USPO 1.120.580 - Sensitive photographic paper and
process of making the same. Patented Dec.
Is this the right one?
----- Original Message -----
Sent: Friday, May 22, 2009 4:17 AM
Subject: RE: argentotype again
I you read Willis original patent, which I
can't remember if it is dated 1913 or not, the process that he describes as
satista (and I am not sure if he uses that name or not) is not what we
call "satista now". His process involves sensitising silver halide
emulsion with platinum, exposure with UV and development in POTA developer. I
tried sensitising silver chloride paper (Forte wt) with Pt salts and it workes
OK. I need to reread the patent again as it has been a few years. I never
followed his recipe as described in the patent, but I would think it would
work OK as my crude attemt to sensitize commercial paper gave decent
> Date: Thu, 21 May 2009 07:53:55
> From: firstname.lastname@example.org
> Subject: Re: argentotype
> To: email@example.com
this thread, in practice, never started... I was asking if anybody knew the
> formula of Herschel's argentotype, but I haven't had any reply. It
> historical purposes only, as I were writing some notes for a
> Yes, the principle (sensitive substance in the first coat
> substance in the developing bath/coat) is the same as
> Rex, Namias' kallitype, etc. The differences with
satista are the fe. am.
> citrate instead of fe. oxalate and silver
nitrate instead of platinum.
> Herschel devised this in 1842, Willis
(satista) in 1913.
> > Somehow I missed the thread, but it
sounds like the satista process that I described on the alternative
photography web site
> > Marek
> >> Date: Wed, 20 May 2009
> >> From: firstname.lastname@example.org
Subject: argentotype again
> >> To: alt-photo-process-L@usask.ca
> >> I've had a reply offlist from Mike Ware
(he is not subscribing) about the
> >> argentotype recipe. See
> >> Alberto
> >> Dear Alberto,
> >> Your outline description of Herschel's argentotype is
correct - but I
> >> cannot add much in the way of further
details. In his 1842 paper to Phil.
> >> Trans. he only mentions
it in the Postscript, Art. 218, on p. 210. Here is a
> >> copy of
Herschel's original text:
> >> 218. If paper
prepared as above recommended for the chrysotype, either with
>> the ammonio-citrate or ammonio-tartrate of iron, and impressed, as in
> >> process, with a latent picture, be washed with nitrate
of silver instead of
> >> a solution of gold, a very sharp and
beautiful picture is developed, of
> >> great intensity. Its
disclosure is not instantaneous; a few moments elapse
without apparent effect; the dark shades are then first touched in, and by
> >> degrees the details appear, but much more slowly than in the
case of gold.
> >> In two or three minutes, however, the maximum
of distinctness will not fail
> >> to be attained. The picture
may be fixed by the hyposulphite of soda,
> >> which alone, I
believe, can be fully depended on for fixing argentine
> >> He does not specify the
strength of the Fe am cit solution in this paper,
> >> as you
will see from the quotes in my "Gold in Photography" pp 68-74, but I
>> have discovered elsewhere that he used 1 part of Fe am cit to 9 parts
> >> water, typically. I do not know the strength of his
> >> solution.
I have seen some of Herschel's argentotypes, at Oxford, Bradford, and at
> >> HRHRC Texas, and they are faded, compared with his original
> >> think he made very few of these iron-based
> >> Best wishes,
> >> Mike
>> On 16 May 2009, at 11:45, Alberto Novo wrote:
> >> > All I know about argentotype is that it was a
(presumabily) Fe am
> >> > citrate coating developed in silver
nitrate. I have a Namias'
> >> > formula for a brown-black
callitype developed in alkaline silver
> >> > nitrate which
might be a more refined approach, but I would prefer
> >> > to
cite the original formulation.
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