Cor,
I use the classical kallitype. As you know, immediate development over the
entire image is required in order to avoid the marks you have experienced.
Initially, I had problems with marks, as my prints are on the large size,
16x20 inches. Now, I place the print face up in an empty tray and quickly
pour from a bucket a liter of developer while tilting/rocking the tray. No
marks.
Keith
-----Original Message-----
From: Cor Breukel [mailto:cor@ruly46.medfac.leidenuniv.nl]
Sent: Thursday, December 09, 1999 3:36 AM
To: alt-photo-process-l@sask.usask.ca
Subject: Re: Kallitype Developing Problem
Judy,
> I dimly remember that Peter had some (cockamamie) way of developing kalli
> in silver bath, but this is not contemporary kallitype as I know it or
> have seen mentioned or done it...
True, the SiverNitrate is mainly in the developer, which is a more
economical way, less SilverNitrate is used, and the developer is re-usable
(although granted: SilverNitrate isn't that expensive). But maybe more
important is the claim by Thompson (on which method Peter Marshall has
based his article) is that this system (which is mildly acid) is resulting
in stable Kallitypes. In private conversation Peter told me that his
Kallitypes made that way have not faded, and they were made quite some
time ago. Mine are simply to young, and also goldtoned afterwards those
prints I like
> My kallitype, which had NO NO NO coat or develop problems (in fact no
> problems at all, once I got the formula, it was a piece of cake -- the
> only *problem* was fading), was mixing the sensitizer (was that ferric
> oxalate?) with about (from memory) 17% silver nitrate, equal parts, with a
> foam brush, dry, expose, develop in Sodium acetate + tartaric acid... fix,
> clear, wash....
..that is indeed the "classical" Kallitype method, much simpler chemically
speaking. I plan to try that way also, but I understood that (depending
upon the developer used) the final image is quite warm? That is IMHO an
advantage of Peter's method: the resulting imege colour is quite "cool",
brown/black, and after gold toning it is dark black/blue..
But even if you use the "classical" method, isn't the developing not
almost instant? So your "immersing technique" should also be good, to
avoid developing marks?
Cor
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