U of S | Mailing List Archive | alt-photo-process-l | Re: Ware/Malde-Ziatype-DOP palladium,was RE: "New" Paper for Pt/Pd (an

Re: Ware/Malde-Ziatype-DOP palladium,was RE: "New" Paper for Pt/Pd (and other iron processes, too)



I have not done anything with ziatype other than print with straight FAO plus lithium palladium chloride.

Sandy




At 8:21 AM -0700 11/30/06, Camden Hardy wrote:
Sandy,

Have you tried adding sodium tungstate to the ziatype emulsion to get
warmer tones?

If so, how does the color compare to that of the Ware/Malde POP process?

Camden Hardy

camden[at]hardyphotography[dot]net
http://www.hardyphotography.net


On Wed, November 29, 2006 10:37 pm, Sandy King wrote:
 Hi Loris,

 I always control temperature at around 70F, and
 within certain limits I can also control RH.
 However, for various reasons it is much easier to
 control RH in the 50-60% range in my working room
 than at the extremes.

 At 55% RH I really like the results I get with
 the Ware/Malde POP palladium process. Dmax is
 excellent and the color is a nice warm black. In
 some ways nicer than with DOP palladium. But if
 the RH changes by as much as 5% there will be a
 chance in image color, warmer going down, more
 neutral going up. But this is ok, since I have
 excellent control of RH in the 50-60% range.
 However, the color shift with RH change is one of
 the great attractions of the Ware/Malde method.
 And with dichromate contrast control, which Mike
 chose not to exploit, you can get contrast
 control *and* the color you want. And without the
 cessium salt needed with Ziatype.

 However, if the type of image one likes is very
 neutral black, Ziatype with the lithium salt by
 itself gives great results. I would find it very
 difficult to make this color with Ware/Malde
 because a RH of 80% or so would be almost
 impossible to obtain in my working environment.

 Sandy







 At 8:16 PM +0200 11/29/06, Loris Medici wrote:
I see. Agree with you on the fact that making identical looking prints
 with
POP version (at least Ziatype) can be hard... But, that shouldn't that
 much
hard to you? I mean you have a lightsource with integrator, you can
 control
humidity and temperature in your working area, you're accustomed to be
consistent in coating + drying the paper (in fact, you're a master carbon
printer!). Do you still find hard to get consistent / close results?

About compression in the shadows: I cheat, I artificially increase
 contrast
in the shadows. When you have problems - even if you have a perfect
calibration - some extra contrast boost in the shadows (it should look
almost weird on your screen) will do good in that aspect... The more
 texture
you have in the shadows, the less you have this "looks dull" problem. Low
key images with delicate tonal transitions make another problem - I think
Pt/Pd (or any other process which results a matte print) is not the best
choice for this type of imagery... Carbon is, in my understanding.

Regards,
Loris.

-----Original Message-----
From: Sandy King [mailto:sanking@clemson.edu]
Sent: 29 Kasěm 2006 «arsłamba 18:16
To: alt-photo-process-l@usask.ca
Subject: RE: "New" Paper for Pt/Pd (and other iron processes, too)


What I meant by hard to beat is the consistency of DOP, i.e. the
 capability
of making multiple prints, all with the same density and color, without
worrying about changes in exposure.

FAO with the ammonium salt gives beautiful chocolate colors, if printing
 at
low humidity.
But you need some type of contrast control if working with negatives of
 DR
of 1.8 or so intended for DOP palladium. You can actually get it by
 adding a
few drops of dichromate to the sensitizer, as you do with ziatype. There
 is
no down side to this as far as I can see, and the ability to control
contrast this way makes the Ware/Malde process quite flexible.

FAO with the lithium salt (ziatype) also works well, though I have only
 made
a few prints with it. But for persons who like nice neutral black prints
 >>this is the way to go with palladium.
But printing with Pt./Pd. drives me crazy at times. The prints always
 have
this glorious look when they are washing, and when you hang them up to
 dry.
Then you come back the next morning when they are dry and they look dull.
 By
contrast, carbon prints improve in look as they dry. I do find that a
 couple
of coats of some kind of clear gloss lacquer or varnish recovers some of
 the
wet look, but not all of it.

Sandy