From: Christina Z. Anderson (zphoto@montana.net)
Date: 07/09/02-08:54:33 AM Z
Thank you Cor!!!! I remember this one, but never came up with it in my
search on the alt list, and now I know why! Can you send me the pure silver
archive URL, because I have that info, if I do, back in MT and I am in MN
for the summer. Also, where did you get the dyes? I will also check Focal
Encyc, quoted below...
Chris
>
> "Christina Z. Anderson" wrote:
> > In my continued search on mordancage info,
> BIG SNIP,
> Christina,
> > Mike has posted below to the pure silver list, maybe you missed it, but
> it could be of interest in your quest: (BTW I tried a part of it, but
> couldn't get the highlights clear of RC paper, guess FB will be worse)..
> > Subject:
> [pure-silver]: Mordant image dyeing and dye development toning
> (long)
> Date:
> Sat, 24 Nov 2001 18:28:47 -0500
> From:
> Mike Gudzinowicz <mjgudzinowicz@juno.com>
> Reply-To:
> pure-silver@tundraware.com
> To:
> pure-silver@tundraware.com
> CC:
> mjgudzinowicz@juno.com
> In the recent "gelatin" thread, Richard Knoppow mentioned using a
> mordant to bind dyes to the emulsion.
> Years ago, the toner section of the Focal Press photography
> encyclopedia described mordant dyeing and dye development of
> positives. The topic rarely is discussed online, so I thought I'd
> post a description for the archive even if no one is interested.
> The following methods are based on those described in the Focal
> article. I haven't used these approaches, however, they are
> straightforward and I wouldn't anticipate any problems.
>
> If anyone decides to use them, read the MSDS <http://hazard.com>
> for each chemical. Many are quite toxic, can cause injury to
> skin, cancer etc.
>
>
> MORDANT DYEING
>
> The technique of partially replacing the silver image with one
> formed by dyes was primarily used to color B&W transparencies, but
> may be attempted with prints.
>
> The silver image is bleached partially leaving a metallic
> compound which "tans" the emulsion by providing a site to form
> crosslinks with gelatin. Basic dyes, alone and in combination,
> will bind to these compounds, and become crosslinked to the
> emulsion matrix. The metallic "dye holder" is called a "mordant".
>
> The mordant can be familiar copper or uranium toners, the color
> of which intensifies and blends with the added dyes. If one
> prefers to have the dye color predominate, a nearly colorless
> mordant may be used. However, the combination of mordant
> toners and dyes is said to give more pleasing results.
>
> Copper mordant solution:
>
> Copper sulfate 40 grams
> Tribasic potassium citrate 60 grams
> Glacial acetic acid 30 ml
> Ammonium thiocyanate 20 grams
> Water to make 1 liter
>
> "Colorless" mordant solution:
>
> Potassium ferricyanide 5 grams
> Ammonium dichromate 1.5 grams
> Sulfuric acid 3 ml
> Water to make 1 liter
>
> Dye solutions:
>
> 0.2 gram of one or more of the dyes listed below are dissolved in
> 900 ml hot distilled water and filtered. Five milliliters of ten
> percent acetic acid is added, followed by distilled water to make
> one liter.
>
> Dye Color
>
> Rhodamine G Red
> Auramine Orange
> Chrysoidine Yellow
> Malachite Green Green
> Methylene Blue Blue
> Methyl Violet Violet
>
> The dyes may be combined to form other colors. Also, other
> "basic" dyes may be used (such as "basic violet", aka rhodamine
> B, etc.). Note that these are not color couplers mentioned in the
> section on dye development which follows below.
>
> The positive or print should be fully processed and dried prior
> to treatment. In the case of ferricyanide, the positive is placed
> directly into the mordant solution for a few minutes until the
> image is bleached to a light brown. When mordanting appears
> complete, the emulsion is rinsed to remove excess yellow
> ferricyanide. Prolonged or alkaline washing may remove the
> mordant which is water soluble.
>
> After the mordanting or toning step(s), the positive or print may
> be placed directly into the dye solution until toning is
> complete. The excess dye is removed by washing.
>
> Alternatively, paper prints can be placed face-up on a glass
> sheet or enameled tray. After excess moisture is removed from the
> surface, dyes may be applied with cotton swabs or tufts, or a
> brush.
>
>
> TONING BY DYE DEVELOPMENT
>
> Another approach to the formation of a dye image is the reaction
> of the oxidized products of a developer with color couplers to
> form a dye, which has evolved into modern color photography.
>
> The processed positive image is bleached in a ferricyanide
> solution, and the silver halide is developed with a color
> developer. The one used in the following method is
> N,N-diethyl-p-phenylenediamine hydrochloride. Its oxidation
> products react with one or more color couplers to form an
> intermediate, which proceeds to form a colored dye. The silver
> image may remain, or it can be removed by a bleach-fix, Farmer's
> reducer, or a bleach followed by fixer. If the silver remains,
> the image is intensified markedly; or if it is removed, a weaker
> dye image is left behind. Therefore, silver print density
> adjustments are required. Bromide papers are supposed to give
> the best results.
>
> Bleach bath:
>
> Potassium ferricyanide 35 grams
> Ammonium hydroxide, conc. 3 ml
> Water to make 1 liter
>
> Note: Concentrated ammonium hydroxide is approximately 30% and
> may be replaced by 30 ml household ammonia (3%; check the
> bottle).
>
> Immediately after the prints are bleached, they are washed to
> remove all of the bleach solution (unlike the dye mordanting
> method).
>
> Then they are developed for 1 to 3 minutes in the developer
> containing one or more color couplers until the desired tone is
> observed.
>
> Basic color developer:
>
> N,N-diethyl-p-phenylenediamine hydrochloride 3 grams
> Sodium sulfite 5 grams
> Sodium carbonate monohydrate 35 grams
> Distilled water to make 1 liter
>
> mixed with
>
> Color coupler solution (see below) 100 ml
>
> prior to use.
>
> In older literature, N,N-diethyl-p-phenylenediamine hydrochloride
> is also called p-aminodiethylaniline monohydrochloride; Kodak
> calls it CD-1. The compound is very toxic (skin irritant and may
> cause cancer). Wear gloves.
>
> If skin contact with the developer should occur, wash the area
> thoroughly with soap and water, and rinse. Wear gloves.
>
> The developer solution is active no longer than one week. Don't
> add more sulfite to it, or the color reactions will be inhibited.
>
> Color coupler solution:
>
> Ten grams of a color coupler (below) are dissolved in 1 liter
> of methyl alcohol (tech grade - available in paint and home
> improvement stores).
>
> For use, ten parts developer stock are mixed with one part of
> the color coupler solution as above.
>
> A partial list of color couplers (not dyes):
>
> (Those followed by a "*" are couplers from the SPSE handbook.)
>
> For blue: alpha-napthol
> 4-dichloro-1-napthol
>
> For cyan: o-hydroxy-diphenyl
> 4-chlorophenylphenol
> 2,6-dibromo-1,5-dihydroxy-napthalene*
> N-(o-acetamidophenethyl)-1-hydroxy-2-napthamide*
>
> For magenta: 1-phenyl-5-methylpyrazolone
> p-nitrophenylacetonitrile
> 2-cyanoacetylcoumarone*
> 1-(2,4,6-trichlorophenyl)-3-p-nitroanilino-2pyrazoline-5-one*
>
> For yellow: 2,5-dichloroacetoanilide
> acetoacetanilide
> 4-(p-toluenesulfonylamino)-w-benzoylacetanilide*
> alpha-benzoyl-o-methoxyacetanilide*
>
> After development, the prints should be well washed. If one
> desires to remove the silver image, it may be done with Farmer's
> reducer (equal volumes of 20% thiosulfate and 20% ferricyanide
> mixed before use; limited life), a color bleach-fix, or a
> ferricyanide-bromide reducer followed by fixer.
>
> From the article:
>
> "The permanence of prints toned by any dye-toning or dye-coupling
> process is governed primarily by the permanence of the dye making
> up the image. Most of the dyes listed in the literature for this
> purpose are fairly stable under normal conditions. Usually only
> prolonged exposure to sunlight has any serious effect on the
> brilliance of the image."
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