U of S | Mailing List Archive | alt-photo-process-l | RE: Kallitypes: update, new images

RE: Kallitypes: update, new images


I meant to reply earlier but got distracted. Thank you very much for sharing
your findings, you seem to have done some thorough testing. 

Can you identify these papers more clearly:

STHG - Stonehnege?

Graphix Vellum 48 - Clearprint or something similar?


Don Bryant

-----Original Message-----
From: Venkatram Iyer [mailto:eyeear@telus.net] 
Sent: Thursday, March 29, 2007 8:02 PM
To: alt-photo-process-L@usask.ca
Subject: Kallitypes: update, new images

Hello All,

I have summarized my experience with the Kallitype Process. Apologies for
the length, but the friendly delete button is ever-handy!


	- to get sharp borders (no bleeding), STICK black sign vinyl onto 
border on 		non-emulsion side of OHP neg.
	- Care of Richeson brush: rinse used brush, then stand it in ~4% 
Na4-EDTA 		for 2-3 hours, rinse. Keep bristles submerged in

	-Formalin-hardened gelatin sizing of Arches Platine improves 
sharpness. 		Colors obtained on development are different from
those on 
unsized AP
	- sizing improves tonal resolution, opens up shads; HLs are brighter
	- sizing STHG-B yields variable outcomes: either prints are soft, or

colors are 			enhanced and details are  improved

	- addition of Au to emulsion reduces exposure time but shads are 
poorly 		resolved
	- steptab printed on unsized AP gave cleaner seps when Au was
from		emulsion mix
	- sized AP coated with emulsion containing Au needed 33% less
		than the control without the additive

	- thin spread clears better than a thicker one
	- 6 AgNO3:4FO works better than 5:5
	- a single coat on AP and STHG is sufficient
	- for Graphix Vellum 48, precoat with 1% oxalic acid, then apply 2 
coats of 		emulsion (dry between each application). This
curling and 		splotching of vellum

	- STHG has a sidedness, one side printing better than the other
		- Pd toning shows variable effects: cool brown in one case,
B/W in 
		- Se toner produced muddy outcome
	- AP produces rich lustrous tones, needs less expo than STHG
		- Pt toner gave dark warm browns and well-defined HLs
		- Au toner gave choc-brown-black tones w good detail; HLs
	- Graphix Vellum 48 produced gritty images (may work in some cases)
		- detail on Vellum 48 was better than on AP
	- Masa (rough side)
		- tape down and coat with Richeson
		- Se toner works well: toner effect is  easier to see if KOX
is used 
at 5%
		- expos are 8-10' for normal negs; to get HLs to print
longer			- a plastic paddle facilitates handling of Masa
- all 
processing is done in one tray
			- liquids are poured over paddle while it is held
above print
			- paddle is made from a thin bendable plastic, the
front half being 
cut in the shape 				of the tray but slightly
smaller; it tapers to a 
handle midway. A hole cut in the 				latter
provides ease of handling.
			- dry print in developing tray. When partially dry,
move it to and 
dry it
				between folds of a 100% cotton bedsheet
	- Weston 's Parchment Paper		
		- needs 6 ml / 11 x 14"  area
		- Se toner gives gray-brown blacks
		- 6-7' expo prints all tones
		- overexposed, Se-toned print showed cool brown shads; gray
brown MTs;
			creamy HLs
		- with slight over-exposure, Pd toning gave a low key, but
gold-				brown print
	- Somerset Beige and White: use 2.5 ml / 8 x 10" area	
		- needs 6-8' to print all tones
		- Se toning was unsatisfactory
		- good medium to print a contrasty neg on
		- Pd toner gives cool brown shads, muddy MTs, warm HLs
	     Som W:
		- needs 5-6' expo to print all tones
		- texture of paper eliminates VENETIAN BLINDS in HL areas
		- Pd toner gave cool brown shads, muddy MTs, warm HLs

	- expose soon after coating, drying and equilibrating to room 
	- expo should not exceed point when a medium-dark ochre appears in 
		shadows. This endpoint is seen on AP, STHG, and Somerset but
not on 
			Vellum or Masa.
	- On Vellum, exposure does not produce any visible image
	- reduced exposures show better detail. Factor in drydown.
	- 20% Na Citrate and Hall's Developer produce similar outcomes
	- 20% KOX blocks shads
	- 5 and 10% KOX produce identical effects to those produced by 20%
	- though 3% KOX produces crisp steptab seps, it is less impressive 
than 5% KOX 			when printing negs

TONING (see PAPERS above)
	- do not reuse
	- toners can be brushed on gently to conserve volumes and achieve

Paper, sizing, thickness of emulsion, additives in emulsion, developer 
(type and strength), 		temperature of wash water, and toner (s).

A systematic study of how these interact to produce the final color 
would be time-intensive 		though informative.

I have added some new Kallis to my web page at <lookatart.com> or 
<theartark.com>. Click the REFRESH button, then select Painters (or 2-D 
works), and scroll down to where my name appears.