Second Print ~ Kallitype

The second print I wanted to test out was a Kallitype, using a negative I began with several months ago, before I began using spectral density in the negative. For this to work feasibly I wanted to boost the contrast and reach a deep dMax black. This negative was a bit thin to make that happen with the salted silver process I am using. The primary control for contrast in salt paper printing is the mixture and relationship between the silver solution and percentage level of the salted paper. Shorter scale negatives will print much better with a 10% silver solution with a 1% to 1 1/2% salted paper. My negatives are scaled at approximately 1.2 to 1.5 so I use a 13% solution of silver and 2 1/2% salted paper.

The Standard Kallitype process uses a 10% solution of silver and a 20% solution of Ferric Oxalate. Even between darkrooms differences show up in printing. Even when they are unexplainable. A good case in point being the way the Kallitype print behaves in my darkroom as opposed to PJ's darkroom. When printing the Kallitypes in Pj's darkroom, for weeks, the image came up in the print, just like expected in a printing out process, although a Kallitype is a combination of both. The coated areas outside the negative field became very dark after several minutes, as one might expect sensitized paper. Not so when I printed in my new lab. Same ferric oxalate power, same 10% silver solution, but when I printed them I only got a wispy yellowish light image on the paper, after ten minutes under the printing light. I was getting a full salted paper print in about five minutes from the same printer.

Being this was not supposed to be happening in my mind, and experience, so I did what any good lab worker does, expect either contamination or mis-mixing. So I mixed both solutions again, paying very close attention to weights. Same thing, light wispy image after ten minutes, so the next thing was to see what happens when you pour developing over the print. The image appears faster than a blink of the eye. And the blacks were definitely dMax. I was really impressed, and expected with the amount of light I put to that print it would just turn black. Turns out the ten minutes will now be the print time for the next Kallitype.

Two things I have come to realize about Kallitypes in the past weeks. The 10% silver solution really boosts blacks and overall print contrast, compared to a salted silver print, at 13% silver solution, using the same negative. And secondly Kallitypes, like salted silver and palladium printing, can be accomplished in different ways with different outcomes, as well as, using the same procedure that unfolds very differently but ending up with the same outcome. I'll have more on this subject when I get into palladium printing, which can be both developed out or printed out. Who'd have thought.

One of the things I am still waiting for is the Pictorico OHP acetate sheets so I can begin printing the folder full of images I have to add to the Arizona Portfolio. For now I am preparing paper for gum printing. This round will be Fabriano 140lb hot press watercolor paper. Normally I use Arches, of the same weight & press. A very good tooth and good paper weight for the many coats to come.

Palladium toned Kallitype
"Disuse #1" ~ 8x10 ~ 1/5
Eugene, Oregon