Dick Stevens suggest toning can unify the color over many prints and perhaps
toning with Selenium, Gold or other POP toners would solve the permanence
problem you mention below.
> There
> is considerable discussion in various places about the aesthetics of
platinum,
> so you should be able to refer to this - and also to the many examples of
> platinum prints in museum etc collections. Some of these may actually be
I'm well aware of this, and one reason I'm on this list. However I wasn't
aware that the Kallitype was "as good" in image quality as a platinum
print. I figured it may be good but not that good.
> kallitypes - we had a little speculation here a while back that kallitypes
> that had not faded were possibly identified and traded as platinum prints.
> The main problem with the kallitype is with fading - a major cause
appears to
> be iron compounds left in the print, and you are advised to use methods that
> avoid alkaline development. There are various formulas around - and no doubt
> some pointers to the in the archive - both ancient and modern.
And would toning help to solve this problem (as Dick Stevens suggest ?)
> One major advantage with alt processes is that you can choose the paper
> surface. Older kallitype formulae seem to me to be less particular about the
> paper than the excellent modern variant of the process, Mike Ware'
Argyrotype.
> This is marketed as a kit by the way which would serve as a very easy
> introduction to the area.
I was considering Photographers Formulary as a kit, which I presume is K II.
Where would I find Mike Ware' Argyrotype Kit ?
Thanks for your response -
Doug