A friend of mine, JJ Murphy, is an author. JJ held a book release party for a third book, and since the book is set in the 1920s, the party was themed the same. Of course, I was planning to shoot film. Having shot at JJ’s parties previously, I knew there would be low light; […]
I really like Kallitypes. They’re a simple process. The final prints can take on the characteristics (both visual and chemical) of palladiotypes and platinotypes. And because you start with iron and silver, you have the opportunity to examine the print before deciding that you want to invest other precious metals (gold, palladium or platinum) in […]
Pictures In This Set
Over the last two years of heavy experimentation with bichromate processes (gum arabic or ammonium caseinate on various papers as well as glass), I’ve had to troubleshoot a lot of different problems. These are some of my most important lessons during that process. Change one thing at a time. The Bichromate processes are simple. Really […]
This is the project that took up most of my 2012. And it’s what I wanted to post about repeatedly during the year, but my old blog software just wasn’t up to the task. So this is a long post about 9 months of printing. For First Friday in December, I put together a 21-piece […]
Pictures In This Set
Happy Holidays! At least Jake’s got what he always wanted… 😉 … and perhaps so have I. The blog just got a makeover. This year’s been difficult for me to blog – often because my custom CMS wasn’t up to posting the kind of content that I had waiting, without investing a lot of time […]
Also taken this spring: gold-toned kallitype on arches HP 140#. Shot with a Mamiya 7, HP5+, developed in Xtol.
And this is gold toner #2 at the end of its life. Initially, toning happens very quickly – perhaps 3 minutes for the first shot I posted. This shot toned for 15 minutes and, as you can see, took on a more sepia characteristic. This is the same 250mL of toner as the previous two, and I believe this was the fourth reuse of that toner. All three of these are 11×14.
Taken this spring; Philadelphia, looking north from the Chestnut St. bridge. Gold toned kallitype on Arches HP 140#. Shot with a Widelux FV and Delta 3200, developed with Perceptol.
This gold toning is about the third reuse of 250mL of gold toner #2, toned with the same batch of toner as yesterday’s print. Development was identical between the two. The color has shifted slightly warmer and is still very effective at both preserving the print (replacing silver with gold) and changing …[more]
From this year’s Kensington Kinetic Sculpture Derby: Erik and Hedy of Frank’s Kitchens. Gold-toned kallitype on Arches 140# HP.
Another aspect of my experimentation during PrintFest was control over the toning characteristics of reused gold toner. Straight gold toner (gold chloride and citric acid) form a good, but not great, toner that can tone prints purple if used in sufficient concentration. Lower concentrations tend toward a cold black. But the toner has a short shelf life once …[more]
From the PA Burlesque Festival on June 30th: Francean Fanny. Selenium toned kallitype on Arches 140# HP.
I have no idea what the dot is; something got on the paper that didn’t belong there. I actually like this print cropped as a square and expect that if I frame it I’ll just crop that part out. But as a learning piece from my week-long PrintFest: no streaking from fumed silica; successful selenium toning without substantial staining. This is …[more]
From the PA Burlesque Festival, June 30th: Donna Touch. Selenium-toned kallitype on Arches 140# HP.
Continuing down the selenium road: this is about 20 minutes of selenium toning, after having pre-fixed for 2 minutes. It’s a touch more brown than I wanted, but it’s in the ballpark.
There’s also some slight streaking evident in the print once you get up close to it. Each of these sheets of paper were coated with fumed silica (Aerosil 380, to …[more]
John, of Frank’s Kitchens. Selenium toned kallitype on Arches HP 140#.
I’m understanding selenium toning a little better as a result of this week’s PrintFest. Selenium and Kallitypes don’t get along very well generally. And now I understand why.
The sensitizer for kallitypes is Ferric Oxalate and Silver Nitrate. Usually, conversations about failures with kallitypes center around the ferric iron being reduced to ferrous iron from exposure to UV light – but with selenium ton …[more]
It’s only Wednesday, but I’m already exhausted! I’ve been printing all day every day this week: 8 hours on Monday, 7 Tuesday, and 10 today.
Monday was about experimentation: trying to improve the quality of my kallitypes on Stonehenge paper (trying to reduce my cost per print, since my preferred paper is handmade and imported from France); using fumed silica; working with different developers; experimenting with selenium toner for kallitypes. No good prints came of it. The prints got …[more]
Continuing in the “Frank’s Kitchens” series: 9 layers of gum, featuring Joe hard at work. I think I may print another layer here; I’m not quite satisfied with the color balance at the moment (which is kinda funny, because I’m color blind). Aah, the trouble with gum prints; I never know when I’m done 🙂
The paper is Stonehenge Warm White.
Gum over cyanotype on a half sheet of Stonehenge Rising warm white paper.
This print is a direct result of a morning of failures last week. My cyan pigment wouldn’t stay on the paper – a combination of two different problems related to two variables I changed simultaneously. After three poor prints I decided I would forego the cyan for the morning and use cyanotype for the base layer to get me started.
I miscalculated the amount of cyanotype solution I needed (resulting in the …[more]
St. Patty’s Day parade in Jim Thorpe. I’ve got a few more from this series that I’d like to post, while I get my next gum print running; some experimentation with paper negatives (while I waited for another roll of Pictorico transparency to arrive in the mail) were good, but not fantastic (the ink slightly warps the vellum, causing some new registration challenges). Back to the plastic.