From: Jacques Augustowski (py1hy@inx.com.br)
Date: 05/19/03-10:48:30 PM Z
Sandy,
Great article, but how do I control the contrast? Dicromate in the
sensitizer?
Jacques
Linas Kudzma escreveu:
>Sandy,
>I just read your Kallitype article on unblinkingeye.com. Excellent! I???ve experimented with the procedure you posted here a while back with some success.
>
>During my trials I used a different clearing method (my Pd/Pt development/clearing method) resulting in some variation from what you describe. Basically, what I do is develop for about 30-45 seconds, decant(and save)the developer and then clear with one or two changes of a hot (120F) solution of citric acid (approx 5 gm citric in about 1 liter) for about 5 min. My reasoning is that any longer in the developer (potassium oxalate for Pd/Pt, sodium citrate for Kallitype) does not contribute to the image formation, rather only undesirably clears iron into the developer, which I intend to reuse. So I change from developer to the clearing bath earlier. My hot citric acid clearing bath works great for normal Pd/Pt. However, with Kallitype this hot clearing bath turns the Kallitype image bright yellow. Subsequent Pd or Pt toning by your method turns this yellow back to a strong dark image, which while beautiful in it???s own way, is subtly less sharp than my Pd/Pt prints. Even if the color is identical, I can distinguish these Kallitypes from my Pd/Pt prints. This was on Crane's 90# Cover or Stonehenge.
>
>I suspect my hot citric acid bleaching and subsequent toning is the difference. Anyone else see such a yellow image after clearing? By yellow, I mean bright yellow, not light brown.
>
>Linas
>
>
>Linas Kudzma
>lkudzma@earthlink.net
>
>
> ------------------------------------------------------------------------
>
> Cor,
>
>
> The kallitype article is now up on Unblinking Eye. The direct link to
> the article is http://unblinkingeye.com/Articles/Kallitype/kallitype.html
>
> There is another gold toning formula in the article that has slightly
> different working characteristics than the one based on citric acid.
>
> Perhaps someone else can comment on Reilly's remarks about acidic gold
> toners. I am aware of a need to print slightly deeper when using gold
> toner than when using platinum or palladium toners. As I note in the
> article, with gold toners "image contrast is increased by about a step
> through loss of density in the high values, but Dmax values (shadows)
> are changed little if at all." With one recent image I needed an
> exposure of 250 units with a gold-toned print to get the same final
> density as 230 with a palladium-toned print.
>
> However, even with the acidic gold toner the maximum density of the
> gold-toned kallitypes I have made is as high as those toned with
> palladium and platinum toning. On Stonehenge paper the reflective
> reading of both is around 1.52. Those who print on art papers such as
> Stonehenge with either kallitype or Pt/Pd will recognize that this is
> a very high maximum density and about the maximum achievable with
> either process.
>
> Sandy
>
>
>
>
>
>> To Sandy and everybody else who wants to contribute,
>>
>> I have been printing Kallitypes lately, following the procedure as Sandy
>> King had nicely wrote down and distributed to the list. The results
>> are very
>> nice.
>>
>> When you use a gold toner before the fix, the colour of the final
>> print is
>> determined by the gold toner, not by the developer, Sandy told me. This
>> makes ofcourse sense.
>>
>> But there are quite bunch of different gold tonere formula's around, so I
>> was wondering if these different formula's give different colours in the
>> end?
>>
>> And related: Sandy uses an acid Gold toner (citric acid), but
>> according to
>> Reilly (The salted paper and albumen print book, or something similar as
>> title), warns against using acidic gold toners, they are supposed to
>> result
>> in a weaker image (by heart; an acidic goldtoner replaces an silver atom
>> 1:1, a basic one 1 silver for 3 gold)?
>>
>> thanks & best,
>>
>> Cor
>
>
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