Use Liquid Light® photographic emulsion for prints on wood, glass, ceramics, plastics, china, fabrics, metal, stone, paper, artist's canvas, walls-- even an egg.
Printing with Liquid Light is the same as with black-and-white enlargement paper. Under amber or red safelight, brush the emulsion onto a surface. Expose with an enlarger or slide projector. Process with standard paper developer and fixer.
Prints are archivally-permanent with a full range of tones and transparent highlights that reveal the color and texture of the material underneath.
Contrast is medium-high (approximately #3).
Coverage is approximately 1½ square feet per ounce. No fumes, odors or VOC's-- Liquid Light is completely darkroom-safe (see features). Have questions about setting up a darkroom? See FAQ page.
that tints black&white prints any color. (Effect: A black tree against a white sky, tinted in yellow Printint solution: The sky becomes yellow, the tree stays black.) Also use Printint for spot-retouching and hand-coloring of black & white prints, or with Halo-Chrome for silver-on-color prints. Contains primary color concentrates that can be blended.
transforms black-and-white prints into pure metallic silver, by fusing together the grains into polished silver. (Effect: A black tree framed against a white sky, toned with Halo-Chrome: The tree becomes solid silver while the sky remains white.) Used with Printint, it gives silver-on-color.
Halo-Chrome can also be used to produce a black image against a silver background. (Effect: A black tree against a white sky is toned with Halo-Chrome: The sky becomes solid silver while the tree remains black.) On glossy papers, Halo-Chrome gives a mirror-finish and on matte papers a brushed-silver finish.
gives warm black images on paper and cloth. On paper, it can be used for a variety of classical processes including van Dykes (also called brownprints) and kallitypes (that resemble platinum prints.) On t-shirts, it gives a permanent image that does not stiffen the cloth. FA-1 is handled under room light, and requires a negative transparency.
are a rich cyan blue, so are also named Cyanotypes. A transparency or drawing on clear plastic is laid over paper or cloth coated with blueprint solution, sunlight exposes it, and running water is all that's needed to make it permanent.
Our Tintype Parlor is an authentic re-creation of the tintype process, a type of "instant" photography that was popular in your great-grandparent's day. These are authentic dry-plate tintypes, also known as ferrotypes, like those found in antique shops-- not modern imitations. Plates are thin enough to cut with scissors to fit inside any camera. The kit contains everything you need to make tintypes (called ambrotypes if coated on glass.) Tintype materials can also be ordered in bulk quantites for use in old-time photo parlors.
"Tintype Parlor"
contains 5 metal plates size 4x5 inches plus emulsion, tintype developer and fixer........ $30.00
Tintype Plates contains 10 plates ready for coating.
Return to Top Emulsion for Tintypes (AG-Plus)Return to Top Tintype Developer Reversal developer, gallon...... ..$25.00
Return to Top Tintype Fixer Kodak Fixer, gallon........ $6.50
Return to Top Oval mat (6x6") for 4x5" tintypes. Black with gold trim, 10 pack...... $14.00
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The image is printed on an inkjet printer and the paper is sprayed or painted with lacquer or other clear coating (you supply). It is transferred by soaking the paper in water and floating the image onto glass, metal, plastic, etc.
Liquid Light® photographic emulsion for prints on wood, glass, ceramics, plastics, china, fabrics, metal, stone, paper, artist's canvas, walls-- even an egg.
With polycontrast filters, Liquid Light VC® contrast ranges from 1 (low) to 3.5 (medium high). It has all the features of regular Liquid Light-- easy application, coverage of 1½ square feet or more per ounce and is darkroom safe and fume-free. Liquid Light VC is processed the same as Liquid Light and Ag-Plus but requires a red safelight only.
Ag-Plus® photographic emulsion has extra silver halide content especially for use in-camera as for tintypes or ambrotypes, or for making large wall-size enlargements at a considerable distance from the enlarger. Processing and final appearance of prints made with Ag-Plus are the same as Liquid Light. 
Polytoner tones prints any color, using color-coupling chemistry: It tones the black image without affecting the highlights. (Effect: A black tree against a white sky, toned with green Polytoner: The sky stays white, the tree becomes green.) Use it with black & white photographic papers and Liquid Light prints. Contains red, yellow and blue couplers that can be blended for secondary colors.
Make pastel papers with Printint, 
Description:
An all-in-one alternative sensitizer, FA-1 
As the name implies, Blueprints 
Our Tintype Parlor is an authentic re-creation of the tintype process, a type of "instant" photography that was popular in your great-grandparent's day. These are authentic dry-plate tintypes, also known as ferrotypes, like those found in antique shops-- not modern imitations. Plates are thin enough to cut with scissors to fit inside any camera. The kit contains everything you need to make tintypes (called ambrotypes if coated on glass.) Tintype materials can also be ordered in bulk quantites for use in
Oval mat (6x6") for 4x5" tintypes. Black with gold trim, 10 pack...... $14.00
Dry transfer paper for absorbent surfaces: 
Wet transfer paper for non-absorbent surfaces: 
This high quality artist's canvas is specially primed for printing with most inkjet printers. Gives a high resolution image with both pigment and dye inks. Contains 10 sheets, size 8 1/2 by 11 inches....... $19.00 
