Thompson put this method forward as a way of producing prints that could
not be distinguished visually from platinum prints, but were cheap to
produce.
>From my limited experiments I felt he had succeeded. When I brought a
mixed batch to Bath and showed them we had to look on the back to see
which were kallitype and which were platinum/palladium. (And possibly some
were both...)
I wanted a simple method to produce kallitypes that didn't fade, and this
seemed a likely approach, but also it fitted into other experiments I was
doing with the iron processes generally, partly with the intention of
simplifying and unifying them. Recently I'm too busy with other things
(including things on the web and some digital imaging as well as playing
with computer networks) to take much interest in this area.
I had as much or possibly more trouble with stains and marks with the more
common methods of making kallitypes.
Peter Marshall
Photography guide at About.com http://photography.about.com/
email: photography.guide@about.com
_________________________________________________________________
London's Industrial Heritage: http://www.cix.co.uk/~petermarshall/
The Buildings of London etc: http://www.spelthorne.ac.uk/pm/default.htm
Also on Fixing Shadows: http://www.people.virginia.edu/~ds8s
and elsewhere......
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