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.
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:
After fixing:
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
I posted this in the 5x7 thread yesterday but it really belongs here.
Thomas
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.
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!
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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.
looks like a fine print, Karl - keep it up
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