Liquid Light on Aluminium: A Contemporary Expansion of Silver-Gelatin Printing
Liquid Light, a brush-on silver-gelatin emulsion, has historically enabled analogue photographers to move beyond traditional darkroom paper and explore alternative surfaces such as wood, ceramic, or canvas. In recent years, however, the materiality of photographic printmaking has re-entered contemporary artistic discourse — and aluminium has begun to emerge as a compelling surface for exploration.
This ongoing research project introduces an extended approach to Liquid Light printing on aluminium, focusing on material behaviour, surface preparation, and the sculptural qualities of the photographic object. The work aims to expand silver-gelatin practice into more tactile, durable, and light-responsive forms suitable for contemporary exhibition contexts.
Chalenges
Why Aluminium?
Aluminium offers a distinct visual and physical identity that paper cannot replicate:
- A natural silver background where unexposed emulsion remains
- Reflective highlights that shift with light and viewer position
- Increased durability and object-like presence
- Potential for display without glass or traditional framing
Unlike paper, the image sits on a metallic surface, allowing photography to approach the qualities of painting, printmaking, and sculpture simultaneously.
Development of the Technique
Through extensive studio and darkroom experimentation, this project has evolved into a refined method that produces consistent results on aluminium sheets — including large-format plates.
A key breakthrough involved pre-coating the surface with a thin polyurethane layer, enabling better emulsion adhesion, smoother tonal response, and greater durability of the final print. This refinement has made it possible to scale the process to larger dimensions while maintaining stability and visual fidelity.
Research now extends beyond aluminium to additional substrates such as mirror, glass, and steel, with the aim of further exploring how photographic emulsion interacts with reflective and non-absorbent surfaces.
Positioning the Work
This body of research situates itself at the intersection of analogue photographic craft, material experimentation, and contemporary art practice. It is informed by the resurgence of alternative processes and a growing interest in the physicality of the photographic print in an era dominated by digital representation.
The project builds toward a more formal publication, which will present the full methodology, material findings, and comparative analysis across multiple substrates. This forthcoming paper is intended for release through an academic or specialist photography journal to support practitioners and researchers interested in advancing the technique further.
Future Directions
- Expanded testing across mirror, glass, steel, and mixed-metal composites
- Archival and conservation studies for long-term preservation
- Lighting and installation research for exhibition display
- Development of a workshop framework for analogue practitioners
How to Reference This Work
This overview may be cited as:
Rahmani, Hasan (2025). Liquid Light on Aluminium: A Contemporary Expansion of Silver-Gelatin Printing.
Vision
I am always looking for new experiments...
