The next step included larger brushes, rag watercolour paper, and silver emulsion, with the intension of replicating early photographic printing processes, before the advent of manufactured photographic paper.
Early "printing-out" papers (a term coined in 1891 by Ilford) included salted paper, albumen (made from egg whites), gelatin-chloride and collodio-chloride, often mixed by photographers prior to printing. The preparation of light-sensitive papers was part science, part alchemy.
Though labour-intensive by today's digital standards, I opted for pre-prepared "Liquid Light" silver emulsion. I projected the negative onto the raw paper and marked the corners with a pencil. Under the darkroom light, I then poured emulsion onto the paper, spreading it out with a wide Japanese brush. The paper was then stored in the light-safe for drying. The easel and negative were left in place to assure accurate registration.
The second darkroom session consisted of exposing the prepared sheets of paper (I made around 8 for this image) fixing with hardening fixer, and washing.
Again, frisket was painted onto the sea and lower right tidepool, excepting the rocks in the wave, and the print was immersed in a copper toning bath, with time estimated from previous tests. After a wash, the frisket is removed.
Finally, after drying, Marshall's oils were used to add a slight green tone to the breaking wave (hard to detect in the accompanying scan).
