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Then Cameron quickly moved to her darkroom, the converted coal shed in her hen house, to develop, fix, wash, dry, and varnish the plate. Cameron made a contact-print of the glass plate onto albumen paper. The paper, previously coated with salted egg white and made sensitive to light with silver nitrate, was fastened against the glass negative with a frame and set in the sun for exposure. Cameron did not use an enlarger. The resulting portraits were printed directly from the negative. |
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