post alternative techniques

[D. Bryant]

thanks Doug and Colin. Sounds a bit like exposing a van dyke with the image becoming stronger during development, which makes sense now that I think about it. Time to give it a try.

Paul,

The effect of developemnt is a lot different than developing a VDB. The developer is poured on quickly and wosh the full image appears almost instantly. Depending on the humidity and exposure the print out of the frame before development will be a whisper of the image.

I don't recommend esposure by inspection for any of the POP processes since each time the contact printing frame is opened the humidity of the print is affected. Print by time or exposure units, IMO.

Kallitype was one of the most difficult processes for me to tame (except for carbon which I am a novice). Paper staining was the primary problem and it just about made me quit the process a time or two.

Partial toning with selenium followed by gold can create beautiful tones. I've used KST but it needs to highly diluted to prevent bleaching of the print. No matter how I tone the print I use the toner as a 1 shot using a flat tray.

Good luck and have fun if you try this process.

Don Bryant

[sanking]

Kallitype was one of the most difficult processes for me to tame (except for carbon which I am a novice). Paper staining was the primary problem and it just about made me quit the process a time or two.

Partial toning with selenium followed by gold can create beautiful tones. I've used KST but it needs to highly diluted to prevent bleaching of the print. No matter how I tone the print I use the toner as a 1 shot using a flat tray.

Good luck and have fun if you try this process.

Don Bryant

Don,

I have certainly enjoyed looking at your prints, especially the toned kallitypes. Whatever difficulties you had in the beginning you seem to have solved the problem. I especially liked that gold toned kallitype that others had commented on.

Sandy King

[katie cooke]

a 4x5" clear glass ambrotype

[Emil Schildt]

a 4x5" clear glass ambrotype

how simple and stunning!

[D. Bryant]

Don,

I have certainly enjoyed looking at your prints, especially the toned kallitypes. Whatever difficulties you had in the beginning you seem to have solved the problem. I especially liked that gold toned kallitype that others had commented on.

Sandy King

Thanks for the positive comments Sandy. Without your help I probably would have gave up on the kallitype process.

I've just looked at the gold toned kallitype print again and full disclosure forces me to say that the color of the scanned print as displayed in the browser isn't totally accurate. The tones in the actual print are much more subdued, but it still looks nice. The tones in the print have a mellow rich tone and by comparison the image posted here looks a bit orange-ish. I've printed this particular negative quite a few times with different processes and people always react possitively to this image.

The shot was made the old pool room at the R.J. Reynolds mansion on Sapello Is., GA, one of my favorite places to photograph when I can get there. I probably should get a drum scan made of the original negative before it gets ruined. The image might be a good candidate for gum over palladium. Of course it also occurs to me that it might make a nice warm toned carbon print too!

Thanks,

Don

[PViapiano]

I don't know what all the hulabaloo is about...

QT posted a recent thread about Kertesz and his small contact prints in the On Photography section...so...?

[Blumine]

Here's another pd-toned kallitype. From a 3800/QTR digital negative scanned from a 5x12 incamera original. A nice thing about digital negatives you can achieve a target density and get rid of the exposure variable altogether.

Colin,

If you dont mind me asking what developer are you using for your Kallitypes. I love the prints you have posted.

Thank You.

Blumine

[Colin Graham]

Thanks a bunch Blumine. I use 20% sodium citrate with 2ml of a 5% potassium dichromate solution added for contrast. The native color is sort of an angry iodine-orange, which is neutralized by the pd or pt toner.

For untoned or selenium toned stuff I used to really like 7.5% sodium acetate with 3g of tartaric acid/l and the same amount of dichromate. Nice reddish blacks. But after using noble metal toners I can't tell much difference in final print color between the developers I've tried- but the acetate does seem to have a slightly softer midtone curve.

[Paul Metcalf]

Depending on the humidity and exposure the print out of the frame before development will be a whisper of the image.

Thanks for the heads up Don, I didn't see anything about humidity in Sandy's article on Kallitypes.

I use 20% sodium citrate with 2ml of a 5% potassium dichromate solution added for contrast.

I didn't know that the potassium dichromate could be added to the developer, I always thought it was added to the sensitizer during coating. Do you know if this will work with other alternative POP techniques (i.e. saltprints)?

I posted this one on the portrait thread, another 8x10 saltprint.

[MIke Sherck]

a 4x5" clear glass ambrotype

Outstanding! What a great thing to see, first thing in the morning! Thanks for sharing!

Mike