Re: Some Kallitype observations
The papers I have tried are Arches Platine (mostly) and Stonehenge - B
side to see if it would bypass some problems visible on AP.
All solutions (5% KOX, 2x citric acid clear, fixer, "hypo" ) are used
one shot. For KOX, I use ~100 ml which is enough to cover the print in
a flat tray satisfactorily. My impression is that 5%KOX develops
relatively slowly compared to 20% Na cit, but both developers produce
densities that go to completion after ~5' development time.
I also find that instead of 1:1 mixture in the sensitizer, a mix of 0.9
ml AgNO3: 0.6 ml FO works better, and the smaller volume I use for
approx. 80 sq in of surface area produces a thin, uniform coat without
What I have not clearly established is after how many uses the toners
get depleted. I notice that the Au toner gets turbid after about 2
uses, and produces a slightly washed-out effect that has a different
kind of appeal. Your input would be helpful.
On 5-Sep-06, at 7:53 PM, Sandy King wrote:
Very interesting work.
Curious about your results with gold toning. I get very blue-black
shadows with gold toning with sodium citrate with virtually every
paper I have tried.
I also get more contrast, as the gold toning tends to reduce the
highlights slightly, which agrees with your finding about "whiter
Are you using the 5% KOX as a one-shot solution? How does it compare
in printing speed to 20% Na citrate?
FWIW, I proceeded to do developer-toner combos of sxs run prints and
found the following:
a) 5% KOX - Au toned >>> cool brown shadows, tan-mauvish highlights.
b) 20% Na citrate - Au toned >>> cooler shadows and whiter highlights
rel. to a).
c) 5% KOX - Pd toned >>> warm browns throughout tonal range
d) 20% Na cit - Pd toned >>> cooler browns than in c); slightly
warmer than b) across the tonal range.
e) 5% KOX - Pt toned >>> as in c) but browns are slightly darker.
f) 20 % Na cit - Pt toned >>> very similar to d).
What I was interested in doing was establishing combos (under my
working conditions) that would generate subtle color changes in the
otherwise B/W Kallis. Double-toning also holds promise and all this
becomes more apparent when the prints are viewed together.
Sandy King has shown this in his Unblinkingeye article. Other factors
(water quality, humidity, sensitizer components, paper, etc) also
contribute to the tones obtained.
On 5-Sep-06, at 11:44 AM, Don Bryant wrote:
Don Bryant, you do kallis, correct?
I have used potassium oxalate to develop kallitypes - once. I
with a virgin mix of PO at 20%. I developed my first print and was
with a dark purple looking print. Immediately I realized 2 things:
1) The PO increased the speed of the kallitype when compared to the
exposure developed in sodium citrate.
2) I liked the tone/color of the print.
I then adjusted my exposure time and tried the PO developer again.
my surprise the print had the same tonal color as the sodium citrate
developed prints. At that point I saw no advantage to using PO for
kallitypes and dumped the mix.
My 2 cents,