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

Re: Kallitypes: update, new images


You can learn more about Graphix Vellum at <grafixarts.com>. It is based in Cleveland, Ohio. The 48 Vellum is heavier than the 24.


On 29-Mar-07, at 8:30 PM, Don Bryant wrote:


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.