The first negative of the day was an 8x10 copy negative of President Lincoln. The photograph was taken by Anthony Berger for Bradys studio on February 9, 1864, and is the portrait that was used on the five dollar bill from 1914-2007.s studio on February 9, 1864, and is the portrait that was used on the five dollar bill from 1914-2007. Credit: By

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For the first time since 1938, the Library of Congress has stopped selling silver gelatin prints of images in its collection. Earlier this month, freelance printer Franz Jantzen developed his final batch, including iconic images by Walker Evans, Gordon Parks, and Dorothea Lange.

The first negative of the day was an 8×10 copy negative of President Lincoln. The photograph was taken by Anthony Berger for Bradys studio on February 9, 1864, and is the portrait that was used on the five dollar bill from 1914-2007.s studio on February 9, 1864, and is the portrait that was used on the five dollar bill from 1914-2007.
This is an 8×10 negative of the cabin of a black sharecropper family in Hale County, Alabama, c. 1935-36. This shows the negative as it is in the enlarger, and shining down onto the easel where the photographic paper goes.
The first test strip of Walker Evans sharecropper cabin. The different strips are the negative’s values at various lengths of exposure. sharecropper cabin. The different strips are the negatives values at various lengths of exposure.s values at various lengths of exposure.
An 8×10 of the store at the crossroads in Sprott, AL. Again, 1935 or 1936.
A Walker Evans negative Jantzen had never printed before – a fireplace in the Tingles house c. 1935-36.s house c. 1935-36.
Walker Evans photograph of Frank Tengle’s fireplace in Hale County, AL. This is from a photo order that was placed by artist Joni Sternbach. photograph of Frank Tengles fireplace in Hale County, AL. This is from a photo order that was placed by artist Joni Sternbach.s fireplace in Hale County, AL. This is from a photo order that was placed by artist Joni Sternbach.
The last negatives of the day were printed at 16×20, and included Gordon Parks iconic portrait of cleaning lady Ella Watson from August 1942. Above it is a test strip from an earlier printing session. iconic portrait of cleaning lady Ella Watson from August 1942. Above it is a test strip from an earlier printing session.
Gordon Parks portrait of Ella Watson just after squeegeeing and still damp. Parks’ boss Roy Stryker’s first reaction to this photograph was that it was too overboard, and told him to keep working at it. portrait of Ella Watson just after squeegeeing and still damp. Parks boss Roy Stryker’s first reaction to this photograph was that it was too overboard, and told him to keep working at it. boss Roy Strykers first reaction to this photograph was that it was too overboard, and told him to keep working at it.s first reaction to this photograph was that it was too overboard, and told him to keep working at it.
Etching the black specks that resulted from dust on the film for the Gordon Parks portrait of Ella Watson. For this step, the razor has to be at its sharpest, since you want to just barely scrape away the top surface of the emulsion.