A second image of the cannoneer team. I treated this one as I did the first one of the cannoneers, more of a portrait of the crew. They were real proud of their 8 pounder. The developer being the sodium acetate. For me, the feel of the image needed the cooler tone, richer black and white representation, although the palladium toner actually warms the print a bit, from the cold toned 'b&w' beforehand. The palladium toner cools and deepens the blacks of a print developed in the sodium citrate, as that comes out quite warm toned.
The <curve> I created;[color adjustment curve| Paintshop Pro X9 that I use for this work, is set for making negatives that would print well in both Kallitype and palladium. A slightly softer <curve> I created is suited for the platinum/palladium 'double sodium' Na2 process, using sodium cloroplatinate instead of the more standard potassium hexacloroplatinite. The sodium based format is used in diluted form, from 2.5% to 10% for soft negatives. The platinum stops the bronzing of the palladium process, deepening the blacks and holding back slightly the UV light on the highlights, hence increasing the print time and tonal range of the image. That is why it has it's own <curve> as it doesn't need as much density range as the palladium print.
What is distinctive in this image, compared to the 11"x14" print of this image, are in the mid-tones, with the textural detail and tonal separation being greatly increased. The print 'color' and historical process fits the theme for me, looking a lot like an early photographer; Timothy O'Sullivan, although, not in a Kallitype, as the Kallitype wasn't a thing until around 1890. Platinum and palladium came first. It was the salt-paper silver print that came first, in the 1850's by Henry Fox Talbot.
Palladium toned Kallitype
"Cannoneers at Break" 8"x10"
Salem, Oregon 1990
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