a critical chapter in the history of photography. Its simplicity and the ethereal quality of the images it produced make it a fascinating subject for historians and practitioners of early photographic techniques.
The transition from the creation of handmade original salt prints to the prevalent use of digital processes epitomizes a significant metamorphosis in photography. This shift marks a journey from an era where photography was a meticulously crafted medium for personal expression to a modern age characterized by the mass production of digital imagery. Today, billions of digital photographs are generated daily, each contributing to an ever-expanding digital landscape with little meaning or purpose. This evolution reflects a technological advancement and a fundamental change in how we perceive, create, and interact with images, transforming photography from a thoughtful art form into a ubiquitous tool for instantaneous visual vomiting.
Salt Printing Resources
- Murder, misguided creativity, and other tales in salt prints – Harvard Gazette
- Harvard Salt Print Initiative Presentation
- Harvard Class Photo Albums from the 1850s
- Salt Prints at Harvard Project Page
- Salt Prints at Harvard, Processes and Techniques
- Characteristics of Salted Paper Prints
- Coatings Analysis at Harvard Salt Printing Initiative
- You can view historic photographs of 19th-century salted paper prints at the National Gallery of Art.
- Letters and Correspondence of Fox Talbot.
- Fox Talbot Salt Prints Gallery.
Salt Print Resources from Credible Institutions
1. The Metropolitan Museum of Art
- “A Scene in a Library” (plate VIII from The Pencil of Nature, c.1844)
Salted paper print, downloadable, public domain.
→ https://www.metmuseum.org/art/collection/search/283066 - “The Open Door” (1844)
Another salted print from a paper negative.
→ https://www.metmuseum.org/art/collection/search/283068 - “The Ladder” (April 1844)
A studio still-life salted print.
→ https://www.metmuseum.org/art/collection/search/306335 - “Graminacea” (1839–40)
Botanical salted print.
→ https://www.metmuseum.org/art/collection/search/289213
2. The J. Paul Getty Museum
- “The Open Door” (April 1844)
High-resolution salted paper print with provenance details.
→ https://www.getty.edu/art/collection/object/104KW3 - “Articles of China” (1844)
Still life salted paper print.
→ https://www.getty.edu/art/collection/object/108GH0 - Conservation Atlas PDF
In-depth technical documentation of The Open Door and other prints.
→ https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_saltprint.pdf
3. British Library / Bodleian Libraries
- Talbot Collection – Salted Paper Prints
Includes “A Scene in a Library” and many others, browsable and downloadable in high resolution.
→ https://talbot.bodleian.ox.ac.uk/search/?f%5Bartifact_type_facet%5D%5B%5D=Salted+Paper+Print-Coloured
4. Harvard University — Salted Paper Prints Project
- Talbot Collection Overview
Digitized salted paper prints and research notes.
→ https://projects.iq.harvard.edu/saltprintsatharvard/william-henry-fox-talbot-1800-1877 - Technical Papers & Symposium Abstracts
Published analysis of salt print materials and preservation. (projects.iq.harvard.edu)
→ Harvard Weissman Preservation Center publications
5. Victoria & Albert Museum
- Insights on Salted Paper Print Technique
V&A blog outlines the process history and collection highlights, including Talbot’s prints.
→ https://www.vam.ac.uk/blog/caring-for-our-collections/salted-paper-prints-their-past-present-and-future
