Paper and Coating


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"Another very convenient method of preparing sheets of paper for negatives is by means of a perfectly straight glass tube of the width of the paper, round the ends of which are two india-rubber rings, of the thickness the film is desired to be.  If thought advantageous, a rod may be passed through the tube, and bent round to join, and so to form a handle, by means of which the tube will revolve as it passes over any surface.

The paper is damped as before, and stretched on perfectly flat plate glass, the emulsion poured gradually in front of the roller, and the emulsion takes a fine layer of a uniform thickness."

Photography with Emulsions, A Treatise on the Theory and Practical Working of the Collodion and Gelatine Emulsion Processes, by William De W. Abney, 1885.

Index to this page


Coating is too often thought to be a stumbling block in using emulsions.  Nothing could be further from fact.  It is true that there isn't currently a mechanized multi-sheet coating machine that one can order up from a photographic supply catalog.  I believe a whole new set of tools and materials will follow from a renewed interest in emulsion making.  The perfect large sheet/minimal waste/ maximum convenience coating contraption will be invented by an emulsion maker - but we have to start making emulsions first.  Handcrafted b&w paper making is still a sheet-by-sheet affair.  This is an art as much as a science.  It should be celebrated (and can be marketed) as such. 

With a few simple tools I can coat paper that is essentially indistinguishable from a commercial paper (that is, if such papers were still being manufactured).  The irony is that no one can tell I've made my own paper unless I tell them.  (Of course, if you want to market that extra cachet of 'hand made', maybe it ought to be more obvious.  Ah well, a problem for another day.)

If there is a 'problem' with making our own paper, it's dealing with the bounty of choice.  In addition to emulsion characteristics and color control, there is the choice of paper and how to coat it. There is a great wealth of watercolor papers.  Most of them are probably suitable for coating with emulsion.  I have worked with the following:  Fabriano Artistico X-white HP, Fabriano Artistico Traditional HP, Rives BFK, Somerset Satin, Saunders Waterford, Hahneműhle Copperplate, Baryta glossy , Arches Watercolor HP, Arches Platine, and Crane's Platinotype (discontinued, I think).  All the papers I have used are 140 lb. (300 gm/m2). For detailed info on many papers, visit DanielSmith.com. The catalog they mail out has a very comprehensive description of all the papers they carry.

My favorite all-around paper continues to be Fabriano Artistico HP.  It is suited to both dry and wet coating.   The texture is very close to Kodabromide N (from the 1952 Kodak Professional Handbook).  With 'I ' there is the slight bas relief in the shadows seen on Mural Paper R.  Although no watercolor paper (that I've tried) duplicates exactly any of the various textures of paper Kodak had once upon a time, many come close. Saunders Waterford comes closest to Opal Paper L.  Baryta looks just like baryta.  'I ' coated on glossy baryta looks like Illustrators' Azo F.

An extra note of opinion:  Someday (soon, I think), photography enthusiasts and collectors will know that the b&w print they are viewing might be 'homemade' - just as today they understand that platinum printers almost certainly make their own paper.  Our work today, making prints of every tone and texture imaginable, can bring about a new renaissance of appreciation for the unique beauty that is the silver gelatin print. 

 


I. Basic (Dry) Paper Coating

Up until recently I have mainly coated small sheets with a 4x5 inch Mowrey coating blade. Ideally, these tools would be available in a number of sizes for an affordable price.  Unfortunately, at this time, neither is true, but there are a number of coating methods that work very well. 

The simplest is dry paper coating. All that is required is a method of metering out emulsion in front of a coating edge.  Glass is an ideal material for working with emulsions.  The glass 'puddle pusher' coating rod is already a staple of the alternative processes.  To the puddle pusher work flow I've added a glass emulsion well.  The emulsion is injected into the well with a Kendall Monoject 35 cc syringe with catheter tip.  The amount of emulsion determines how big you coat.  It's very easy to make a sheet to fit your intended negative with a minimum of waste.

The well and rod are cleaned between coating.  This works out to just the right amount of time between sheets for the emulsion to set up a bit before you move the sheet aside to dry. About a half hour after you've coated the last sheet, come back into the darkroom to hang the sheets for full drying. 


Glass Emulsion Well

To successfully coat dry paper, it is important that the emulsion be spread before it has a chance to swell the paper.  This requires some sort of metering-out tool. 

The glass well is filled with emulsion and pulled along the paper in front of a puddle pusher prepared the same way as for wet paper coating.  The emulsion goes down as smoothly as you could wish.

To purchase an emulsion well, please go here.

If you are a glass artist or know one, you might consider making your own.  My current rendition is just three pieces of glass glued together with UV-activated two-part acrylic epoxy. 1) 3/8" x 2'' x the length of the puddle pusher. 2) 3/8' x 2" x 3/4" (these are sanded dead flat and smooth on the bottom) joined with a 1/4" piece set up about 15 mil (the metering-out gap).



Paper Coating Platform

Required for coating is an absolutely flat, level surface with a straightedge guide on one side.  A three-way level does double duty. Paper is pushed up along the level on one side and taped on the opposite side out of the path of the coater. This allows the paper to curl freely along its longitudinal axis after it is wet by the emulsion. If you tape a sheet of paper at the top, the paper can't move freely and the emulsion will dry unevenly. If the paper is oriented against its grain (not all papers are equally sensitive to grain swelling) the paper will washboard instead of cupping up and the emulsion will dry unevenly.

Pictured here is a stainless steel coating blade sold by Photographers' Formulary.


Longitudinal paper curl

Cupping along the grain of wet watercolor paper. This piece of paper was cut 6x12 inches, with the long dimension oriented along the grain.

Note: Not all papers cup this well, but it's a good feature to look for and encourage.  It helps the emulsion dry evenly.  For large sheets, the weight of the paper can prevent cupping.  In that case, immediately after coating, I slip a piece of 1''x 3" wood under the center to help the cupping along.


A smooth, consistent workflow goes a long way toward making the process enjoyable and waste-free and it doesn't have to be complicated or expensive.  I started out with a 4x5 Mowrey coating blade and designed my original workflow around it: 12 inch square granite tiles that I bought salvage for a song and a homemade warming cabinet to hold them.  Before I start coating, I set paper out on the warm granite stacked in the cabinet if I'm coating with the blade, or stacked next to the acrylic sheets if I'm using an emulsion well and puddle pusher.  A hole punched in the lower right-hand corner of each sheet of paper helps me keep the same orientation at each step. I pre-tear little pieces of adhesive tape and line them up on the clothesline above the sink, ready to go, and I set boards on open cabinet doors to hold the paper, on either granite or acrylic, after coating.  As each sheet is coated I set aside the whole support/paper assembly on the boards until the paper is completely dry.  At that point, the paper can be stacked and stored in a paper safe and the lights can come back on in the darkroom.

I've always got one corner of my brain thinking about improving workflow.  I hope that is true for everyone.  Collectively, I know we'll solve most (and maybe even all) of the challenges.


Coating Platform

Bottom side: Two drawer storage bins secured to a plastic kitchen cutting board with tiny stainless steel screws and silicon sealant.  Top side: A plastic level screwed to the cutting board. The bins hold the cutting board/tile/paper up high enough that any emulsion overrun can be collected in a catch tray, and the little rubber feet on the bins keep the coating station from sliding around.  During coating, the platform stays in a large tray in the sink and the tiles are exchanged as each new sheet is coated. The red safelight at the back of the sink shines on the wet emulsion and makes any coating defects easy to see and mark.

If I am coating larger sheets of paper with the wet paper method, I set a piece of 14'x20'x 1/4' acrylic on the granite with a piece of slip-stop fabric between.

If I am coating large sheets of paper with an emulsion well, I set a piece of thick plate glass with a seed starter warming mat underneath.  I coat on the glass and then slip a piece of acrylic underneath to allow setting aside flat until the coating sets up. 



Clicking on a thumb will take you to that image; use the back button to return here.



 

For the purpose of demonstration, I have set up the coating stage with black watercolor paper and  white acrylic gesso diluted to the consistency of warm emulsion (think heavy cream).   This is also a good way to practice coating.  Plain gelatin doesn't have the same consistency as emulsion and handles very differently.  Coloring the gesso and practicing on white paper would also work.  I happen to have a supply of black paper waiting for a purpose in life.

The well is set up so the the raised gap edge is in back and a puddle pusher is propped up behind it.  The puddle pusher has been prepared with putty plugs and the appropriate number of wraps of 'mylar' polyester film tape for the emulsion/paper combination being used.  I used an 8-wrap for this demonstration.  Please go here for more details.

Both the well and the puddle pusher are kept in tight contact against the straight edge guide.

 



 

Here is the same setup seen from the backside.  

 I have left enough header to allow a bit of seepage at the beginning of the pull.  The amount needed will vary with the emulsion/paper combo, and is determined by a little experimentation - as is the best number of tape wraps (i.e. the coating thickness) on the puddle pusher.

 



 

Suck up the emulsion (held in a waterbath directly to the left of the coating stage just out of the picture) with the 35mm syringe.  The goal is to fill the syringe and then the well with just enough emulsion to coat the length of paper you wish.  When I'm testing a new paper, I start with 20cc.  This will run short, but it's not wasted.  Any short ends are valuable as test strips.

Tip: When you fill the syringe, make sure the tip stays below the surface of the emulsion.  Overfill the syringe just a bit, and then squeeze out the excess back into the emulsion reserve.  This will ensure that you don't catch up any air in your fill.  (Emulsion good.  Air bad.)

Tip: The syringe tip just fits in the well cavity.  Insert it just below the top edge.  You don't have to go all the way to the bottom.  Start at left side, and as you are quickly and evenly depressing the syringe plunger, move the tip to the right.  You are aiming to have the syringe emptied just as you get the the other side.  Try to avoid aiming at the back wall and its metering-out gap.  If you can fill the cavity straight down or a little to the front, you'll have more time to start the coating.

Smooth  and steady emptying is the key.  As you get to the end, resist the impulse to squirt, because squirting will get you little bubbles, the bane of a smooth coating.  I keep an atomizer of Everclear at the near right (I'm right-handed) to quickly spritz any little bubbles that might form. For a few more tips, please go here.

 



 

A close up crop of the previous illustration.

The emulsion has started to flow out the gap in the back of the well and is stopped (temporarily) by the puddle pusher.  When you start to pull the puddle pusher/ emulsion well unit down the paper, the emulsion will continue to meter out the gap to be spread evenly by the glass rod, which is elevated just enough by its wraps of tape to spread the emulsion without scraping the paper. 

 



 

 Pretend the well shown here has been filled with emulsion as in the previous illustration.

Immediately grasp the puddle pusher and well together with two hands (the left mirroring the right hand shown here) and pull the unit together smoothly down the paper, keeping it up against the straight edge.  It is important to keep both the glass rod and the well in contact with the paper and the straightedge, but a lot of pressure is not necessary and may even be counterproductive. 

Once you've calibrated the amount of emulsion to put in the well for each coating pull, you will run out of emulsion before you run out of paper.



 

A coated sheet of paper. 

The wide header is a little longer than it would be in a real coating situation.  The filled well sat for a minute as I took the photo for the previous illustration.

Immediately after coating, place the well and puddle pusher in warm water.  Clean them with the bottle brush and a wash cloth, rinse in a second container of warm water and dry for the next coating.  The clean up time is just right for the emulsion to set up a bit so that the paper can be moved aside to dry.  I do not hang my paper.  If I'm coating small sheets on 12 inch square granite tiles, I set aside the whole assembly. (I line them up on boards set on open cabinet doors.  I have a small, efficient, multi-tasking darkroom.)   If I'm coating large sheets on warm glass, I wait the clean up time and then slip a sheet of acrylic under the paper and set that assembly aside.

The path of good emulsion is 1/2 inch to 3/4 inch wider than the well cavity.  From a 9 inch well with a 5-3/4 inch emulsion cavity the central portion of the coating is just shy of 6-1/2 inches wide.   The coating is perfect up to about 1/8 inch from the edges, where it thins a bit.  Therefore, the best-printable surface from this well is about 6-1/4 inches wide X as long as your arms and coating stage allow.

The 12 inch well with a 12 inch puddle pusher lays down an approximately 10-1/2 inch good path.  This is not wide enough to contact print an 11x14 inch negative.   I am considering trying to make a wider-than-commercially-available glass coating rod and a wider well, but if I do, it will be some time in the future.  Remember, if you really want to print a big negative, wet-coating paper with a 12 inch puddle pusher will work fine.

Of course, anyone can make their own tools!  If you do, please report the results on The Light Farm.  It would be a great contribution.


Tile Warming Cabinet 

Because I'm still primarily developing and testing emulsions, I like to keep things small and simple.  I started out with a small Mowrey blade, coating on 6x12 inch strips of paper.  Although I now use an emulsion well and puddle pusher, I still like the 12 inch square warm tiles ready and easily available.  If I had the room I would add another cabinet that held 14x20 inch sheets of 1/4 tempered glass. That would replace the system of coating large sheets I use now: one sheet of glass kept warm and transferring the coated sheets to acrylic.

There is a door on the cabinet that is kept closed between coating sessions. The warming unit is an old fanless food dryer. I leave it plugged in so that the tiles are always warm (and because I can't be seem to remember to preheat them 12 hrs in advance!)



Low tech and analog all the way.  A 6x9 cm TMax 100 negative contacted printed on emulsion well and puddle pusher-coated paper.  Made with the Oster mixer emulsion. The image on the right is a 1777% enlargement of a 0.4 x 0.4 inch crop.




II. Puddle Pushing on Wet Paper (and coating rod prep for use with an emulsion well)

 

Materials:

1) Glass coating rod / Corning 'Puddle Pusher' ®

2) 3M polyester tape #850, 1/4in size

3) Wall stickum putty (the kind used to stick ID cards to the wall next to a photo hanging at a gallery).


Wrap the tape in tight, smooth, even, overlapping wraps starting on the handle edge of the rod. In permanent marker, note the number of wraps.  Each wrap increases the coating depth of the emulsion.

Stuff the open ends of the glass rod with putty. The emulsion is a bug to get out of the glass rod otherwise. Push it in far enough that there is no drag as you pull the rod down the paper trough.

Note:  All materials, including hands, must be kept impeccably clean at every step.


1) For a 9-inch rod (the size for 8x10 inch prints), divide a 22x30 inch sheet of watercolor paper into four 11x15 inch pieces.  From the front side of the paper, measure a border half the width of your tape. (15/16 inch for Scotch "Storage Tape").  Take the time to draw the line.  It is important that the edge of the tape go down straight.  Carefully keep the tape smooth on the inside surface.  Wrap it up and over the back. It will be harder to keep the back side smooth, but that's not important.  With a ruler and a butter knife, dent-score the paper along the edge of the tape and fold up a coating edge.  Hold the PP on this edge and mark the other side in three places.  Make the second edge along that line.


The Puddle Pusher fits exactly within the paper trough, with just enough wiggle room to pull the rod smoothly down the paper.


A Big-Ol' Important Thing:

Grain counts. Not all papers equally, but to some extent, for all of them: grain counts.

Two pieces of glossy baryta paper from the same 11x14 inch size package, both prepared as emulsion troughs for puddle pusher coating and soaked for a few minutes.  The one on the right is half a sheet cut across the short dimension: 7 x 11 inches (i.e. One 11x14 inch sheet becomes two 11x7 inch pieces.)  The piece on the left is a 11x7 inch section cut from an 11x14 sheet, with the grain running opposite to the right hand piece.  The grain/swelling direction is evident.  One sheet will lay flat almost without needing to be squeegee'ed, the other couldn't be flattened with a steam roller.  Therefore, if one wishes to coat an 11x14 sheet of baryta (at least the version sold by Photographers' Formulary) you must cut from a piece large enough to get the grain right.


Coating: Soak the paper in lukewarm water for about 15 minutes, drain a minute and stack vertically one on top of another (I slap them up onto a piece of acrylic propped at the back of the sink).  Have a stack of 3/8 inch acrylic ready. (I use 14x20 inch sheets.) Under safelight, prepare emulsion.  Place one sheet of acrylic on a level surface in the darkroom sink.  Peel off one sheet of wet paper (the taped edges makes this easy).  Center on the acrylic.  Gently squeegee the paper down. Fold the edges back up.  Prop the PP at the top of the sheet.  Pour a measured line of emulsion in front of the blade (determining the amount will take a try or two - I use a plastic coffee measure [two tablespoons] for a coat big enough to spare for a 5x7 inch negative).  Smoothly and evenly pull the puddle of emulsion down the sheet of paper.  Press down just hard enough to keep contact between the tape guides and the paper.  The coating speed will be obvious after a couple of tries.  The idea is to keep the puddle flowing under the gap between the rod and the paper until the emulsion is spread.  It makes matters much easier (i.e. cleaner and less fraught) if the paper is enough too long that the emulsion runs out before you get to the end of the paper.  This keeps the acrylic clean and emulsion confined to the front side of the paper.  With a permanent marker, note the edge of the coating.  It is very visible while the emulsion is wet. After coating a sheet, clean the PP in a wash bucket of warm water and dry.  This takes exactly long enough to give the freshly coated sheet a chance to firm a bit before you move it.

Move the coated paper on its acrylic to a level surface out of the way, and start a new coating on another piece of acrylic.  I'm getting about 8 sheets of paper.   By the time you have coated the last one, the emulsion on the first will no longer be fluid.  Carefully peel the paper off the acrylic and hang (in the dark) to dry.   Before you leave the darkroom (remember: still safelight) gather your coating tools and the acrylic sheets and take them out with you.  Cleaning up everything in a timely manner is a good idea.  Your mother was right (again!).  (Note: I've never tried to dry the paper on the acrylic.  It might work fine - or it might stick like a bad habit.  If someone finds out, let me know.)

By the time the paper is dry, it will have a curl (more or less, depending on the paper), but that's not a problem with contact printing.  As you take down the dry paper (still under safelight) cut the taped edges off.  The easiest way is to place the paper face down on a clean, smooth paper cutter and fold the taped edge over the cutting side.  This lets you cut the perfect edge with no coated surface waste.  I store the paper in a black, plastic photo paper bag with a sheet of acrylic on top.  The paper quickly flattens out enough to make it easy to handle.


Puddle-Pushed Paper Samples

Straight flatbed scans.  No sharpening or spotting.  From left to right: Baryta 5.23 x 9.35 inches (coated with a 5in PP), Platinotype (8.5 x 11.68in), the maximum size for my scanner, Rives BFK (8.5 x 11.68 in), Saunders Waterford (8.5 x 11.68), Somerset Satin (8.5 x 11.68).  Any uneven appearance is an artifact of the tooth of the paper.  All the sheets look great in their areas of max black.  The baryta may coat better with the PP than it does with a Mowrey blade.


TMax 100 5x7 film contact printed on Photographers' Formulary baryta paper wet-coated with 'I ' emulsion.

(full and crop x 300%).

 




III. The Mowrey Emulsion Blade

I started out with a 4x5 Mowrey coating blade and I am very fond of it. It is perfect for research. It lays down a narrow, even line of emulsion with little waste and it is easy to get an efficient workflow going.  Unfortunately, the blade is too small for most work, even contact printing 4x5 negatives (and the 8x10 inch model has an inherent design flaw.)    I hope that someone will pick up the manufacturing of the blades, but with better quality control and for a more reasonable price.

4 X 5 Emulsion coating blade.




IV. Making Baryta-Coated Paper

 

Baryta Coating

'I ' emulsion coated on baryta-coated Rives Lightweight watercolor paper.  The surface is between the glossy of commercial unsensitized baryta (as sold by Photographers' Formulary) and emulsion on plain watercolor paper.

Revised version published December, 2008.

 Caveat:  The finished paper is beautiful, but this is a lot of fussy work. 

The recipe is carried out in three parts. 1) Blooming the gelatin several hours, 2) Making the baryta paste and adding it to melted gelatin, followed by refrigeration, 3) Remelting the baryta-gelatin, additions, and coating.   See Oster emulsion for illustrations of the mixing set-up.

Chemistry needed: Gelatin, distilled water, barium sulfate (you'll need a business license to order this here), Everclear, glycerin, and glyoxal.

Tools and Materials: Thick (1/4") plate glass larger than your paper (10 to 12 sheets), 12 "emulsion well, and 12" (i.e. '11x14" size) puddle pusher prepared for coating (here).  (You can work with a 9" well and puddle pusher, but you will need to work out the different paper and glass sheet dimensions), Rives Lightweight watercolor paper (here).

Gelatin, hard (250 bloom). 5.6 g
Distilled water, refrigerator temperature. 55 ml

Bloom gelatin several hours in a 250 ml beaker or similar.

Barium sulfate 67.2 g
Distilled water, very warm 52.8 g

Note: At no point in this procedure is a safelight required.

Put the barium sulfate in a 21 oz. working glass set up for Oster mixing.  Set a small funnel in the small hole in the lid.  Start the mixer at lowest speed and slowly add the water through the funnel.  After the water is added, lift the lid enough to scrape the inside of the glass.  Reset the lid and give the baryta paste another whiz.  Remove the lid and whisk and scrape as much of the paste as possible to the bottom of the glass.  Reset the lid and mixer. 

Melt the gelatin in a waterbath to 45-50C. 

Strain the melted gelatin through a stainless steel tea strainer into a clean beaker and immediately add the melted gelatin slowly to the baryta paste in the same manner you added the water to the dry barium sulfate.  Again, scrape down the sides and give another whiz.  Remove the whisk and stir in 5 ml Everclear with a clean plastic spoon. The mixture will be very frothy.  Strain it through a clean stainless steel tea strainer into an 8oz canning jar or similar.  You may have to help the last of the mixture through with the back of a plastic spoon. Don't worry about getting all the froth.  Cover and refrigerate. 

As soon as two hours later, or up to a week later:

Prepare the Rives paper for coating.  (I usually do this while the baryta-gelatin is setting up in the refrigerator.)  Cut the paper 14 x 20 inches (or work out your own best dimensions). Have a number of sheets of thick (1/4") plate glass (16 x 22 inches) ready with enough flat, level area to set them aside as you coat each sheet.  The area where you will be drying the coated paper should be clean and the air should be as dust-free as practical.   Since I have a limited workspace, I have built a cabinet for the glass sheets, along the same design as the cabinet for my granite (here).

One at a time, dip the paper in warm distilled water held in a tray larger than the paper.  Leave the paper in the water only long enough to evenly wet the paper through.  Lift the paper, allow it to drain a minute and then carefully lay it flat on a sheet of glass.  Gently scrape off the water and press the paper evenly against the glass with an impeccably clean squeegee.  The moisture will hold the paper to the glass without tape.  Cover the paper with a piece of clean plastic wrap or mylar sheet so that it doesn't start to dry before you can coat it with your baryta mixture.  Repeat with five more sheets.  Since I don't like to waste paper, I have another five sheets of glass and five more pieces of dry paper ready to wet and squeegee, one at a time, as I need them to use up the last of my baryta coating.

Set the covered jar of cold baryta-gelatin in a room temp waterbath and slowly bring the temp up to 45C. The froth bubbles will be all but gone by the time the gelatin melts.  It is important from this point on to handle the mixture gently so as to avoid introducing new air.   When the waterbath hits 45C, uncover the gelatin, insert a thermometer and gently stir once or twice with a clean plastic spoon.  Add 5 ml Everclear and stir slowly and gently for a couple of minutes until the Everclear seems thoroughly mixed in.  When the gelatin temp hits 42-43C, gently stir in 15 drops glycerin. After this has been thoroughly worked in, add 5 ml Everclear and stir a couple of minutes. Strain through a gold mesh coffee filter into a clean beaker. Check the temperature of the mix.  When it drops to 37-38C, add 12 drops glyoxal and stir a couple of minutes.  The baryta is ready for coating.  During coating, keep the baryta in a 36-38C waterbath. I make my first sheet on the small side to check the consistency of the mix. If the first coating looks like it has bubbles, add a little more Everclear.  A full size sheet of paper will use about 20-25 ml of coating.

I have had good luck with 7 wraps of mylar (3M #850) tape on the puddle pusher, but I recommend your own trials to determine what's best for you.

About an hour after you have finished coating all the sheets,  lift them off the glass and hang them to finish drying.  I have a folding clothes drying rack that I set up in my darkroom.  Clothespin the sheets by their corners to a rod on the drying rack and then attach two more clothespins at the bottom.  If you don't weight the bottom, the paper will dry in a tight curl. 

After the paper is thoroughly dry, take the sheets down and one at a time, tape a sheet, by all four corners, to a clean, dry sheet of glass.  With a very soft, clean, lint-free cloth, gently but firmly and thoroughly buff the surface of the paper.  This produces a lovely, smooth, semi-gloss surface.  If you can do this outside and wear a dust mask, it would probably be smart.  There aren't a bunch of cautions involved with barytes, but you will be making an aerosol dust, which is never smart to breathe or let settle around.

To coat the baryta paper with emulsion, repeat the wet and squeegee steps and wet-coat with emulsion made for wet-coating (i.e. less water).

   

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