From: Scott Wainer (smwbmp@starpower.net)
Date: 02/13/03-06:18:45 PM Z
----- Original Message -----
From: "Sandy King" <sanking@clemson.edu>
To: <alt-photo-process-l@skyway.usask.ca>
Sent: Wednesday, February 05, 2003 9:44 AM
Subject: Re: Kallitypes
> Scott,
>
> The black granular residue you see in the bottom of the tray after
> development is soluble iron that was cleared from the print during
> development. You will want to filter this before using the developer
> again as an accumulation of iron in the developer will make clearing
> the print more difficult. Sodium acetate is a developer that clears
> the print very well when you first use it but I have the impression
> that it does not hold up as well for re-use as sodium and ammonium
> citrate. I may be wrong about this since I really have a lot more
> experience with the citrates but the few times I have used sodium
> acetate it appeared to me that it did not have as much staying power.
I never experienced the soluble iron residue before but I was using a
different developer then. I chose the sodium acetate because I had some in
the back of my chem cabinet from doing palladium prints but have ordered
some sodium citrate to try.
> No idea about the "fluffy carbon balls."
I figured that out after my post. I was using Kodak tank and tray cleaner
and the sensitizer reacted with the residual in the sink.
> Also, no experience in bleaching and re-developing in sepia. Sounds
> interesting though so if you do it let us know the results.
I tried the sepia on prints made on Coventry Rag and Stonehenge. Using
normal, under, and over exposed prints that received a pre-fix toning bath
with gold-citric acid (until grayish) I found that the sepia effected
primarily the mid-tones (a bright purplish-red). The shadow areas lightened
somewhat with a deep purple cast. The highlights seemed un-effected; neither
lightening or changing color. The more over-exposed the print the more of a
split-tone was created. In general, I preferred the normal (to slightly
over-exposed) prints to the under or over exposed ones. I found that papers
without additional sizing seemed to bubble and separate (front to back) and
papers with additional sizing (gelatin w/o hardener) seemed to suffer very
little from the bleaching. I plan to test other papers, pre-fix toners, and
developers with the sepia to see what I can get. I also plan on trying the
sepia as a pre-fix toner as I liked the results I have gotten so far.
> Gold toning alone gives a very beautiful and distinctive
> purple/blue/black color. However, it is very important to clear the
> print completely before toning in gold, and was it for a few minutes,
> as it will combine with any remaining silver salts in the paper and
> cause a stain in the areas that were brushed with sensitizer.
>
> Sandy King
My method of clearing before the first toner is to place the print in a tray
of water and gently agitate for 60 seconds. I then refill and agitate four
more times. I have had very good success with this method though I find that
the paper really needs additional sizing to stand up to the soaking and
*abuse* I subject it to.
Scott Wainer
smwbmp@starpower.net
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