> No - Stop! Don't try selenium toning on salt prints! The picture
> disintegrates. I don't know why (Luis, are you out there - do you know?) but I
> quickly gave up my brave attempt.
Thanks for the tip. I wonder why this doesn't work - if salt prints are
receptive to gold and platinum toning why should selenium be any different?
Mike Ware's article on his new argyrotype process (see the BJP 13 June
1991) says the usual silver toning agents (selenium or gold) may have to be
used at a higher dilution than usual. Apparently brown silver images
consist of metal particles much smaller than the than those constituting
the black silver images of modern gelatine papers - perhaps the selenium,
at too high a concentration, over-reacts with the silver?
> But since we were talking about salt printing, one of the lovliest
> combinations I've done (if I do say so myself) was gum over salt prints.
> Remember Steichen's gum over platinum - well, salt's a little cheaper. (Or try
> my new Lo-Salt prints for collecters with high blood pressure...) Is anyone
> actually doing calotypes - in camera negatives - using gallo-acetic-silver
> & etc.?
I've seen something somewhere or other about a new Calotype Club which is
supposed to be back in business in Britain. Any British lurkers on this
list? On a related note, does anyone know anything about the Monochrome
Society? I've come across a reference to an article by Mike Ware on "The
New Chrysotype Process," Monochrome Society Journal, Vol. 1, no. 1, 1993.
Why not give collectors the ultimate in collectibles - images in colloidal
gold. (Something a bit heavier, for those who don't need a Lo-Salt diet).
Philip Jackson
pjackson@nla.gov.au