U of S | Mailing List Archive | alt-photo-process-l | RE: Argyrotypes

RE: Argyrotypes

Thank's David. I'll look for that.


From: davidhatton@totalise.co.uk [mailto:davidhatton@totalise.co.uk] 
Sent: Thursday, November 23, 2006 9:44 AM
To: alt-photo-process-l@usask.ca
Subject: Re: Argyrotypes

I think Fabriano 5 could be Fabriano Classico in the US of A. 
David H
On Nov 23 2006, Don Bryant wrote: 

Dear Alt Photo List,

Today I received two Argyrotype prints from an individual as part of an
alternative print exchange organized through APUG.COM. 

The prints were made on a paper identified as Fabriano 5 (which I am not
familiar with and are the first Argyrotypes I've ever seen. 

These two prints had such delicate tonality that I am compelled to try the
process. These two brown tone prints have a color and gradation that I have
never seen matched with the Van Dyke Brown process, toned or untoned. I am
very impressed with the prints.

Does anyone know if Fabriano 5 is marketed in the US? Perhaps by another


Don Bryant

-----Original Message-----
From: Venkatram Iyer [mailto:eyeear@telus.net] 
Sent: Wednesday, November 22, 2006 12:42 PM
To: alt-photo-process-l@usask.ca
Subject: Re: Some Kallitype observations


The KOX I use is the mono-potassium salt, so the solution is acidic.

On 22-Nov-06, at 6:18 AM, Sandy King wrote:

Hi Venakatram,

Thanks for sharing these results. A > few questions.

1. How are you gelatin sizing in terms of > percentage solution and 
method of sizing?

2. What is > your clearing agent, method, and time.

3. Are you mixing the > potassium oxalate from oxalic acid and potassium 
carbonate or > buying it already mixed? If the former, what is your 
mixing > procedure and at what pH do you maintain the solution?

Sandy > King

At > 3:31 PM -0800 11/21/06, Venkatram Iyer wrote:
>> Hello All,

I would like to share some recent observations >> using the Kallitype 

Papers: Stonehenge B >> side (STHG-B) prints better than the other side. 
Sidedness was
>> >> determined by sxs comparison of marked sides.
>> Arches Platine (AP 310 gsm) needs less expo than STHG-B, & 
>> yields richer, more lustrous tones than STHG-B
>> Graphix Vellum48 shows greater detail than AP
>> Gelatin-sized, formaldehyde-hardened AP and STHG-B produce 
>> sharper prints with
>> cleaner highlights than unsized controls.
>> Unsized paper produces delicate softer prints with subtler 
>> colors.
>> Graphix Vellum 48:
>> - pre-coat with oxalic acid
>> - use 2 coats of emulsion
>> - exposure will not produce a visible image. So pre-establish 
>> exposure w steptab
>> - Pd toner >> cool browns; Au toner >> cool B/W
>> AP or STHG-B:
>> - do not need an oxalic acid pre-coat
>> - one thin coat works well; Dry it, equilibrate paper to room 
>> conditions, then expose.
>> Emulsion:
>> - a 6:4 AgNO3:FO mix works better IME than the 5:5
>> - additives (Au, Pd or Pt) block up shads; this may be corrected >> by 
decreasing exposure
>> - Steptab prints indicate that tonal separations are cleaner when 
>> additives are omitted.
>> Exposure: Optimum exposure is reached when shadows print a 
>> medium-dark ochre.
>> Developer:
>> - 4% KOX develops the print slowly to a cool brown after 5' of 
>> development. There was
>> no observable bronzing.
>> - With increasing concentration ( 5, 10 and 20% KOX), development >> is

>> rapid and proceeds to B/W, bronzing occurs in shadows, and
>> are muddier.
>> Toner effects depend on:
>> - the presence of additive in the emulsion
>> - sizing of paper
>> - possibly local factors (water composition, temperature, >> humidity, 
>> - selenium toning (cheap toner!) of sized AP coated with the 6:4 >> mix

>> printed in cool browns, and showed good detail across tonal
I have found Sandy King's and Carmen Lizardo's Kallitype >> publications 
very helpful.

Please feel free to >> comment/confirm/complement the above.