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)



Hi again Camden,

See: http://www.loris.medici.name/Camden_small.jpg
Lighting's not perfect but it shows what you need to see.

Both are straight Ziatypes (AFO + LiPd only). The print on the left was
printed as soon as it was surface dry (5-6 minutes max.), the print on the
right was printed after a 20 minutes waiting period and the RH was quite low
(something like 35%). The print on the right looks more contrasty because it
was coated with semi-gloss polyurethane wood finish.

Hope this helps.
Loris. 

-----Original Message-----
From: Camden Hardy [mailto:camden@hardyphotography.net] 
Sent: 01 Aralık 2006 Cuma 20:53
To: alt-photo-process-l@usask.ca
Subject: RE: Ware/Malde-Ziatype-DOP palladium, was RE: "New" Paper for Pt/Pd
(and other iron processes, too)

Interesting.  I read somewhere (I was going to cite it, but alas I can't
find the source...maybe I dreamt it) that ziatype, in its basic form, is
fairly constant between 20%-80% RH.  Another look at the official ziatype
article on the B&S website (http://www.bostick-sullivan.com/techart.php)
showed me that 50%-65% RH is recommended.

That is kind of an interesting idea, "split-toning" with different humidity.
Maybe one of these days I'll play around with it.  :)

Which side was the purple, the dry or humid side?


Camden Hardy

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



On Fri, December 1, 2006 11:33 am, wcharmon@wt.net wrote:
> Actually, humidity can be a huge factor in Ziatype. I learned this the 
> hard way early on when I was printing a ziatype of a long 7x17 inch 
> negative. I made the mistake of opening up the same side of the split 
> back printing frame each time I checked the exposure, which 
> inadvertently allowed one half of the print to dry out a little more 
> while the unchecked side sat nice and cozy and humid between the glass 
> and the back of the frame. This gave a whole new meaning to the term 
> 'split tone', because I ended up with a print which had a left side 
> that was cool purplish black and the right side a warm toasty brown. 
> I'm sure someone will immediately sieze on this observation to create 
> a way of controlling this effect so that different parts of a print can be
different tones.
>