I have seen only two examples of the results of silver gelatin emulsion making and coating attempts. Can anyone direct me to other sites, or post examples of their work with silver gelatin emulsions?
I used to have a site showing silver-gelatin prints that were aimed to make materials that look very old timey images. Due to security holes that weren't improved I had to take them down and never put them back up on the new platform. Maybe I'll have to come back to it...
Which two do you know of? Besides Ron, I only know of my work. I'd love to hear that there are more of us. It's lonely out here. (I have high hopes for you after the PF workshop!) It may be a gender thing, but I'm oriented to collaboration and team learning. I don't see much point for secrecy and coy evasions in either art or science, and photography, bless it , is both.
I have been tied up in the paycheck part of photography for the last two months, but I'm getting ready to update my emulsion postings. I want very much for more people to give handcoating silver gelatin a try. To that end, I'm going to try to make it easier to learn the technique from my website. I'm having good luck coating with a puddle pusher. I'm hoping that will be encouraging to folks daunted by the cost of the blade.
I have been making all sorts of emulsions, and one of my goals is to make a good, easy-to-use warmtone print emulsion. I have made several conventional technology emulsions and a few tabular grain print emulsions (which are very good, but t-grains take a lot longer time and more steps to make, and also takes longer time to fix, so I'm actually rethinking this option).
I'd like to hear more about how you coat the PAPER. I'm going to avoid the term you used since it can mean a specific product, but I've tried glass rod coaters, with or without wire winding. These worked great on glass plates but not on paper. I'm curious to learn more on this.
Terry Holsinger has made images with glass plates. I am not very familiar with his latest progression tho I came across a web page describing his work.
I used to make test prints of real emulsion and I should probably have one. I'll search.
More recently I got into more technical aspects, so most of them I just take step wedge print, read speed and contrast, and trash. Sometimes I tone them, sometimes I look at them in microscope, etc. Not very interesting info for anyone but emulsion engineers.
I do have formulae. My favorite so far is bromide paper emulsion made with double jet method, and doped with a rare earth metal (Cerium), sensitized with sulfur, and stabilized with TAI and nitrobenzimidazole. However, for beginners I generally hand out a simpler single jet formula that uses a small amount of iodide rather than cerium and use benzotriazole in place of TAI and nitrobenzimidazole. It is still a bromide emulsion and uses a sulfur sensitization. Email me (please, no pm) and I'll send it back. Many people tried it and sent me success reports. I've also shown emulsion making process in my darkroom.
I started my emulsion work for my own interest and at one point a lot of people were interested in it as well. However, I am not sure what's the best approach to this. I could write a book, but only a few people would bother to read. I could do a workshop but from my past experience most people are very satisfied to see that it can be done but would rather wait until Kodak and Fuji go out of business. I personally think it's perhaps best to regard homemade silver-gelatin an addition to "alternative" or historical processes and put more effort on the fine art aspect... But I'd like to hear what people expect/hope to get from emulsion projects.
Most of my work so far has been using the 4x5 inch coating blade designed by Ron Mowrey and sold through Photographers' Formulary. It is so reliable, repeatable, and efficient with emulsion I use it for my basic explorations. I have had good luck coating a larger surface using an 11' Puddle Pusher brand glass rod with the ends wrapped in mylar tape to the right depth. The mylar doesn't have any drag or give, so it works very well at holding the glass rod at the right height over the paper. My impression so far is that the paper makes or breaks the odds of successful coating with a Puddle pusher. I use Fabriano Artistico. The weight and sizing and the strong grain that cups up evenly all contribute to the final product.
I can't speak for other emulsion workers, of course, but I see handcoated silver gelatin as no more or less 'fine art' than any other high quality silver paper. For me, making it myself justs adds another level of choice and control.
Examples of emulsion making.... 
Linear Mode
