Name Amon First

Tirage au gélatino bromure d'argent

In the case of matte baryta papers this layer is very thin, and agents such as starch are added (see enlarged image detail).

The industrially manufactured paper media was sold in various textures (rough or smooth) and shades (pure white or ivory, for example). Over the course of the 1950s, optical brighteners – identifiable through their fluorescence under and ultraviolet lamp – were introduced to make the paper even whiter. From the end of the 1960s, manufacturers introduced plastic papers (known as RC for Resin Coated) in order to reduce the immersion time in processing baths and allow for faster drying. These were made up of a paper enveloped by two layers of polyethylene, one of them pigmented on the emulsion side and the other transparent on the support side. White pigment made from titanium dioxide may be the cause of red oxidisation spots. Some photographers, such as Jean Dieuzaide in France in the early 1980’s, spoke out against the use of these RC papers for both aesthetic and conservation reasons.

In order to produce the print, a latent image is developed in an alkaline chemical bath, which reduces the exposed silver salts into black metallic silver.

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