The post is about palladium printing, so I'll stay with that. The first trials demonstrated that the UV light put out through my UV printer is not quite that of printing into north light sky, which is much slower than printing right into the full sun. It is a way of controlling contrast in a contact printed hand coated image. The higher UV concentration from full sunlight affects the highlights more, proportionately than the lower tonal ranges, thus flattening the image some, compared to printing the same image in shade, facing north sky, usually metering in the range of 20-30 foot candles/lumens, as opposed to off the scale reading anywhere near facing the sun. The lower UV light, and longer print time needed to print in zone 7, has the affect of increasing the contrast of the image. The shift would be something like changing from grade 2 to grade 3 commercial paper.
Until I have worked out the optimal density range of digital negatives scaled for palladium printing, I will be making the prints using the 5x7 negatives I have, all of which were developed in a pyro/OH formula I rejiggered from the original Windish Pyro formula. This particular image was one of the first images I developed in this pyro formula, beginning with a 50% increase in developing time. I increased the developing time from 13 minutes to 18 minutes, in increments, over the course of a full portfolio of prints, all printed as salted silver images at that time. I still have that portfolio in the custom wooden presentation case that was built for this portfolio. Interesting story, that.
The palladium test prints forthcoming will be printed using the sun. What a concept. Until digital came along, that was the only way I knew how to print hand coated images. Once the printer makes the intuitive, visual connection between negative density and the printing outcome in the chosen medium, it becomes much easier to predict print times and developer choice. The print time controls the light/dark aspect of the image and the developer controls the basic color of the print image. Using the traditional potassium oxalate developer leaves a warm toned palladium image. Using a ammonium citrate developer renders a more neutral black. For the Kallitype the developers would be sodium citrate and sodium acetate respectively.
This test print is the first of three images to be tested, printing in direct sunlight, to test the various density ranges of the negatives. I have some negatives at or close to log 1.0 and many closer to 1.5 to 1.8. Once I get the feel of each, I will be able to predict fairly accurately a print time. Then I will be able to begin printing a portfolio in palladium. This image was one of the gifts a photographer may acquire from time to time. I set up this shot using my Burke & James 5x7 flatbed view camera, as a test shot, using this new pyro formula that was a fully compensating developer. I wanted to see if I could hold in the highlight area, as well as show some detail in the lower tonal range, when shooting into direct sunlight. Just as I clicked the shutter, I heard the putt putt of an engine. Turning a bit I see this small sailboat come out of seemingly nowhere, just about to move right into my scene. This was the second time the inner voice went from "He's going to sail right into my scene!".... to "He's going to sail right into my scene!!".. I was able to flip the film holder over for this shot, then pull that holder out and insert another to capture the sailboat up the canal about halfway to the horizon. That image later. I have one version of this as a diptych, first image over the second of the sailboats.
Negative; 5"x7" Kodak 250 Super XX ~ rated (ASA)125
Developed; Windish Pyro ~ pyro/hydroxide ~ 13 minute development
Palladium solution #3 ~ Ferric oxalate #1 12 drops/11 drops (Bostick & Sullivan)
Printed on Revere Platinum paper ~ 3 minutes full sun
Developed; Ammonium citrate
"Sailboat on Canal" ~ 5x7 ~ 2/5
Veneta, Oregon
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