From: Sandy King (sanking@clemson.edu)
Date: 02/17/02-09:21:00 PM Z
Clay,
Using just the sodium citrate developer I think the toning variations
would compare to those you get with POP. I have not done a lot of POP
but I did work with the Liam Lawless' recipe that was published in
Post Factory a few issues back. The tones that I got with Liam's
version of POP from platinum and gold toning were very similar to
what I am getting with kallitype now. Basically you can get the very
neutral black tone with the platinum #3 solution, and I assume a
warmer brown with palladium though I have not tried it. Gold toning
gives a nice purplish black tone with a hint of blue.
I am reasonably confident about the issue of permanence but not
prepared to say that kallitypes, even when processed for maximum
archival qualities and toned, are as permanent as Pt/Pd prints. But
on the other hand, I am working also in carbon, and Pt/Pds are not as
permanent as carbons, though I doubt many of the heavy metal printers
on the list will admit it. In any event ince my basic exposures are
very similar with kallitype and carbon I am now making quite a
number of prints in both of the processes. Maybe 100 years form now
somebody will rescue my discarded prints, compare the carbons to the
kallitypes, and be in a position to make a definitive statement on
the permanence of the latter.
Sandy
>Sandy:
>
>You mention that the image color options are more extensive than
>platinum/palladium. Are they similar to the toning variations that can be
>realized with POP, or are they even more varied? I noticed that you use
>about 0.5 ml of Pd #3 for a 12x20, which is about 1/3 of the amount I would
>use in a comparable pd print. Certainly could add up over time. You're
>pretty confident about the permanence issue vs Pt/Pd?
>
>Clay
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