The slates on the previous page are purchased at a builder's supply. They are approximately 12" square. Each slate is coated with Silverprint, a light-sensitive silver bromide emulsion, produced by a company called Luminos. The slates then become like a photographic paper and are processed in the same manner.

I select slates with an interesting texture that aren’t chipped or ready to crack. Each piece is matched to each image, taking into account the texture match and both image and slate features. Slate color is also an important factor. Some are a reddish-sepia, others a more standard slate gray. The mood of the final image depends very much on the color of the slate.

I first scrub each slate clean with hot water and a scrub brush. After the slates are dry, I rub a water base white paint into the finish on the side where the image will be placed. I use a thin coat of paint applied with a wet cloth. This allows the gray tones of the image, which closely match those of the slate, to be more prominent. An image directly on stone will not show as well as one where a white background has been applied. In addition, rubbing the white paint onto the surface brings out the texture of the stone. After the paint is dry, I sometimes apply a coat of outdoor varnish with a brush. This seals the surface and helps the emulsion to adhere. I usually let the varnish set for a day or two before applying the emulsion.

The container of Silverprint gel will liquefy when placed in hot water (120 degrees F) for about one hour. The emulsion may be applied to the slate in a darkroom, with only an amber safe light. I use a sponge brush (a plastic handle with a sponge glued on) approximately 3/4 inch wide. The 3/4 inch sponge brush still gives me a look of brush strokes, which I favor. I pour a small amount of the liquefied emulsion onto the stone and work it around evenly with the brush. During the application I return the container of Silverprint to the hot water to keep it liquefied. Once it has been coated, the slate is placed in a light proof box (wrapped with aluminum foil) or paper safe to "cure". At the same time, I coat broken pieces of slate to use as test "strips". The slates must dry in total darkness. 2 to 3 days later I recoat the slates in the same manner. This gives more depth to the image by creating deeper blacks. After the final coat, the slates are kept in total darkness for at least 4 days. The slates are not always given a second coat. Doing so sometimes creates too "literal" of an image when all I want is just a hint of one.

After curing, the slates are exposed and processed in the same way photographic paper is. Use a non-rapid fixer. A rapid fix will bleach the image. Wash in a tray with a Kodak tray siphon, as the slate will deposit grit in hard-to-clean areas in an archival washer. The grit then winds up embedded in fiber base prints. I learned this the hard way! Keep in mind that the emulsion is very fragile during the final wash. The wash water temperature must stay below 68 degrees F or the emulsion will peel off.

I use broken pieces as test strips to determine exposure. These can be scrubbed clean in hot water and reused. The smaller pieces exhaust the chemicals more slowly and take up less space than full size slabs. When an image has been exposed, processed, but not yet dried, it may be removed from the slate by scrubbing in hot water.

The images may be toned with any type of toner suitable for photographic paper. Slates take well to hand tinting. I have coated some pieces with an outdoor varnish and placed them in the garden, though the longevity of these has not yet been proven. Beware of using a yellowing varnish as the final sealer.

Gallery quality pieces are bound for hanging with wire which has been decorated with beads, jewels and symbolic charms.                                                                  

    How I hang my slate pieces: