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Algo rapido!!! / Something fast!!!
Empanada de pollo, con tomate de huerta, sal, albahaca, acetato de modena y aceite de oliva.
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Chicken empanade, with garden tomato, salt, basil, modena acetate and olive oil.
FP4 N+1 in Tanol,
Kallitype onto HPR,
Sodium acetate developer,
MT10 Gold toner 2 minutes before fixing
I am experimenting with modified recipes for kallitypes, in order to achieve neutral or cooler tones without toning.
Added one drop Na2 5% to two ml sensitiser.
HP5 in Finol (N+1),
Kallitype, Sodium citrate developer,
MT3 Vario toner for the lights: bleach 1+75 20 secs, T3a,
MT7 Iron Blue 6+6+12+6+500ml 2 mins, followed by Lead acetate 3% sol 45 secs
Isolette, PXP in efd,
Kallitype on HPR,
Sodium acetate developer,
MT3 Vario toner: bleach 1+100 30 secs, toner setting D.
Detail view of a 1954 Kent Micronite asbestos-containing filter showing blue-colored crocidolite interspersed with cellulose-acetate and crimped crepe-paper media. Crocidolite asbestos is regarded by many experts as the most toxic of the six currently regulated asbestos minerals.
HP5 in Finol,
Kallitype on HPR,
Sodium acetate developer,
MT7 Iron toner 4+4+8+4+800 2 mins,
followed by Lead acetate 1% 15 secs.
The specialists among you will wonder why I am handling two different concentrated silver nitrate solutions. Here is the reason. If a higher amount of an aqueous solution is added to the mixture of ammonium iron (III) oxalate and silver nitrate in order to change the colour, the coating solution will be diluted, which can be compensated by a slightly higher amount of oxalate and a stronger solution of silver nitrate. I indicate the amount of the two main ingredients in millilitres, additives with the number of drops. 15-16 drops of citric acid correspond to about one millilitre. In this print, I wanted to increase the amount of citric acid to 8 drops (i.e. about half a millilitre). So for two prints of this size (14x28cm) you need: 2.25ml amferrioxalate + 16 drops citric acid 50% + 2ml silver nitrate 15% (instead of 10%).
Paper Hahnemühle Platinum Rag, developer Sodium acetate 4%, Clearing bath Citric acid 1%, ATS fixer 1+10.
FP4 N+1 in Tanol,
Kallitype, Hahnemühle Platinum Rag,
Sodium acetate developer,
MT3 Vario toner followed by MT7 Iron blue toner
Kallitype on Hahnemühle Platinum Rag. Sodium acetate developer.
Platinum toner until the shadows show a deep black (1:45 mins). Theoretically, it is to be expected that the image can now react neither to a bleach nor to any other toner after fixing. However, practice shows that this assumption is wrong. After a subsequent iron-blue toning, especially the highlights appear in a blue-green hue, which can be shifted to a purer blue by post-treatment in a lead acetate solution.
Efke IR820 in efd,
Kallitype, Sodium citrate developer, ATS acidic fixer and an attempt in order to reduce saturation Lead acetate 2,5% 5 mins.
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.
Cranes Kit Ecru, toned Kallitype.
If an intense copper red is not desired, it is possible to shift the colour to a vivid reddish yellow..
Alkaline copper toner followed by MT3e without prior bleach.
HP5 in Finol,
Kallitype onto COT-320,
Sodium acetate developer,
MT3 Vario Toner: bleach 1+75 50 seconds, toner setting D
Kallitype,
MT7 Iron Blue Toner 5+5+10+5+500ml 2 minutes followed by Lead acetate toner 2,5% 2 minutes.
FP4 N+1 in Tanol,
Kallitype onto Hahnemühle Platinum Rag,
Sodium acetate developer, Nelson Gold Toner 2 mins at 39°C.
Grabbing lunch at People's Drug store in wartime Washington, DC, during July, 1942.
Cropped from an acetate negative by Marjory Collins for the Farm Security Administration.
One of my favourite toner combinations for silver gelatine prints is thiourea (MT3 Vario) followed by selenium (MT1). With the new MT17 selenium toner, similar results are now possible with Kallitypes.
From left to right: Sodium acetate developer, MT3 Vario toner (bleach 1+75 30 secs and toner setting A) over-toned with MT17 1+7 2 mins.
HP5 35mm in Finol,
Kallitype onto Cranes Kit Ecru,
Sodium acetate developer, MT10 Gold toner one and a half minute after fixing.
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
Just after the noon whistle...
Bethlehem-Fairfield Shipyards, Baltimore, Maryland. Workers who turn out 'Liberty' ship cargo transports. From a 4x5 inch acetate negative by Arthur Siegel for the Office of War Information. May, 1943.
Kallitype 19x19cm.
modified mixture again (added one drop Na2 5% to two ml sensitiser), with the aim of largely maintaining the cool tone after acetate developer, which normally disappears during clearing.
After some attempts on HPR this time on COT-320.
FP4 in Tanol, cropped 35mm,
Kallitype onto HPR,
Sodium acetate developer, ATS fixer 1+10, MT3 Vario toner:
Rolleiflex T, Tri-x in efd N+1,
Kallitype on HPR,
Sodium citrate developer, MT10 Gold toner 2:30 mins prior to fixing.
"Hoghead" is railroad slang for a locomotive engineer.
Baltimore & Ohio Railroad, 1941.
From an acetate negative by John Collier for the Farm Security Administration.
FP4 N+1 Tanol,
Kallitype onto Arches Platine,
Sodium acetate developer,
MT3 Vario toner: bleach 1+75 45 secs, toner setting c
FP4 35mm in Finol (N+1).
Kallitype onto Hahnemühle Platinum Rag,
Sodium acetate developer,
MT7 Iron Blue toner 2+2+5+2+500ml 30 secs followed by Lead acetate 3% 20 secs
Rolleiflex T, TX400, Yellow filter, Pyro48,
Kallitype on HPR, Sodium acetate developer, Platinum toner 40 seconds, ATS acidic fixer 1+10 2 minutes.
FP4 in Tanol,
Kallitype, Sodium acetate developer,
Cobalt toner 12+8+8+4+450ml 2 mins,
overtoned with MT7 Iron Blue Toner 4+2+4+3+450ml 1,5 mins followed by Lead acetate 3% 1 min.
FP4 @ 125 ASA in Tanol 20°C 21:30 minutes,
Hahnemühle Platinum Rag, Kallitype, Sodium acetate developer, MT6 Nelson Gold 3 minutes
FP4 in Tanol (N+1),
Kallitype onto Arches Platine,
Sodium acetate developer,
MT3 Vario toner: bleach 1+75 1 min, toner setting C
Duotone Kallitype,
Arches Platine, Sodium acetate developer, alkaline Copper toner for the lights, followed by MT7 Ironer for the shades.
FP4 N+1 in eco film developer,
Kallitype onto Arches Platine,
Potassium citrate developer, MT7 Iron toner 2+2+5+2+500ml 2:45 mins followed by Lead acetate 2,5% 1:30 mins..
FP4 @125ASA, Tanol 1+1+88 22°C 14 minutes,
Kallitype, Hahnemühle Platinum Rag, Sodium acetate developer,
MT10 Gold toner 1:30 mins after fixing
FP4 in Tanol Speed,
Lobotype (Silver nitrate 10%) on HPR,
aqua dest. 3 mins, Citric acid 1% 1 min, ATS fixer 1+10 3 mins.
right side MT7 Iron toner 4+4+10+4+600ml 1:30 mins followed by Lead acetate 1% 45 secs.
MT3 Vario toner for more neutral tones.
Kallitype onto Hahnemühle Platinum Rag.
Above untoned.
Below MT3 Toner with less alkali than usual. Bleach 1+100 30 seconds, toner setting 50ml Thiourea + 5ml activator + 1L water 30 seconds.