Rodinal Special / R09 Spezial
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HP5 in Finol,
Kallitype, Sodium acetate developer,
1st MT12 Cobalt toner 12+9+7+4+450ml 1:30 mins
2nd MT7 Iron Blue 4+2+4+3+400ml 2 mins
3rd Lead acetate 3% 1 min.
As I mentioned a few days ago, I am currently looking into the production of ferric oxalate, not because I am dissatisfied with Bostick&Sullivan's product, but merely out of a thirst for knowledge.
I do not know the recipe of B&S, presumably it is iron(III)-nitrate and oxalic acid.
In my first attempt I followed the recipe of Pizzighelli and Hübl (ferric hydrate and oxalic acid). An interesting alternative, but time-consuming.
In the second attempt, it was iron(III)-nitrate and oxalic acid. The time required is similar, but with fewer steps.
The substance is not clearly defined, which makes it difficult to determine the exact content of oxalate solutions. The prevailing opinion is that the solution for the platinum process should contain 27% iron(III)-oxalate, for the Kallitypy 20%.
For practical purposes, the determination method using the specific gravity is sufficiently accurate, although any free oxalic acid present cannot be determined.
For the Kallitype, a specific gravity of 1.13 results in a solution of about 20%; for the comparison of the mode of action, the three oxalate solutions were brought to exactly this value. The measurement of the pH value showed clear deviations between the (acidic) solutions, which indicates different contents of free oxalic acid.
Paper: Hahnemühle Platinum Rag
Developer: Sodium Acetate
To obtain comparable densities, different exposure times were necessary.
From left to right:
B&S 3 minutes, P&H 2:30 minutes, Ox (iron nitrate) 2:15 minutes.
Wie schon vor einigen Tagen erwähnt, beschäftige ich mich momentan mit der Herstellung von Eisen(III)-Oxalat, nicht weil ich mit dem Produkt von Bostick&Sullivan unzufrieden wäre, sondern lediglich aus Wissensdrang.
Die Rezeptur von B&S ist mir nicht bekannt, vermutlich handelt es sich um Eisen(III)-Nitrat und Oxalsäure.
Bei meinem ersten Versuch bin ich nach der Rezeptur von Pizzighelli und Hübl (Eisen(III)-Hydrat und Oxalsäure) vorgegangen. Eine interessante Alternative, doch der Zeitaufwand ist hoch.
Beim zweiten Versuch waren es Eisen(III)-Nitrat und Oxalsäure. Der zeitliche Aufwand ist ähnlich hoch, allerdings bei weniger Arbeitsschritten.
Die Substanz ist nicht klar definiert, was es schwierig macht, den exakten Gehalt von Oxalat-Lösungen zu bestimmen. Nach vorherrschender Auffassung sollte die Lösung für den Platinprozeß 27% Eisen(III)-Oxalat enthalten, für die Kallitypie 20%.
Für die Praxis ist die Bestimmungsmethode über das spezifische Gewicht hinreichend genau, wobei allerdings ein eventuell vorhandener Anteil an freier Oxalsäure nicht festgestellt werden kann.
Für die Kallitype ergibt sich bei einem spezifischen Gewicht von 1.13 eine etwa 20% Lösung, für den Vergleich der Wirkungsweise wurden die drei Oxalatlösungen auf exakt diesen Wert gebracht. Die Messung des pH-Wertes zeigte deutliche Abweichungen zwischen den (sauren) Lösungen, was auf unterschiedlichen Gehalt an freier Oxalsäure hindeutet.
Papier: Hahnemühle Platinum Rag
Entwickler: Natriumacetat
Um vergleichbare Dichten zu erhalten, waren unterschiedliche Belichtungszeiten erforderlich.
Von links nach rechts:
B&S 3 Minuten, P&H 2:30 Minuten, Ox (iron nitrate) 2:15 Minuten
Hasselblad 501CM Distagon 50mm, Efke IR 820 in eco film developer,
Kallitype on Hahnemühle Platinum Rag,
Sodium acetate developer 3 mins,
Citric acid 1% 4 mins,
ATS acidic fixer 1+10 4 mins,
MT3 Vario Toner, bleach 1+75 1:30 mins, toner setting D.
FP4 in Tanol N+1
Kallitype, Hahnemühle Platinum Rag, Sodium acetate developer, MT3 Vaeio toner: bleach 1+90 2:40 mins, toner setting C
Toned Kallitype,
Arches Platine, Sodium acetate developer, short (20 secs) Palladium pre-toning and after fixing alkaline Copper toner 1:30 mins.
FP4 in Finol,
Kallitype onto Hahnemühle Platinum Rag.
From left to right:
Sodium acetate developer untoned
Palladium toner 1 min 15 secs
MT3 Vario toner: bleach 1+75 15 secs toner setting A
Ilford HP5 35mm film, developer ID-11 10' at 20°C. Exposure ISO 400 @35mm lens, available light. Digitized with Alpha 6000 edited in ACR, inverted in CS6.
It used to be a pub. The Sun Inn offered everything the traveller needed including accommodation and a beer garden behind the building. These days, pubs are being converted into residential homes and developers make sure that the yard behind is turned into accommodation too, rental or other.
Fuji X-Pro1.
Gibson Bottoms, Mainspring Conservation Trust, Macon County NC
590nm IR-converted Pentax K-5
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Affinity Photo
Zwischendurch mal etwas zum Aufwärmen.
Linhof Technika Tmax 100 in Tanol,
Kallitype onto HPR,
developer Rochelle salt and Sodium tungstate mixture.
Scadin Falls, Cullasaja Gorge, Nantahala National Forest.
Pentax K-1
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Affinity Photo
Small waterfall below Secret Falls, Nantahala National Forest.
Pentax K-1
SMC Pentax 1:3.5 35mm
Iridient Developer
Live Oaks (Quercus virginiana), Spring Island, South Carolina
590nm IR-converted Pentax K-5
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Taken from London Bridge - my son was visiting from Oz so we had a bit of a traipse around London (travelled on the new Elizabeth Line train as well- oooh!).
"Irvine Sellar, The Shard's developer and joint owner, had an ambitious vision to create an architecturally striking vertical city incorporating retail, offices, hotel, apartments, restaurants and a public viewing gallery."
Scanned Lumen print for a digital print negative.
Kallitype on Hahnemühle Platinum Rag,
Sodium acetate developer.
I am still experimenting with an alkaline copper toner. The conversion from silver to copper is not a complete one, the missing density can be restored with another toner.
Copper on the left followed by Gold (MT10 thiourea-gold 2 minutes).
On the right copper followed by thiourea (MT3 50+10+940ml without a prior bleach 30 seconds).
Slightly recomposed and slightly different lighting, in color this time. Appalachian cove forest along the Bartram Trail, Nantahala National Forest.
Pentax K-1
SMC Pentax 1:1.8 55mm
Iridient Developer
Cullasaja Gorge, Nantahala National Forest
Pentax K-1
Rokinon 1:3.5 24mm ED AS UMC Tilt/Shift
3-shot shift panorama
Iridient Developer
Affinity Photo
Cypress, fern, bromeliads, Grassy Waters Preserve, Palm Beach County, Florida
Pentax K-1
SMC Pentax 1:1.8 55mm
Iridient Developer
The sodium acetate developer produces the coolest image tone in Kallitype.
One or the other user may well have doubts about this. If the results are not as cool as expected, this is not due to the developer but to the workflow. A really cool tone is only maintained if the print does not come into contact with tap water before fixing. If the print is rinsed with tap water after the developer or the clearing bath, the image tone will be significantly warmer. It is not a question of which shade is perceived as more pleasant, but rather an advantage to know how to control the colourfulness.
For toning before fixing (platinum, palladium, gold), a rinse cycle is advisable in order not to change the property of the toner by introduced acid. For all tonings after fixing, a cooler initial print has the advantage of a higher maximum blackening. This is not decisive for successful toning, but differences in hue and saturation become apparent.
Left: developer, Citric acid clearing bath 1% (with demineralised water), ATS acidic fixer.
Right with a short rinse with tap water after the clearing bath,
Kallitype
Hahnemühle Platinum Rag, Potassium Citrate developer, ATS alkaline fixer:
untoned
MT10 Gold toner
MT3 Vario toner (thiourea)
Leica M2
35mm Summicron (type 3) (yellow filter)
Fomapan 100 in Arista developer (Clayton F60) (1:9 @ 68 deg for 7 min)
en.wikipedia.org/wiki/Pow%C4%85zki_Cemetery
Leica Vario-Elmar-R 1:3.5/35-70 E67 (S/N: 3662380)
Agfa APX 400 @400ISO
Fomadon Excel 1+1 for 12 min. (20C)
Illustrations/code-names for the development team here at work.
If you have a problem - if no one else can help - and if you can find them - maybe you can hire: The Developers.
(Crop from 4x5 negative shot with a Linhof Kardon Color and Fujinon T 400 f/8 lens on Fomapan 100; developed in Moersch Eco Film Developer; digitized with DSLR; edited with GIMP)
Film Washi W paper film in Zeiss Ikon Ikonta 521 4.5X6 folding camera. Tray developed in paper developer.
Americus, Georgia
Beginners in the technique of Kallitype often ask which developer they should choose.
Only a comparison of colour and tonal values with identical exposure time. To achieve the same level of blackness with the acetate developer, the exposure time would have to be slightly longer.
Fomapan 100 4x5 inch negative, shot by Graflex Crown Graphic with Schneider Kreuznach 135mm lens and orange filter. Developed in R09 for 9:00 minutes.
Contact print on expired Agfa Record Rapid grade 2 in Ilford warmtone developer.
Lith Print
Camera: Rolleiflex 3.5e
Lens: Schneider-Kreuznach Xenotar 75mm/3.5
Film:Kodak Tri-X 400
Orange filter
Paper: Fomatone MG Classic 131
Developer: Kodalith( A & B 50ml each, 500ml old brown and 2 litres of water)
Southwold
Suffolk
May 2019
This is a bulk gas carrier and guess what. That is a gas power station in the backround
Shot from Portishead Quay as the BRO Developer approaches Avonmouth.
Camera: Olympus 35 SPn (1)
Lens: Fixed 42mm f.17 G.Zukio
Film: Konica 160 Pro Expired 2010
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None