Vintage Darkroom and Photo Day
- Anthony Clarke
- Mar 6
- 4 min read
Last week, Tom Lee treated four of our members to a fantastic workshop where he demonstrated three vintage photography techniques. After showing us how it’s done, he let us try these methods ourselves, guiding us every step of the way. You can learn more about these techniques on Tom’s website here: Tom Lee Photography
Wet plate photography
Our first hands-on demo was wet plate photography, which was popular between the 1850s and 1880s, before regular film cameras were introduced. Tom showed us how to prepare wet plates for a medium-format camera and then process the images.
To start, we poured a Collodion solution onto a 5” x 4” black aluminium plate, making sure it covered the whole surface. When the plate was 'tacky', it was immersed into a tank of silver nitrate solution (3 mins) to make light sensitive.
This made the plate look milky and opaque. Then, we placed the plate into a carrier (seen on the work bench) and set it up in the camera, ready for a portrait.
We took turns at being the model whilst another person took the photo. The focus was adjusted and checked using a loupe on the glass plate. We learnt how challenging it is to get the image just right! Once focused, the lens was closed down, the shutter was cocked, and we captured the image with a 3-second exposure at ISO 1!
Afterwards, we developed the image under red light in the darkroom. We had to quickly and evenly apply 20ml of a developer solution to the plate. If it wasn't done fast enough, the image could turn out uneven with dark under exposed areas on the plate. Fortunately, Tom made it look effortless! The image appeared after 10 seconds and when fully visible the plate was then washed in a water tray.
The lights were turned back on and the plate transferred to the fixer tray for about five minutes (Sodium Thiosulphate; the same chemical used for conventional black and white processing). During this period, the image appears like magic...... The plate was then thoroughly washed in water and left to dry.
Cyanotype
Cyanotype prints are making a comeback, with artists using them to create beautiful silhouettes. But in our workshop, we used the technique in a more traditional photographic way.
We started by creating a large negative on an A4 acetate sheet from one of our digital photos. The image was edited in Adobe Photoshop with an “S” shaped profile to ensure it had the correct contrast when printed.
Next, we coated a sheet of 300-gram watercolour paper with a solution of Potassium Ferricyanide and Ferric Ammonium Citrate. We did this in dim normal light, working quickly before drying the paper and placing it placing in a light tight box. Once dry, we laid the acetate negative on top of the coated paper in a contact frame and exposed it to UV light to make the image.
After exposing the paper, we developed the image in a tray filled ordinary tap water and the image appeared almost immediately! To intensify the blue tone we developed in a second tray which had a 'secret sauce'! After another thorough wash, we left it to dry, and it looked incredible.
Van Dyke Brown process
The third technique we tried was the Van Dyke Brown process, which was invented by John Herschel in 1842. It’s similar to the Cyanotype process but results in a beautiful brown-toned image.
We began by preparing an acetate negative in a similar way to the Cyanotype, but this time using an “inverted U” profile in Photoshop for a darker print.
Then, we coated artist’s paper with a solution made from ferric ammonium citrate, tartaric acid, silver nitrate, and distilled water. When the paper dried, it looked less yellow compared to the Cyanotype version. We then placed the paper in a contact frame and exposed it to UV light, just like we did with the Cyanotype. The paper quickly developed a soft brown image with yellow highlights.
Processing took place in dim normal light conditions. The print was washed several times: in a solution of water with a sprinkling of citric acid crystals and then using regular tap water. The longevity of the print was treated with a Gold Toner and finally, we fixed the image with a 4% Sodium Thiosulphate bath. The tones gradually deepened to a rich chestnut brown, and the yellow highlights turned pure white.
After that, we hung our prints to dry, feeling proud of our work!
A big thank you to Tom, our expert photographer, for guiding us through this amazing day of learning and creativity. We all walked away with a lot of new knowledge and a deeper appreciation for our historic craft!
An excellent story with great detail on the whole process. Well done, Anthony.
It was experience learning, lots of photography skills, long gone, but being brought back with the expert knowledge and skills of Tom Lee, thanks again, Tom for a great hands-on experience of how it was all done.