There are many colors to draw from to 'color' an image. As can be seen in the last post, the palladium print was fairly neutral toned, not the warm, brownish color usually associated with palladium images. This palladium print was made the back door method of the poor man's palladium. A palladium toned silver print, in this case a Kallitype print I developed in sodium citrate, which is the warm toned developer of Kallitype printing. The palladium salts replace the silver salts during toning, leaving the print a true palladium print. I mix my palladium toner in the traditional method; 15% chloropalladite; 5ml/1000ml DH20. That mixture can be reduced to 20 drops (1ml) of palladium (15%) in a liter of distilled water, and that will render the print image being toned much warmer in the diluted form than the 5ml toning solution.
This layer of gum was intended to do one task only. Recreate the warm sunlight flooding in through the window of late afternoon sunlight. The golden glow kind. I used Yellow Ochre this first layer, and will allow that to dry down well before trying to determine if I want to add further layers. Sometimes adding too much detracts, rather of adding anything of value. What has to be weighed in at this point is just how much yellow of that color will be removed when the print is cleared of the dichromate stain? That is the question. I want the image to be something close to where it is now, perhaps a bit deeper. Those are choices the printer makes along the way, shaping the print bit by bit until it becomes the very image pre-visualized and hoped for. That, is the tricky part.
Gum over Palladium
"Vicar's Window" ~ 8x10 ~ 1 layer gum
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