As to the use of the dichromate stain in making the image, is there not a danger
that as it is light sensitive when it is dry, that over time it will distort the
image ? What I try to achieve is the elimination of the dichromate so that all
the image depends on the pigment in the clear hardened gum.
You are certainly right that there are many methods of clearing the dichromate;
it is just that I prefer the simplest which is washing/leaching in water.
My own view is that there are two elements that actually make up the picture in
a gum print apart from the effects of the texture and sizing of the paper. One
is the solid pigment trapped in the porous gum,this explains my reference to
solid silver trapped in porous gelatine, and the other is the thickness of the
gum after you have washed away the gum which remains soluble after the exposure.
The thicker the gum the more the pigment and the thickness of the gum itself
also contributes to our perception of the finished gum print.
My point about the sulphuric acid was not related to its archival effects which,
as you say could be very much reduced by a thorough wash, but to its immediate
softening of the fibers in the paper which softens the image. A platinum print
cleared in EDTA has a bite not found in prints cleared in HCl. But as your
Fotempera process involves a platicised surface you have the advantage of it not
affecting the paper fibers. But do you know the effects on the plastic Wiggins
Teape use for this paper. This was only a passing comment based upon the news
item on dolls' disease the other day .
I agree wholeheartedly that we should work together and that this list is a
marvellous means of achieving that end.
Terry