The Kallitype Thread

[tgtaylor]

Another process from the past - this one dates to ~ 1889.

http://www.spiritsofsilver.com/yahoo_site_admin/assets/images/Methodists_Church_Untoned_Kallitype.338144732_large.jpg

This is from a series of 5 8x10 negatives I shot last month in the California ghost town named Bodie specifically to print as Van Dyke Brownprints and Kallitypes - two printing processes that I believed would work best with the old building of Bodie. Although I had my full collection of 8x10 lens in the trunk, I selected 3 to carry in the backpack. All 5 negatives were taken with just one lens - a 480mm Rodenstock Apo-ronar. This image posted a problem in scanning as I had already dry mounted it to 4-ply museum board so the scanning focus (Epson 3200) may be a little off but it doesn't appear to be.

To paraphrase from my Army days, "share 'em if you got 'em".

Thomas

[SMBooth]

Ive just started Kallitype last month or so. This is my favorite so far.
From a 8x10 Fomapan 100 sheet developed in Pyrocat HD 2:2:100 for 18 min. Was a bit thick but works.
Developed in Sodium Acetate/Tartaric Acid mix and gold toned on Magnani Reve 300

143104

[SMBooth]

Another process from the past - this one dates to ~ 1889.

http://www.spiritsofsilver.com/yahoo_site_admin/assets/images/Methodists_Church_Untoned_Kallitype.338144732_large.jpg

This is from a series of 5 8x10 negatives I shot last month in the California ghost town named Bodie specifically to print as Van Dyke Brownprints and Kallitypes - two printing processes that I believed would work best with the old building of Bodie. Although I had my full collection of 8x10 lens in the trunk, I selected 3 to carry in the backpack. All 5 negatives were taken with just one lens - a 480mm Rodenstock Apo-ronar. This image posted a problem in scanning as I had already dry mounted it to 4-ply museum board so the scanning focus (Epson 3200) may be a little off but it doesn't appear to be.

To paraphrase from my Army days, "share 'em if you got 'em".

Thomas

Real nice, care to share the process details

[tgtaylor]

Thanks Shane. I'm following the formulas given in the James book but exposing in the sun the same way I expose salt prints: first 20 minutes in the open shade and then finish it off in the direct sun dodging and burning as needed. Printed on Cot-320.

Thomas

Note: Because with the Kallitype you are looking for a "faint" image, I may not have exposed for a full 20 minutes in the shade befor finishinbg it off in the open sun.

Thomas

[tgtaylor]

Untitled 2016 California. Palladium-toned Kallitype.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/2016-02-28-0003.58102455_large.jpg

I shot the negative last Sunday with a 300mm 5.6 Nikkor-R lens (sharp as hell!). I had intended on shooting it with a 300mm Imagon but alas the Imagon was mounted on a Linhoff board so I used the Nikkor which was also in the pack. The palladium toner emphasized the rusty rails. Note the raised rail spikes in the second rail.

Thomas

[Shailendra]

Untitled 2016 California. Palladium-toned Kallitype.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/2016-02-28-0003.58102455_large.jpg

I shot the negative last Sunday with a 300mm 5.6 Nikkor-R lens (sharp as hell!). I had intended on shooting it with a 300mm Imagon but alas the Imagon was mounted on a Linhoff board so I used the Nikkor which was also in the pack. The palladium toner emphasized the rusty rails. Note the raised rail spikes in the second rail.

Thomas

Beautiful work!

[tgtaylor]

Thanks Shailendra. When the opportunity arises, I'm planning on printing it as a cyanotype to see how that looks.

Kallitype printing bring back that magical moment you first experienced printing silver gelatin - only kallitype is much quicker that SG. Unlike SG, which has a completely latent image before placing in the developer, the kallitype as a very faint image - a "whisper" is how James describes it. But the instant it hits the developer it pops-up full blown as if by magic.

Thomas

[tgtaylor]

Fort Point - 2016. http://www.militarymuseum.org/Fort%20Point.html

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Fort_Point.109230526_large.jpg

Palladium-toned kallitype on Cot 320.
Nikon 300-W - a red "D" lens.

Thomas

[tgtaylor]

On a recent trip to Yosemite I shot an 8X10 negative of Cathedral Rocks from the seasonal pond that fills during spring after normal winter percipitation. This is the first year it has filled during the recent and
no doubt continuing drought. On Sunday I printed it as a Kallitype and gold-toned it with a 5% solution. It's been sitting propped-up on top of the microwave in the kitchen for evaluation. Nose close it looks "OK" because it's not razor sharp but that is due to the matt-surface paper it is printed on (Cot 320). At normal arms length viewing it looks fine and subtle but noticeable brownish-black coloration becomes apparent which I find to be quite appealing. When I get home tonight I'll scan it for the website and then mount it on museum board.

As far as I am aware, this is the first Kallitype taken inside Yosemite park.

Thomas

[SergeiR]

As far as I am aware, this is the first Kallitype taken inside Yosemite park.

Thomas

No, quite popular, by the looks of it
http://photoseed.com/blog/2016/01/29/california-pipe-dreamer/

and of course
https://www.bostick-sullivan.com/articles/kallitype.html

[domaz]

No, quite popular, by the looks of it
http://photoseed.com/blog/2016/01/29/california-pipe-dreamer/

and of course
https://www.bostick-sullivan.com/articles/kallitype.html

It's quite probable that a Kallitype has been printed of every well-known National Park in the US. Now a daguerreotype however.. maybe you could get a first somewhere?

[tgtaylor]

WOW!!! Thanks for those links SergeiR. I've got some good reading to do!

Thomas

[SergeiR]

WOW!!! Thanks for those links SergeiR. I've got some good reading to do!

Thomas

;) i am dabbing into kalitypes too, trying to get better range than from vandykes - hence the interest ;)

[tgtaylor]

East Brother Light Station (1874), San Pablo Bay from Pt. Molate Shoreline.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/East_Brother_Light_Station.166194232_large.jpg

Palladium-toned kallitype from 5x7 Ilford FP4+ negative on Cot-320. The dilapidated piers in the foreground is part of a former sardine processing station just out of sight to the right. A couple hundred meters further is the remains of America's 2d to last whaling station (Del Monte) which was in operation from 1956 to 1971. This is an interesting and historically significant part of the Bay Area that few locals know about.

Shot with a 610mm apo-Nikkor lens.

Thomas

[tgtaylor]

Best General View, Yosemite National Park, 2016.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Valley_View.168213044_large.jpg

The glacial origins of the valley is plainly evident in this view. Taken with a 300mm Nikkor-W lens and printed as a palladium-toned Kallitype on Bergger Cot-320. This is probably the first Kallitype taken of this location.

Thomas

[tgtaylor]

Wild Cat Fall - Yosemite National Park, 2016.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Wildcat_Fallsbw.169230712_large.jpg

Split-toned with gold for a black tonality. Printed on Cot-320. For comparison with a RA-4 print, see http://spiritsofsilver.com/yahoo_site_admin/assets/images/Wildcat_Falls.58120706_large.jpg

Thomas

[tgtaylor]

It's quite probable that a Kallitype has been printed of every well-known National Park in the US. Now a daguerreotype however.. maybe you could get a first somewhere?

Actually its quite unlikely. The kallitype was introduced at a time when the new silver chloride papers carried the day and the even newer bromide-silver papers met the demand for reliable and fast enlarged prints made from the small negatives produced by the new "automatic" cameras. Moreover, a recent search of the photographic collections in Art Museums did not contain examples of vintage kallitype prints for scholars to study. "Even collections whose purpose it is to collect and preserve specimens of photographic process, material, and literature, such as the International Museum of Photography or the collection at the university of New Mexico do not possess or are prepared to show visiting scholars even one example."

Thomas

[Jim Noel]

"Taken with a 300mm Nikkor-W lens and printed as a palladium-toned Kallitype on Bergger Cot-320. This is probably the first Kallitype taken of this location."
Probably not. I made kallitypes of this scene in 1961, but know they were far from the first ones. My theory for there being no, or extremely few, kallitypes from the heyday of the process is 1- They faded away because of improper processing, commonly using Rochelle Salts, or 2 - they were toned with Pt or Pd and labeled as Pt or Pd prints. Distinguishing a kallitype toned to completion with one of these salts from a Pt or Pd print is near impossible even chemically.

[sanking]

"Taken with a 300mm Nikkor-W lens and printed as a palladium-toned Kallitype on Bergger Cot-320. This is probably the first Kallitype taken of this location."
Probably not. I made kallitypes of this scene in 1961, but know they were far from the first ones. My theory for there being no, or extremely few, kallitypes from the heyday of the process is 1- They faded away because of improper processing, commonly using Rochelle Salts, or 2 - they were toned with Pt or Pd and labeled as Pt or Pd prints. Distinguishing a kallitype toned to completion with one of these salts from a Pt or Pd print is near impossible even chemically.


Dick Sullivan's article comes to a similar conclusion.

http://www.bostick-sullivan.com/techart.php

For a number of years I made both pt/pd prints and pt/pd toned kallitypes, and did not note in some cases the process. Some ten years later there is no way to tell the difference, as the end result is the same, both visually and in terms of the composition of the image itself.

Sandy

[tgtaylor]

I find it hard to believe that all the Kallitypes either faded or are disguised as pt/pd prints. Its more reasonable to assume that their paucity is a result of too few photographers were using the process.

Thomas

[williaty]

If toned Kallitypes can't be distinguished from Pt/Pd prints, why is it unreasonable to think that a lot of Kallitypes might have been mis-identified as the (much more common) Pt/Pd prints?

[sanking]

I find it hard to believe that all the Kallitypes either faded or are disguised as pt/pd prints. Its more reasonable to assume that their paucity is a result of too few photographers were using the process.

Thomas


The kallitype process was very popular from the time of its introduction in the late 19th century until at least 1940. In the popular literature on photography in that period there are literally hundreds of articles on the process, which to me clearly suggest it was in wide use. Dick Steven's book, Making Kallitypes: A Definitive Guide, published in 1993, has a bibliography of ten pages that includes both articles and books about the kallitype, most publlshed in the period 1890-1970.

I am not able to explain why more prints labeled as kallitypes are not found in collections, but I tend to agree with the opinions already offered that many of them have faded due to improper processing, and that some of them that have survived were toned with pt/pd and have survived as pt/pd prints.

Sandy

[tgtaylor]

Most people are honest, not all of course, but most are, which leads me to conclude that kallitypes being deliberately mislabeled as pt/pd or something else is not the reason for their absence in collections. I am currently reading Stevens 2013 Kallitype: The Process and the History. In it he suggest that a lot of the turn of the century articles published on the kallitype were simply copy-cat articles from other journals of the time and not necessarily an indication of the popularity or wide spread use of the the process.

That said, there does appear to be a mis-identification of process type in certain collections. For example, Louis Fleckenstein http://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=2121 was an important American pictoralists and Kallitypists and a significant body of his work can be viewed online: http://www.getty.edu/art/collection/artists/1419/louis-fleckenstein-american-1866-1943/. Many of these works appear to me to be kallitypes but are labeled by the Getty as "Toned gelatin silver print." Could it be that most prints back in those days were not labeled with the process used and those labels were subsequently applied by the collection curators who probably never even heard of the kallitype?

Thomas

[tgtaylor]

Wildcat Fall - Yosemite national Park, 2016.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Wilscat_Fall.182194856_large.2

This is a reprint of the image posted in #16 above. That print was printed too light and darkened in the scan. This print is much better and the scan is true. Printing a kallitype you are looking for a faint image (a" stage wisper") on the exposure but this image was shot in low ambient lighting and required a deeper printing. I gave it 8 minutes in the shade and ~ 4 minutes in the sun. As before, split-toned with gold for a black tonality. Looks great up-close in the light station.

Thomas

[SMBooth]

We may of crossed paths, taken on May 7th 2016 on Pentax 67. Scanned and digital negative to a 8x10 Kallitype. Bergger Cot320, Ag toned.
simple phone image for fun
152545

[Jim Noel]

SMBooth - why tone a kallitype whichis already a silver print, with silver? Does it change the color,or make it more stable?

[tgtaylor]

I think he meant to type Au instead of Ag.

Yesterday the PO delivered a pack of Hahnemühle Platinum Rag that I bought to try out. I took a quick peek and it looks almost identical with the Bergger except that its more difficult to distinguish between the front and the backside. B&H has it misfiled with the inkjet media.

Thomas

[tgtaylor]

Yosemite Falls & Merced - Yosemite National Park, 2016.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Yosemite_Falls_and_Merced.188105507_large.jpg

Palladium-toned Kallitype printed on Bergger Cot-320, 610mm Apo-Nikkor.

Thomas

[SMBooth]

Really, i find the Bergger Cot320 to have a real mechanical pattern on the front. The Hahn Rag is much nicer.
Yes Au (Gold) not Ag...

[h2oman]

This is a bit off topic, but a few weeks ago I was flying from Albuquerque to San Francisco in the late afternoon. I was on the right side of the plane, and at one piont found myself looking right down at Yosemite Falls, then El Capitan. I love flying when I can see nice places I've been.

[tgtaylor]

Hercules (1907) - San Francisco.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Hercules.193194910_large.jpg

https://en.wikipedia.org/wiki/Hercules_(1907)

Palladium-tone Kallitype 5x7 Contact print on Hahnemühle Platinum Rag (good paper!).

Thomas

[NedL]

NIce, Thomas!

[tgtaylor]

Thanks Ned. This is the first print that I have retained the brush strokes and am seriously considering continuing. This will require using the 11x14/15 size for 8x10 and will almost double the paper cost from $1.20/sheet to $2.27/sheet and raises a mounting problem. But the dark border of the sensitizer looks appealing and also makes the print appear to be larger than it is.

Thomaas

[NedL]

I've been going the other direction lately.... first I started masking when applying sensitizer so the dark border was neat and no splatters get out into the margins, then lately I've been using rubylith to avoid borders completely. When I started using the rubylith, I thought I would make one mask for each negative size, but I find myself usually cutting a new mask for each print, just a 1/4" or 3/8" difference here or there. Now I cut off the "wings" from the end of the film holder so the image is a perfect rectangle, and make slight cropping adjustments on the edges. I just recently made my first print on 11x15 and it was a lot more difficult than I expected, in all phases of making the print! Before that I had been using sizes up to 9x12, which are easier to handle in the tray, etc. I can see the appeal of the brush marks, or perfectly clean borders, or leaving the film holder shape... all depends on what you want. Looking forward to trying that new paper myself. Have fun!

[karl french]

I'm finding keeping the paper within an inch of each dimension of negative makes a significant difference in terms of print sharpness when using a printing frame. So, I've been trimming the paper to 10x12 for 8x10 negatives lately.

[tgtaylor]

Mariposa County Courthouse (1854).

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Mariposa.20393133_large.2

Built on land deeded to Mariposa County by John Fremont for $1 at at time when the county consisted of several future counties - Merced, Mono, San Benito, Madera, Fresno, Kings, Tulare, Inyo, Kern and parts of Ventura - the courthouse is the oldest in California and the oldest courthouse west of the Rockies still in use. http://www.sierranevadageotourism.org/content/mariposa-county-courthouse-no-670-california-historical-landmark/sie1ad4bb5fb79608b57

Palladium-toned Kallitype printed on Hahnemuhle Platinum Rag paper.

Thomas

[Andrew O'Neill]

https://c4.staticflickr.com/9/8583/27869016163_cb333bc331_b.jpg (https://flic.kr/p/JsFZyF)Kilchurn Castle, Loch Awe, Scotland (https://flic.kr/p/JsFZyF) by Andrew O'Neill (https://www.flickr.com/photos/62974341@N02/), on Flickr

Gold toned. Hahnemuhle platinum rag. Very nice paper to work with.

[tgtaylor]

Standard Stamp Mill, Bodie 2016.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Standard_Stamp_Mill_Bodie.218182255_large.jpg

Palladium-toned Kallitype taken with a Schneider 360mm Symmar-S lens and printed on Bergger Cot 320. There is a very subtle tone on the print that the scanner can't pick-up without screwing everything up so I scanned it in grey mode. The upper left is a wispy cloud from part of the garbage seen drifting in.

Thomas

[Holdenrichards]

Kallitype on Hahnemuhle platinum rag

http://cdn.ipernity.com/200/50/94/43695094.649b5d63.640.jpg

NOT a digital negative! This is from a film negative silver print being contact printed onto an x-ray negative
It gives the necessary curve bump to a good normal print...

[Andrew O'Neill]

I could be wrong but I think the original image has to have been captured with a LF camera first.... :)
At any rate, I've also used x-ray to contact print Kallitypes and Carbon Transfers, after enlarging smaller formats on it up to 4x5. The resulting positive is then once again contact printed onto x-ray, usually green latitude, double-sided. Works quite well. How did you do yours?

[Holdenrichards]

I could be wrong but I think the original image has to have been captured with a LF camera first.... :)
Appologies to all.

[Andrew O'Neill]

None needed... You can still share it in the Image Sharing (Everything Else) & Discussion forum. Do tell us how you used the xray film...:cool:

[terra_monk]

Hi everyone, my first post into the forum, first Kallitype. After some trial and error I managed to get a print. The biggest surprise was the addition of the gold toner in between development and fixing. The paper is also amazing, I can just stare at it without the image alone it's so nice :)
Late evening light in Rockwood Park, Ontario.
Kallitype from in-camera 5x7 negative on Hahnemühle Platinum. Gold-Thiourea toned with touch in selenium
Canham MQC57 with 210mm. Ilford FP4+ in Pyro-HD.

https://farm6.staticflickr.com/5726/31152537556_81d591c8fd_o_d.jpg

Cheers,
Igor

[tgtaylor]

Hi Igor,

Welcome to the Kallitype - it's a lot of fun isn't it? I just finished printing an image that I took in Yosemite a couple of months back and forgot about until I ran across the negative yesterday afternoon and decided to print it today if the weather was clear. It was and its now hanging to dry. I toned it with Palladium but only had about 25mL so we'll see how it looks when dry.

I'm off to the grocery for tomorrow's meal. After a great deal of thought - and it went from a traditional Turkey with all the trimmings to Chicken Pontalba to Bouillabaisse and finally to Redfish Courtbouillon - I decided on the latter which I am making with cod, haddock, and shrimp.

Happy Thanksgiving to all!

Thomas

[terra_monk]

It is Thomas! so many ways to make the Kallitype. Thank you! have a great holiday

[tgtaylor]

This is the image that I printed before Thanksgiving from a negative that I had forgotten about - actually there are 2 of them that I had developed but forgot about:

El Capitan - Yosemite National Park, 2016.

https://c2.staticflickr.com/6/5450/30533278033_4fb5f8a64a_c.jpg

My initial impression was that it is too dark at the lower right and that it could be improved upon by dodging that area and intend to reprint it in the future. Instead of tossing it it's been sitting on top of the microwave and I have come to like the color. I toned it with the last 25mL of palladium toned for about 10 minutes. Toyo 810MII with 5x7 reducing back and 120mm Nikkor SW. Printed on Hahnemühle Platinum Rag.

Thomas

[Andrew O'Neill]

Gentlemen, where do you get your gold chloride from?

[pau3]

Gentlemen, where do you get your gold chloride from?

In Europe, you can find it at Disactis. They have a quite wide selection of chemicals.

Best,
Pau

[Andrew O'Neill]

I'm not in Europe, unfortunately! Thanks Pau.

[koraks]

I lucked out once on a local variant of Craigslist. I think I paid something like €75/gram. I wasn't looking for the stuff, but given the price I jumped on it, obviously.

[Andrew O'Neill]

Thanks, koraks. I'm having trouble sourcing the crystals. I can only find it in solutions. I don't want that. I'm sure I bought some years ago from B&S, but I can only see in solutions...:confused:

[terra_monk]

I'm not in Europe, unfortunately! Thanks Pau.

Andrew, I got 1% Gold Chloride Solution from B&S. Both times the shipment was local Within US though

[tgtaylor]

If you google "gold chloride" you will find suppliers of the crystal form. Although I didn't look too hard, the crystal form is pricey and you will have to decide whether Gold-1 or Gold- 2 (and Gold-3?) is the one you want. I get mine as 1% & 5% liquid solutions from Bostick & Sullivan.

Thomas

[sanking]

Thanks, koraks. I'm having trouble sourcing the crystals. I can only find it in solutions. I don't want that. I'm sure I bought some years ago from B&S, but I can only see in solutions...:confused:

Did you try Artcraft? They list the solid at $45 per gram.

Gold Chloride - solid (Part#: 1700), 1 gram

Sandy

[Holdenrichards]

158331
Kallitype on Strathmore 300 gsm paper. 8x10 negative.

[koraks]

Thanks, koraks. I'm having trouble sourcing the crystals. I can only find it in solutions. I don't want that. I'm sure I bought some years ago from B&S, but I can only see in solutions...:confused:
This piqued my interest; what is it that you're trying to do for which you prefer crystals instead of a solution? Or is it a cost consideration? Generally the crystals are more cost effective weight by weight than solutions, which makes sense.

Btw, Sandy's suggestion of Artcraft seems sensible. FYI: a local retailer here lists Gold(I)chloride at roughly € 215/gram ($230)...

[Andrew O'Neill]

I want to mix up my own. I don't want to order from B&S because they always send UPS, whom I despise. I'll check out Artcraft. Thank you.

[koraks]

Makes sense. At $45/gram, it makes a lot of sense to mix your own, in fact. I will consider Artcraft myself next time I need some metal salts; even with shipping, duties and taxes, it seems like a realistic option.

[Andrew O'Neill]

Totally agree!

[tgtaylor]

I'm not certain but I think solid Gold Chloride is deliquescent. IIRC, the solid form in the capsule in the Nelson's Gold Toner kit I ordered from the Formulary had liquified when I opened it.

Thomas

[sanking]

I'm not certain but I think solid Gold Chloride is deliquescent. IIRC, the solid form in the capsule in the Nelson's Gold Toner kit I ordered from the Formulary had liquified when I opened it.

Thomas


Gold chloride in the 1 gram solid form is usually sold in small glass vials that are sealed to prevent moisture from getting to the gold. However, if you just put the vials away moisture will eventually get in and form a liquid with the gold solid.

In practice, what I do is place the vials in water as soon as I get them from the supplier, and break the seal under water, then add water to 100 ml to make the 1% solution.

Even if moisture has entered the vial and formed a liquid with the gold, it should still work as a toner, though it may be weaker than if you had made up the solution with the dry powder.

That said, I have to admit that working with gold solutions can be very frustrating because of the deliquescent nature of the substance. You can follow the exact instructions used two or six months ago in mixing a gold toner solution, but the results may be totally different. I love the bluish/black look of kallitypes and vandyke prints toner to completion in gold toner, but gold is a fickle lover so beware.



Sandy

[Andrew O'Neill]

Damn! A sheet of Arches Platinum from that awful bad batch got mixed in with the good batch! Once I've used up the few remaining sheets it's on to Hahnemuel (spelling?)
158396158396

[Andrew O'Neill]

Not sure why the image appears twice...

[terra_monk]

falling in love with 5x7 size !!! looks just right for intimate view and quite easy to handle in the field.

Wet wood alongside Beaver Dam Creek, Ontario
Kallitype from in-camera 5x7 negative on Hahnemühle Platinum. This version with a drop of dichromate appears more snappy without blowing the highs ...
Gold-Thiourea toned, finished with a touch of selenium
Ilford FP4+ in Pyro-HD, pushed quite a bit.
https://farm1.staticflickr.com/759/30656707144_465715e986_o_d.jpg

[SMBooth]

looks stunning

[tgtaylor]

Here's another negative that I shot earlier in the year, developed, and then forgot about. I printed it yesterday thinking that the sun would be out as advertised but ended-up exposing it for 18.5 minutes in a heavy oversast.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Cathedral_Rocks_and_Pond.346102927_large.jpg

Palladium-toned Kallitype on Hahn Platinum Rag. Toyo 810 MII with 5x7 reducing back and 120mm Nikkor Lens.

Thomas

[Barry Kirsten]

Stunning, Thomas. Bravo!

[Andrew O'Neill]

For the last few prints that I made, I've been adding a few drops of 1% gold chloride to the sensitiser. I'm liking what I'm seeing. I may go this route as it should be more economical... but, still early days. Thoughts? Anyone else doing this?

[terra_monk]

Andrew, I am in the very beginning of Kallitype explorations.... Once I've established a basic repeatable workflow the first observation was a somewhat flat image no matter what I tried. Apart from color shift the use of Gold toner before fixing improved the fading issue during fixation. I suspect using Gold only as an additive to sensitizer is different and would not yield d-max and permanence improvements.

Thomas, nice image!. I'd love to see different variations of toning for Kallitypes.

[tgtaylor]

Thanks Barry, terra!

I just finished my first or second package of 8x10 Platinum Rag and this is a really good paper although with its own idiosyncrasies. I'll explain: Thee dmax and color slowly improves over several days. I noticed this on the second to last image I posted above. Immediately upon drying I didn't care for the color but after several days of being propped-up on the microwave I came to like the color. On the last image posted above while in the developer I thought that I hadn't given it quiet enough exposure due to the overcast. Thee toner bleached it back but it almost came all the way back in the fix. Out of the wash it had a yucky poo-po brown color that was unappealing but after drying 16 or so hours overnight the color and dmax strengthened. It actually looks better right now than when I scanned it this morning.

I decided to reprint it this morning but was out of ammonium citrate and instead mixed-up fresh a sodium citrate developer instead of the ammonium citrate and sodium acetate developer I had been using. Today's exposure was 15 minutes instead of yesterday's 18.5 minutes as today's overcast wasn't as bad. As luck would have it, the sun had disappeared while the paper was drying. I again toned it with palladium as I would like to see how it looks using a different developer. Everything went the same as yesterday and I can't wait to see the color tomorrow.

Thomas

[Andrew O'Neill]

Andrew, I am in the very beginning of Kallitype explorations.... Once I've established a basic repeatable workflow the first observation was a somewhat flat image no matter what I tried. Apart from color shift the use of Gold toner before fixing improved the fading issue during fixation. I suspect using Gold only as an additive to sensitizer is different and would not yield d-max and permanence improvements.

Thomas, nice image!. I'd love to see different variations of toning for Kallitypes.

I'm going to have to agree with you, Thomas. I made a print last night, with double the amount of Gold, and there was a noticeable decrease in contrast, where the highlights printed slightly darker. So, I guess it's back to toning before fixing, toning with Selenium after fixing, or just go with the native Kallitype colour, which I actually like for most of my images.

[tgtaylor]

Here's the sodium citrate developed print:

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Cathedral_Rocks_and_Merced2.348112654_large.jpg

You may not be able to tell the differences between the ammonium citrate/sodium acetate and sodium citrate developed prints but the latter has a slightly more russet red color - kind of like looking through very lightly tinted rose colored eyeglasses that were popular back in the 60's. Everything else, developing and toning time, etc., remained the same. However the Dmax of the sodium citrate print appears greater as the two cloud puffs stabd out a little more but that may also be due to the different exposure times and conditions. I'm going to mat both.

Thomas

[Andrew O'Neill]

I tried many different developers over the years, including sodium acetate, as well as home brews. I always came back to good old sodium citrate. Very dependable, and cheap.

[SMBooth]

Andrew, I was doing that but have gone back to traditional gold toned pre fixing. I found I got much nicer deep browns/black over putting gold in the sensitiser.

[Andrew O'Neill]

Yes, I've gone back to toning before fixing as well. Momentary lapse of reason... :p
On another note, I've been fiddling with that new Hahnemuhle paper. Been having issues with streaks on large prints from brush coating, like I'm talking brutal. In all my years of Kallitype printing, I've never had this issue. 8x10 prints no problem, but when I move up to 11x14... I know I brush thoroughly, too. I've used foam and hake brushes. The hake brushes are worse. My question is for anyone who uses this paper, do you find it necessary to use a surfactant such as Tween 20? And, how do you apply the sensitizer? Do you pour it on the paper and begin brushing, or do you dip and brush on? I'm thinking for my next round, I'll try a surfactant and the dip and brush method... This time of the year, the relative humidity is quite low. 30RH. The sensitiser appears to be setting faster. That could also be contributing to the streaking. Your thoughts? Thank you!

[Andrew O'Neill]

Well, I sorted out the issue. I wasn't using enough sensitiser. All is good in the world again.

[Andrew O'Neill]

The culprit was low humidity. After being advised by someone over at Apug, I tried steaming the sensitised paper on both sides. Nice, smooth tones especially in the highlights.

[Holdenrichards]

https://farm1.staticflickr.com/403/32495475701_8394560dc4_z_d.jpg

Kallitype on Strathmore 300gsm paper; in-camera 8x10 Negative

[tgtaylor]

https://c1.staticflickr.com/1/562/32085151854_0b21d6940e_c.jpg

Platinum-toned kallitype from a 5x7 Ilford FP4+ negative. This is a test scan upon reconnecting the network after some remodeling work. The print was printed too dark and i'm not thrilled with its color. i intended to reprint it today but never got the chance.

Thomas

[Dirk Rösler]

I quite like it. Well done!

[koraks]

Mee too, and I like that color.
Kallitype does solarize easier than Van Dyke, doesn't it? I notice the edges are quite light - actually it works for this image, I think.

[tgtaylor]

Thanks everyone.

I reprinted it today this time, though, giving it the correct UV exposure and toning it for 15 minutes with an ammonium thiocynate/gold chloride toner. The edges are much darker than on the palladium-toned print which I think are a function of the toner. It came out of the final wash looking good and is in the drying cabinet. I'll post a scan of it after it dries down to max Dmax.

Thomas

Thomas

[tgtaylor]

Here's the finished print:

https://c1.staticflickr.com/1/387/32141343153_fc83653552.jpg

It looks its best at about 1.5 arms length away with your distance glasses on - much better than in the scan.

Here's my best Kallitype to date in 2017:

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Datwa.46163840_large.jpg

The 8x10 negative was shot earlier this month and printed on 11x14 paper - too large for the scanners bed leaving the black coating border visible. I was pleasantly surprised to see that Henry Fox Talbot's early salt prints were also printed on oversize paper and also show the overcoat.

Both prints were toned in the same toner which the now defunct Chicago Albumin Company identified as being derived form Eastman Kodak's "Kodak T-53" toner. I googled "Kodak T-53" but found no results. Can anyone shed any light on this toner?

Thomas

[Bill L.]

Hi All of you Kallitypers,

In preparation for heading into the summer here in the northern hemisphere, I'm thinking of trying Kallitypes. I was wondering if anyone could comment on exposure times. Typically, peak summer, a standard cyanotype (traditional formula) contact print would take me roughly 7-10 minutes in the sun to expose it. Would anyone be able to comment on relative exposure time for kallitypes? I've got Christopher James' book on alt processes, and have looked around the web, found a lot of info on the chemistry and such, but wondered where to start on exposure times before I start tweaking.

Thanks!
Bill

[tgtaylor]

Bill,

It depends on the negative. My last print - the one posted above - was exposed for 6'45" in the open shade and 25" in the sun. The prior one was 6' in the shade and 25" in the sun. You are looking for a very faint image with the shadows just starting to come visible and the highlights extremely faint or invisible. James call it "a stage whisper." It's difficult to describe but you'll get it after making a few prints.

Thomas

[Bill L.]

Thank you Thomas! That gives me a starting point. I have a split back contact printer to check the print, but didn't want to cook the print completely before my first check?

Cheers!
Bill

[tgtaylor]

Marin Headlands From Lincoln Park - San Francisco, 2017.

https://c2.staticflickr.com/4/3790/33054252681_207748baab.jpg

I shot the negative over the weekend as a front was moving in from the north. This is a work in progress - tricky atmosphere.

Gold-toned Kallitype, 610mm Apo-Nikkor lens on Toyo 810MII.

Thomas

[tgtaylor]

Same print as above but a much better scan:

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Marin_Headlands_and.60161640_large.jpg

Thomas

[Jim Noel]

On a recent trip to Yosemite I shot an 8X10 negative of Cathedral Rocks from the seasonal pond that fills during spring after normal winter percipitation. This is the first year it has filled during the recent and
no doubt continuing drought. On Sunday I printed it as a Kallitype and gold-toned it with a 5% solution. It's been sitting propped-up on top of the microwave in the kitchen for evaluation. Nose close it looks "OK" because it's not razor sharp but that is due to the matt-surface paper it is printed on (Cot 320). At normal arms length viewing it looks fine and subtle but noticeable brownish-black coloration becomes apparent which I find to be quite appealing. When I get home tonight I'll scan it for the website and then mount it on museum board.

As far as I am aware, this is the first Kallitype taken inside Yosemite park.

Thomas

You are a few years late. I was makng negatives for printing as kallitypes in Yosemite, and other locations, in the 1970's.

[tgtaylor]

You are a few years late. I was makng negatives for printing as kallitypes in Yosemite, and other locations, in the 1970's.

Why not post some here Jim?

Thomas

[tgtaylor]

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Marin_Headlands.66201955_large.3

I shot this negative on a different day but developed it using an ammonium citrate/sodium acetate developer which gave a different more brownish coloration and gold toned as in the preceding. I find the composition includes too much of the foreground tree which goes black in the corner. Perfect camera position/composition is imperative in the historical processes which were contact printed from in-camera negatives. Luckily I live nearby but getting a nice cumulus clouds on the coast is the hard part.

Thomas

[tgtaylor]

Roadside Carnival - Oakland, California 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Roadside_Carnival.71183953_large.jpg

Gold-toned Kallitype.

Thomas

[terra_monk]

Lake Erie, Ontario.
In-camera 5x7 negative FP4+ in Pyrocat HD. Kallitype gold-thiourea (touch in selenium) toned, printed on Hahnemühle Platinum. Sodium citrate
Note: kind of grainy a bit ... trying to figure out why the image tonality-structure-grain igets added during gold-thiourea toning. I noticed the effects of adding a salt into the toner mix. Is palladium toner smother?
https://farm4.staticflickr.com/3941/32586555674_3ef31f4f80_o_d.jpg

[andreios]

@terramonk - a great image indeed!
As for the graininess, I am no huge expert, but in my experience the grain was always the effect of the developer - the toner never effected the "graininess" in the print.. But I usually got prints like this in other developers than sodium citrate.. Is your developer fresh or old?

[terra_monk]

Andreios: thank you. Fresh, may be 2-3 prints and I keep replenishing probably more often than suggested. I clearly saw the breaking of the tonality during toning. May be this is the effect of thiourea or tartaric acid and the impact is not consistent ether

[tgtaylor]

Roadside Carnival #2 - Oakland, California 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Roafside_Carnival_No2.72192736_large.jpg

Thomas

[andreios]

Andreios: thank you. Fresh, may be 2-3 prints and I keep replenishing probably more often than suggested. I clearly saw the breaking of the tonality during toning. May be this is the effect of thiourea or tartaric acid and the impact is not consistent ether
You are using tartaric acid in the sodium citrate developer? If so, I think that might be the reason - it is also part of the borax dev. that I mentioned.. Try next time with just 20% sod. citrate (thats what I use) and see if there is any difference.

[tgtaylor]

Try a different toner. I used the Bostick & Sullivan Gold-Ammonium Thiocyanate POP formula on the above prints for 15 to 20 minutes and observed no breakdown in the print during toning.

Thomas

[terra_monk]

Try a different toner. I used the Bostick & Sullivan Gold-Ammonium Thiocyanate POP formula on the above prints for 15 to 20 minutes and observed no breakdown in the print during toning.
interesting ... First I played with gold-thiourea toner from Sandy"s article which does not mention Sodium Chloride. I was also using thiourea sourced locally in Toronto. Only after I bought thiourea from B&S and later followed Clerc's Thiourea Gold Toner mixing steps I managed to get acceptable results, but not very repeatable with various degree of grainy/broken surface.

Andreios, I mentioned salt in the gold toner formula. using 20% sod. citrate developer.

Thank you!

[tgtaylor]

Both Sandy's and Clerc's formulas call for 2% sodium chloride. Decide what outcome you are looking for and use the developer/toner combination that will deliver that outcome. For the preceding images wanted a brownish/black tonality and choose an ammonium citrate/sodium acetate developer and the B&S POP toner. Mixing the B&S toner for a couple of prints is mathematically tricky so make sure you have your dimensional analysis down beforehand.

Thomas

[tgtaylor]

Roadside Carnival # 3 - Oakland, California 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Roadside_Carnival3.74192625_large.jpg

Gold-toned Kallitype.

Thomas

[tgtaylor]

Roadside Carnival # 1 - Oakland, California 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Roadside_Carnival_No1.75213502_large.jpg

This is a reprint of the first in the series with fresh sensitizer (cut the exposure time down from 6 minutes to 4 minutes in the shade!) and a tweak in the toner.

Thomas

[tgtaylor]

The Merced, Winter 2017

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Merced_at_Pohono.46182301_large.jpg

Thomas

[tgtaylor]

Postwar Dream - California, 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Postwar-Dream.108153700_large.jpg

Thomas

[tgtaylor]

Bridalveil (Pohono) Fall - Yosemite National Park, 2017.

http://www.spiritsofsilver.com/yahoo_site_admin/assets/images/Bridalveil-Fall.134191814_large.jpg

Gold-toned Kallitype.

Thomas

[Barry Kirsten]

These are superb, Thomas. You've certainly mastered the art of Kallitype.

[tgtaylor]

Thank you Barry. I appreciate your comment.

Thomas

[tgtaylor]

Alabama Hills - California, 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Alabama.141224939_large.jpg

Gold-toned Kallitype.

Thomas

[tgtaylor]

Japanese Internment Cemetery, Mt. Williamson - Manzanar War Relocation Center, Owens Valley, California 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Manzanar.150145728_large.jpg

Inscription reads "Monument for the Pacification of Spirits."

Gold-toned.

Thomas

[tgtaylor]

Multiple mistakes with this one:

https://c1.staticflickr.com/5/4283/34200468824_b749a4377c.jpg

For starters it was shot at high noon under the harsh Owens Valley sun. But is was late spring so I got a little break there. Then I accidentally set the wrong exposure on the lens and the negative came out too dark. Printing it I misjudged the exposure and pulled it too soon when it needed another 15 seconds or so in the direct sun. On development the developer (ammonium citrate and sodium acetate) was close to exhaustion but I managed to avoid staining and got it clear. I darkened it in Photoshop to show here but although I now know how to print this particular negative I am somewhat ambivalent as is seems unbalanced in the foreground. Rather than waste the POP gold toner, I toned it for 25 minutes.

Thomas

[tgtaylor]

After sleeping on it overnight I find that the foreground is not "unbalanced" and the confining diagonal actually enhances it. I'll reprint this and if it turns out like I am imagining, I'll mat it. The additional exposure - 10 seconds - should also increase the definition of the foreground grasses.

Thomas

[Bill L.]

Hi All,

Please excuse my interrupting the lovely images in this thread with a beginner's kallitype question. I've been teaching myself kallitypes from Christopher James' book, and have tried two papers I have hanging around for cyanotyping - Fluid 100 hot press and Arches Aquarelle hot press - both 100% cotton watercolor papers in the 300-320 gsm range. While I'm used to exposure differences among papers from cyanotyping, an equivalent exposure for a 15 min. print in my UV box for the Fluid 100 is somewhere around 4-5 min. for the Arches. Any reason why the printing time is so different between what should be two very similar papers? I figure sooner or later I'll get some paper that has been used more for kallityping (e.g. Arches platine), but wanted to start with what I had, and the difference in printing times surprised me.

Thanks!
Bill

[tgtaylor]

Multiple mistakes with this one:

https://c1.staticflickr.com/5/4283/34200468824_b749a4377c.jpg

For starters it was shot at high noon under the harsh Owens Valley sun. But is was late spring so I got a little break there. Then I accidentally set the wrong exposure on the lens and the negative came out too dark. Printing it I misjudged the exposure and pulled it too soon when it needed another 15 seconds or so in the direct sun. On development the developer (ammonium citrate and sodium acetate) was close to exhaustion but I managed to avoid staining and got it clear. I darkened it in Photoshop to show here but although I now know how to print this particular negative I am somewhat ambivalent as is seems unbalanced in the foreground. Rather than waste the POP gold toner, I toned it for 25 minutes.

Thomas

Sucessfully reprinted it over the weekend:

https://c1.staticflickr.com/5/4246/34457279723_869c8d5aaf_z.jpg

Because there were thin high white clouds passing in front of the sun, the exposure was significantly greater than I originally thought. This time it was 8 minutes in the open shade and 2'55" in the direct sun - my stop watch is still set there. Instead of 25 minutes I toned it for 11 minutes in the POP toner. It shown here mounted on 14x17 Rising museum board and in a clear bags print sleeve.

Who said you can't get a good picture at high noon?

Thomas

[tgtaylor]

This message has been deleted by andrewch59.
Reason
no interest

Hahahaha...I guess that Kallitypes really piss the polishers off!

Thomas

[tgtaylor]

Break on Thru to the Other Side - California, 2017.

https://c1.staticflickr.com/5/4461/37395920574_4be63be74b_z.jpg

Gold-toned Kallitype.

Thomas

[dasBlute]

I enjoy this series, you've got a good handle on the process... looks like Lee Vining Canyon...


Break on Thru to the Other Side - California, 2017.

https://c1.staticflickr.com/5/4461/37395920574_4be63be74b_z.jpg

Gold-toned Kallitype.

Thomas

[tgtaylor]

Thanks Tim. You're right it is Lee Vining Canyon. I believe that it is overexposed a little and have a coated sheet drying to reprint while the sun is still out. Intend to reprint this negative as a Van Dyke, Salt, and Cyanotype to compare the different processes on this subject.

Thomas

[andrewch59]

Hahahaha...I guess that Kallitypes really piss the polishers off!

Thomas
You have it wrong tgt, I am still doing kallitypes and selling my works, there was no interest when I tried to alert this thread to some different techniques by different artist that I really admire and have done wonders for refining the finished product.
I wish you well

[tgtaylor]

Untitled - California, 2017.

https://c1.staticflickr.com/5/4529/38127874371_028c81623d_c.jpg

Much better print this time even though the sky was completely overcast for the exposure. The printing times were pretty close though - the bulk of the exposure was in the sheltered shade with a short burst facing where the sun would have been except for the clouds. It may not look like it but a lot of UV radiation passes through a cloud cover. The image was taken with a Toyo 810MII with a 360mm Schneider Symmar-S lens and printed on platinum rag and toned for 15 minutes in a gold POP toner.

Thomas

[tgtaylor]

Mt. Morrison from Convict Lake - California, 2017.

https://c1.staticflickr.com/5/4572/26619531199_1771b591e1_z.jpg

Photographed thru a print protector thus the reflections. A little snafu on the mounting - I believe that I misaligned the image on the drawing. A scan of the print was posted in the LF landscape thread. I'll be heading back to this location later in the winter/spring with color film.

Thomas

[tgtaylor]

I'm finding keeping the paper within an inch of each dimension of negative makes a significant difference in terms of print sharpness when using a printing frame. So, I've been trimming the paper to 10x12 for 8x10 negatives lately.

When printing an 8x10 negative on 11x15 paper, I place a blank sheet of 11x15 paper on top of the felt and lay the coated sheet on top to increase the force of the glass on the sandwich. Originally I was going to use the backer board that comes with the paper but it is too stiff and I think a softer insert mimicking the felt would be better.

Thomas

[tgtaylor]

Early Morning, Cathedral Rocks and Merced - Yosemite National Park, 2017.

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Cathedral-Rocks-Merced-Early-Morning.325185515_large.jpg

I got confused when printing this negative: The sun was rising from the left so that side of the negative was in the shade and I got to thinking that side needed to be burned-in (duh) which of course was the direct opposite of what was needed. I'm debating on whether to reprint as a Kallitype or perhaps in another process.

Shot on Fuji Acros with a 120mm Nikkor SW lens on a Toyo 810MII and printed on Hahnemühle Platinum Rag.

Thomas

[Holdenrichards]

Kallitype on Strathmore 300gsm paper; in-camera 8x10 Negative
Fomapan 100 - Repromaster 210mm - Hc110 - 1 + 100

https://farm1.staticflickr.com/403/32495475701_8394560dc4_z_d.jpg

[andrewch59]

Nice One HoldenRichards, great detail and contrast.

[Holdenrichards]

Nice One HoldenRichards, great detail and contrast.
Thanks!

[tgtaylor]

With a month left to go in 2017 I have so far printed 15 Kallitypes with each being of a different subject taken on a different day. Although I am equally proud of all, so far this is my favorite Kallitype from 2017:

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Datwa.46163840_large.jpg

The lighting, rising valley fog, and exposure were perfect.

Thomas

[dasBlute]

A lot of gorgeous, finely crafted work Thomas, keep it up!
-Tim

[tgtaylor]

Thanks Tim!

Thomas

[NedL]

With a month left to go in 2017 I have so far printed 15 Kallitypes ..
That's really nice Thomas, lots of parts working together...

[h2oman]

Nice One HoldenRichards, great detail and contrast.

Yeah, that's lovely!

[h2oman]

Early Morning, Cathedral Rocks and Merced - Yosemite National Park, 2017.

I like the way the two trees in front of the Lower Cathedral repeat its shape!

[esearing]

Thomas, I love the tones of this image as well as the composition. I may have to try this one day.

[Holdenrichards]

Yeah, that's lovely!

Thanks very much!

[jon.oman]

With a month left to go in 2017 I have so far printed 15 Kallitypes with each being of a different subject taken on a different day. Although I am equally proud of all, so far this is my favorite Kallitype from 2017:

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Datwa.46163840_large.jpg

The lighting, rising valley fog, and exposure were perfect.

Thomas

This is wonderful!

[tgtaylor]

Thanks for the comments everyone, they are much appreciated. I was a little lucky on the above by stopping to "check it out" just as the suns shadow was moving into position to create the appealing shadow triangle on the wall and found a spot along the river to set up the camera and managed to capture it just as the shadow touched the ridge tracing it perfectly. I don't know but I would guess that, like Horsetail Fall, this is an annual event when the suns position in the sky is able to trace that angle. I shot it with the 300 or 360 - I don't have my notebook with me.

Thomas

[Holdenrichards]

Kallitype on Strathmore 300gsm paper; In camera 8x10 Film Negative

https://farm1.staticflickr.com/581/32536441965_c61fbddebf_z_d.jpg

[NedL]

Nice one Holden!

[Holdenrichards]

Nice one Holden!

Thank you!

[andrewch59]

Again a great print Holden, your tones are great

[Holdenrichards]

Again a great print Holden, your tones are great
Thanks Andrew! Negative density is the printers friend!

[andrewch59]

Too true, I have gone from using xray negs to digital negs through my new Epson p800, amazing difference in density.

[tgtaylor]

Untitled California, 2014.

https://c1.staticflickr.com/5/4630/38779636315_ed205871c1_c.jpg

I shot the negative 4 years ago to make a salt print but for some reason never printed it until this morning.

Thomas

[tgtaylor]

Palace of Fine Arts, San Francisco, 2018.

https://c1.staticflickr.com/5/4750/39575469564_68b3bf55bd_z.jpg

A "must" for tourist - especially when the Exploratorium was located in the same complex as when this negative was taken - and a favorite among local photography enthusiasts both professional and amateur. Ansel Adams hung out a lot here during the 1915 San Francisco World's Fair. I shot this negative way back in 2013 with either the 360 symmer-s or 480 apo-ronar to make a salt print with. Either I did and didn't like the result or I just forgot about it. I came across it a few weeks back when looking for another negative to reprint. I had taught myself how to turn a black line on a print from emulsion damage into a white line and completely spot it out and decided to print it as a kallitype. I'm glad I did for it's a beautiful print to look at - it "glows" at you from a distance. I toned it for 22 minutes with a gold-ammonium thiocynate toner listed in the James book. A palladium toner would add a little "rouge" typical of the twilight skyline in San Francisco.

Thomas

[tgtaylor]

Well it turns out that it was shot on Delta 100 with the 480 apo-ronar at f32⅓ for 1/15 second on 2 June 2013. I had misplaced my notebook back then and, thinking it was lost, replaced it so I now have 2 notebooks for field notes. My notes indicate that I shot a second negative of the same scene so there must be another one lurking in the negative boxes - probably developed for silver gelatin printing. Oh, and there is no emulsion damage to this negative - it was on the negative that I was originally looking for and knew that it was damaged.

BTW, I'm trying my hand at writing a blog for my website and if successful will have the first post up in a few days on the origins of landscape photography in the United States.

Thomas

[tgtaylor]

View From Stage Road. - San Gregorio, California , 2018.

https://c1.staticflickr.com/5/4756/25501626567_dff0bb3f12_z.jpg

Due to its coastal location, this is a tricky landscape to photograph. Also the paper appeared to have little lumps in it when coating which made the scan appear rough. I've have admired this landscape over the years and plan to reprint it using a palladium toner. Toyo 810 MII with a 5x7 back and 610mm apo-nikkor on FP4+.

Thomas

[tgtaylor]

https://c1.staticflickr.com/5/4721/38718907590_4964ffb87e_z.jpg

I reprinted it earlier today and toned in Palladium. Different color but it doesn't wow me. I'm thinking that Kallitype is not a good match for this scene and when conditions are right will go back and shoot it for C-41 and B&W.

Thomas

[andrewch59]

176669

[AlexGard]

didnt know you guys got snow up in Queensland. climate change huh

[andrewch59]

didnt know you guys got snow up in Queensland. climate change huh
You have never been to Stanthorpe, snowed our first year here

[tgtaylor]

Here's an interesting Harvard University article that relates to the permanence of the apparently untoned Kallitype:

http://hcl.harvard.edu/news/articles/2010/kallitype.cfm

Apparently the silver in a properly processed but untoned print has the tendency to "mirror" or move slightly out of place over time.

Further info on Silver Mirroring: https://archivesandspecialcollections.wordpress.com/2012/01/17/forms-of-photographic-degradation-silver-mirroring/

Thomas

[tgtaylor]

From a recent trip to Yosemite:

https://c1.staticflickr.com/1/907/28118755658_781ecec706_z.jpg

610mm Apo-Nikkor. Beautiful lighting but the white cloud directly above the fall I find unappealing. Note the crevices in the rock on both sides of the wall.

Thomas

[esearing]

Beautiful lighting but the white cloud directly above the fall I find unappealing.

It doesn't bother me, but is there a way to Burn in using a mask for the cloud and the lower part of the falls so they have more texture? I guess it depends on your light source.

[tgtaylor]

It's a low resolution scan on which I spent as little time as possible. On the print the sky is smooth and not pebbly appearing as in the scan as is the cloud which appears as a soft white cloud - not the kind that you would want to burn-in. Likewise on the print the wall has plenty of texture - almost palpable, especially when wet - and I am thinking of waxing to bring back that wet look. Finally I may have overexposed (I use the sun) by a few seconds. I had made up fresh sensitizer the night before printing (I had enough remaining to do the 4 or 4 prints that I had in mind but that sensitizer was mixed on 10/28/17 and I didn't want to risk wasting time with bad sensitizer even though the color looked good. I believe printing speed increases slightly with fresh sensitizer although this exposure was pretty close as you can read the film rebate. Finally, I toned to completion with gold which darkened somewhat the top 1/2 of the waterfall and removed a lot of the brown coloration from the wall which I find appealing. Next chance I get I'm going to reprint this negative incorporating an exposure and toning adjustment and see what I get.

Thomas

[tgtaylor]

Here's Carleton Watkins 1865/66 albumin print from a glass negative that appears in The Stanford Albums taken from a location close to mine but with a wider lens:

https://c1.staticflickr.com/1/960/41290938604_d3f6f63bf2_c.jpg

Looks pretty good for a 150+ year old print doesn't it?

Thomas

[tgtaylor]

Half Dome, Study 1. From the same trip

https://c1.staticflickr.com/1/965/27288760577_4520c353db_z.jpg

I arrived early with a different composition in mind but the cloud over the dome remained parked for at least a half hour which motivated me the expose a sheet. 360mm Schneider Symmar-S.

Thomas

[Willie]

View From Stage Road. - San Gregorio, California , 2018.

https://c1.staticflickr.com/5/4756/25501626567_dff0bb3f12_z.jpg

Due to its coastal location, this is a tricky landscape to photograph. Also the paper appeared to have little lumps in it when coating which made the scan appear rough. I've have admired this landscape over the years and plan to reprint it using a palladium toner. Toyo 810 MII with a 5x7 back and 610mm apo-nikkor on FP4+.

Thomas

What about being on the Coast makes this "tricky"?

Are you in danger of falling into the ocean or something?

[tgtaylor]

What about being on the Coast makes this "tricky"?

Water vapor or relative humidity. As I type this the RH at the above location is 98%. As a general rule the RH of a particular location reaches its nadir in the mid afternoon which is great for this particular location because the subject is front lighted at that time.

Thomas

[tgtaylor]

Alameda County Court House - Oakland, Ca 2018.

https://c2.staticflickr.com/2/1757/42485351851_419e70cb2d_z.jpg

Not a good scan but the best I could do at the moment: Depending on the lighting, the solid blue sky in the print is slightly uneven from a solid middle grey but greatly exaggerated in the scan. IIRC the sky behind the court house registered middle grey on the meter with the court house one stop up. Maybe I should have placed the sky 1 stop above putting the court house 2 stops over? Suggestions are welcome.

760 Apo Nikkor on Toyo 810 MII.

Looking at it straight on with good light, the grey of the sky is smooth and even and from several feet away the court house stands out nicely - I think it registered 1-1/3 stops over the middle grey of the sky. I think that the scanner (Epson 3200) is picking up some of the white fibers of the paper in those areas. I'm going to try rescanning in Grey instead of 24 bit RGB and see if that makes a difference. In any event, it gets dry mounted, (waxed?), and filed in the new large Blick print rack being delivered today. The other rack is overflowing to the extent that prints can be damaged.

Thomas

[tgtaylor]

Alameda County Court House - Oakland, California 2018.

https://c2.staticflickr.com/2/1829/42111744955_0987864eb8_z.jpg

This is an early morning shot and the first chance to re-shoot it without the stratus came last Friday morning and I jumped to it. Saturday and Sunday were also stratus free but I had other things on the schedule. I got there just a tad earlier than before when the lake was calmer but noticed that the wind picked up when I was tearing down so I came away with a better reflection in the water than before. IIRC the in-camera exposure was the same as before - f64 @ 1/10 second but this time I had the Schneider Haze-1 filter on the lens and it did tame down the sky as I expected and the trees are greener. The construction sky crane had moved so I tweaked the composition to place the flagpole at the center top. The trade off was to eliminate the trees at the far left and include more of the office building in the background on the right but having the building centered seemed worth it. But now I see that I should have shifted a tad further to the left to eliminate the partial building in the background at the far right. The unevenness in the white color visible in certain areas is almost unnoticeable in the print and due to the sun's position. A littler later in the morning the sun would be more frontal leaving the right side of the courthouse in shadow.

I wish that the new electronic light meters like the Sekonic L758-DR which I have would allow you to choose the older setting that the old lens have: f64 @ 1/8 sec results in a slightly wider aperture than at 1/10 second and every time you go through the iteration "1/10 second is faster than 1/7 second so I have to let more light in."

Thomas

[Holdenrichards]

Kallitype on Strathmore 300gsm paper; X-ray Negative made from 5x7 Silver Positive Contact Print


https://farm1.staticflickr.com/853/43048461955_db7616fa30_z_d.jpg

[andreios]

Kallitype on Strathmore 300gsm paper; X-ray Negative made from 5x7 Silver Positive Contact Print


https://farm1.staticflickr.com/853/43048461955_db7616fa30_z_d.jpg

That's a beautiful print!
So you make a contact exposure trough paper onto XRay neg? Interesting idea.... :)

[Holdenrichards]

That's a beautiful print!
So you make a contact exposure trough paper onto XRay neg? Interesting idea.... :)

Thanks! and yes, exactly. Its printed correctly so its a perfect internegative to print on to x-ray film.

[Jim Noel]

Kallitype on Strathmore 300gsm paper; X-ray Negative made from 5x7 Silver Positive Contact Print


https://farm1.staticflickr.com/853/43048461955_db7616fa30_z_d.jpg

WHy not use the x-ray film in camera to take advantage of its' film curve?

[Holdenrichards]

WHy not use the x-ray film in camera to take advantage of its' film curve?

I want to make regular negs for silver prints (and carry fewer holders) and focus on film efforts on attaining that in the field. I can make these kallitype negatives anytime. I also don't want to change exposure habits I have spent so long cultivating. But I know many do.

[tgtaylor]

How long will a Kallitype keep before development? well I coated and exposed this sheet on 25 June - about 6 weeks back - but decided that I printed it a little too deep and coated and developed another sheet which I developed and placed on my website. This sheet sat face down on top of a Jobo all that time being turned over from time to time to observe any changes. the "whisper" appeared to darken a little but otherwise exhibited no change. Before development today:

https://c2.staticflickr.com/2/1833/43265672344_faba4ae8ff_z.jpg

After fixing:

https://c2.staticflickr.com/2/1791/43935885772_c7fa2f0e9d_z.jpg

Had I kept the sheet in a paper-safe in a more controlled environment I suspect the resulting print would have turned out better. I did not use distilled water as I normally do and guesstimated the amount of hypo and citric acid. Didn't bother to tone it.

Thomas

[tgtaylor]

https://c2.staticflickr.com/2/1934/29933726217_631f5d32de_z.jpg

I posted this in the 5x7 thread yesterday but it really belongs here.

Thomas

[karl french]

183624

Gold Toned Kallitype on Ruscombe Herschel. (8x10, Cooke Series XVa 311mm, Ilford Delta 100) I've been making a lot of kallitypes over the last month or so. (And trying the process with a variety of papers.) Really love the process and purple-black color of the gold toned prints. After being turned off by what seemed to be an excessive number of trays and bottles required by the process, I tried doing the single tray technique. Works like a charm.

[Andrew O'Neill]

I've only ever used one tray, and 5 bottles of solutions... sodium citrate developer, citric acid, gold toner (if i use it), fix, selenium toner (if I use it). Over the past 10 years, I've tried just about every developer concoction, but settled on sodium citrate. I also have a bottle of sulfamic acid when a paper needs to be acidified...I guess that's 6 bottles!

[karl french]

I'm using the Sodium Acetate/Ammonium Citrate hybrid developer that Christopher James recommends in his book. Then a short soak in distilled water. Then onto clearing (Citric Acid). Then a tap water rinse before gold toning. Rinse again, then a short (2 min) Fix, rinse again, then Hypo Clear (1 min). So 6 bottles here as well. Though sometimes I do a double clear with EDTA as well as Citric Acid.

The distilled water soak is something I just started. It really clears a lot of the yellow stain out of the paper. The clearing baths last much longer as a result.

More work than Platinum/Palladium, but the print changes during each step, so it's quite interesting to watch the transformation.

[dasBlute]

looks like a fine print, Karl - keep it up :)

[Jim Noel]

I get better clearing if the 1st soak after development is in slightly acidified water. My preferred acid for this is a teaspoon of citric acid in 1/2 liter of tap water.

[tgtaylor]

Post Commanders Residence, Fort Baker (1903)

https://live.staticflickr.com/65535/51206101553_0f0867ac0b_z.jpg

This is an example of Colonial Revival architecture that became popular in the late nineteenth century to the start of WWII. For more information see https://www.nps.gov/articles/colonial-revival-architecture.htm and https://en.wikipedia.org/wiki/Fort_Baker

Platinum-toned kallitype that digital reproduction fails to produce the beautiful subtle tone that becomes apparent with the correct lighting.

Thomas

Edit: Reprinted today to correct printing flaws and reduced exposure by 20 seconds.

[tgtaylor]

A Temporary Resting Place For Travelers... - San Francisco.


https://live.staticflickr.com/65535/51228749889_4edc3e0205.jpg

"from Kong Chow in south China-referring to the tradition of returning bones to their homeland." I frequently pass this location on my way to and from Crissy Field and photographed it ten or more years back. A recent story on the evening news ( https://www.ktvu.com/news/the-untold-story-of-a-chinese-cemetery-in-san-francisco) brought it back to light and I looked for it in my unprinted 4x5 negatives. It wasn't there so it must have been a 6x7 negative but I haven't started to look yet. (I wonder if I used the 120 soft focus lens?) At any rate I decided to shoot it again but this time with the 8x10 and print it as a kallitype. I originally intended to use a 14" Veritar lens but the topography wouldn't cooperate so I ended up using a 300mm Imagon instead which I brought along for that eventually. I toned it for 15 minutes in a gold-borax solution which imparts pronounced, but not heavy, apenglow to the sky when viewed at an optimum angle under good lighting conditions. Very interesting location. For a historical overview see: https://www.sfgenealogy.org/sf/history/hcmcit.htm and do follow the links.

Gold-toned Kallitype.

Thomas

[tgtaylor]

Ferry Point (Point Richmond), 1899

https://live.staticflickr.com/65535/52227885569_922a58aff4_z.jpg

For info on this location see https://www.abandonedrails.com/richmond-to-point-richmond#:~:text=To%20ferry%20across%20the%20bay%2C%20the%20Santa%20Fe,responsible%20for%20developing%20Richmond%20into%20an%20industrialized%20area.

Because of structural issues the East Bay Regional Park District will demolish the railroad pier. For further historical insight into the location see Field Note for 19 July 2022 https://www.spiritsofsilver.com/field_notes. Fishermen curious about fishing from this pier will find a wealth of information by clicking on the link at the end.

Thomas

[Andrew O'Neill]

South Lawn Bld. Riverview Hospital Grounds.
14x17 on Hahnemuhle PR.
Sodium Acetate developer.
Selenium toned.