Requirements: Already developed film negatives (35mm, 120, or 4 x 5) Hands on instructions to make Silver Gelatin prints in the darkroom.

Workshop includes: Enough photo paper and chemistry to make 3-4 8” x 10” prints. The Workshop is geared towards novice and advanced photographers. It is designed for anyone with an interest in using photography as a method for creating images that are personally expressive. The primary focus of this workshop will be the creation of outstanding photographs primarily in a film-based workflow. We will teach you printing techniques, tools and their uses, manipulation techniques to achieve certain results.ĭiscover your inner Ansel Adams and learn some photo history while making unique and personal art of your won. The hands-on workshop will take you through working with negatives, Beseler Dichro 45s Enlarger adjustment and focus, paper types, safe lights, proper exposure, contrast control, B & W chemistry, wet processing, and washing and drying your own Silver Gelatin prints. Our introductory Black & White workshop is designed to enable anyone to create beautiful Silver Gelatin prints right from the darkroom. Safe distancing and precautions will be taken during the workshop. However, Mohan truly enjoys working in his darkroom creating beautiful Silver Gelatin Prints.ĭue to the Covid-19 situation the Workshop is limited one or two clients only. Today, as fewer and fewer photographers are working in darkrooms, Silver Gelatin printing is quickly becoming an antiquated, historic process.

Until the 1970s, photographers used this process almost exclusively to create high-quality black and white prints. This means your prints will each have an individual quality and each are truly unique. No print is exactly alike, as each are handcrafted and cannot be replicated 100%. After washing, the prints are squeegeed and laid face down on fiberglass drying screens. The final processing sequence involves selenium toning a procedure, which intensifies the blacks of the print and which also, makes the image more permanent.Īfter the selenium toning process is completed, the prints are then transferred to a preliminary rinse in a fresh water bath and then transferred to a large sink where they are rinsed again and held while being loaded into archival print washers. After this chemical process, the prints are transferred to a large tray of fresh water for a preliminary rinse, and then to a larger, clean-water holding bath. Then the prints are immersed in a standard acid stop bath for 30-seconds and finally are fixed for 1-minute in Hypo Rapid Fixer. The prints are developed in Dektol Kodak Professional Developer, for 2-minutes. Once the Fiber Base paper is exposed it goes through a series of chemical processing in the darkroom to produce the final print. He uses varying strengths of magenta color-correction filtration controls print contrast. Each print is exposed in the darkroom from film negative, which were taken on medium and large format cameras. The handmade Silver Gelatin prints are printed on fiber-based warm tone glossy paper, selenium toned, and are stable for centuries, making them highly collectible and sought after.

This ensures a consistency in the finished size and also affords the greatest control of dodging and burning. Mohan’s prints are made by projection in the darkroom regardless of the negative format. Because the silver image is suspended in a gelatin emulsion that rests on a pigment-coated paper, Silver Gelatin prints can be sharply defined and highly detailed. Silver Gelatins papers are commercially manufactured by applying an emulsion of light-sensitive silver salts in gelatin to a sheet of paper coated with a layer of baryta, a white pigment mixed with gelatin. Before the beginning of digital technology, the Silver Gelatin process had been the most commonly used method of making black and white prints since the 1880s.

Large silver gelatin print