Skellig’s Rocks, Study I
Skellig’s Rocks, Study I
Skellig’s Rocks, Study I

William Scott

Skellig’s Rocks, Study I

Kerry, Ireland, 2004

Original Gelatin Silver Photograph

Image dimensions: 10.5" x 10.25"
Mounted dimensions: 18" x 22"

Pristine condition

certified authentic
Add to Collection — $1,500
Skellig’s Rocks, Study I
Skellig’s Rocks, Study I
Skellig’s Rocks, Study I



Original sepia and selenium toned Gelatin Silver photograph by William Scott, "Skellig's Rocks, Study I, Kerry, Ireland." Individually handmade by Scott from 6x7 format film. Mounted on cotton rag museum board. Signed in pencil and numbered in an edition of 90 with artist’s stamp on verso.


The HD Video of the actual work in question has been provided as a visual condition report. If you would like a written condition report in addition to the HD video, please



The most popular black and white process of the 20th century was gelatin silver, in which the image consists of silver metal particles suspended in a gelatin layer. Gelatin silver papers are commercially manufactured by applying an emulsion of light-sensitive silver salts in gelatin to a sheet of paper coated with a layer of baryta, a white pigment mixed with gelatin. The sensitized paper, generally fiber-based, is exposed to light through a negative and then made visible in a chemical reducing solution. William Henry Fox Talbot introduced the basic chemical process in 1839, but the more complex gelatin silver process did not become the most common method of black-and-white darkroom photography until the late 1910s. Because the silver image is suspended in a gelatin emulsion that rests on a pigment-coated paper, gelatin silver can be sharply defined and highly detailed in comparison to platinum or palladium, in which the image is absorbed directly into the fibers of the paper.

Cross section of Gelatin Silver paper

In addition, William Scott uses a sepia and selenium split-toning process. Sepia toner is a chemical compound that converts the traditional metallic silver to a sulfide compound called silver sulfide. The result is a shift toward warmer golden tones. The selenium toner reacts with the silver in the paper’s emulsion to form silver selenide, which increases longevity. In addition, it enriches the blacks and removes any green cast from cool-tone photographic paper, turning in brown and if left in the toner long enough, an aubergine color. Like the exposure itself, these toning color shifts take place within seconds and no two can ever be made exactly alike.