Salt is the process that I really loved and jumped into head first. I think most of the allure came from its scarcity in alt when I started working with it in 2016. Why do a salt print when there’s platinum? What about van dyke?
The beauty of salt is that it’s so much less intimidating than platinum— you’re not as inhibited by cost. It falls somewhere in-between platinum and van dyke— not too warm, not too cool. While picky, it’s not as regimented as platinum. You can still tone salt prints, different sizes will render different degrees of tonal warmth, and if you’re looking to fancy it up like a platinum print, you can gold tone a salt print.
I’ve loved experimenting with salt, from papers to salts to sizes to applications. It’s part of why I teach salt workshops despite the inherent hurdles— there’s no process like it.
