Will need to stock up some more HP5. Thanks for the new video 👍 We are both quite the same type, use the stuff until it's really rendered unusable anymore. I mean that BTZS cover.
I made one where the purple tones after first development were retained by fixing in concentrated sodium chloride solution. This was Fox Talbot's original process. Thus fixed they fade when exposed to light. Using scanning or digital photography the purple tones can be made more saturated and preserved.
So when you did the density stuff, and you said it will make a nice salt print, what are we talking in other terms? Eg dense over deved, thin, low contrast, high contrast etc? And did you have lights on before going into the fix?
The density range was appropriate for a salt print. I usually tailor the negative for a specific Alt. process. Once done in the stop bath, the lights go on. It's perfectly fine...unless of course, I go back in the developer.
For this batch, the citric acid was kept separate until sensitising. Once the salted paper dried, the sensitiser was applied. In this case, I used a puddle pusher (with a drop of photo-flo for even coating).
This was from my fresh bottle, as I just mixed it up. I toned only for a couple of minutes with it. After that, I reuse the the used toner, but before I do so, I replenish it with 20ml from the fresh bottle. I'm using the same gold toner formula that I use for Kallitypes, via Sandy King.
I usually use vinegar, or citric acid, but I had a bottle of the stuff in the cupboard, so I figured I'd use it up. What I like about an indicator stop, is that it does just that. When it starts to turn blue/purple, it's done.
Will need to stock up some more HP5. Thanks for the new video 👍
We are both quite the same type, use the stuff until it's really rendered unusable anymore. I mean that BTZS cover.
I made one where the purple tones after first development were retained by fixing in concentrated sodium chloride solution. This was Fox Talbot's original process. Thus fixed they fade when exposed to light. Using scanning or digital photography the purple tones can be made more saturated and preserved.
Dang, I wanted to see the dry gold-toned print. Good video though…
I show it at 16:45
Another great video Andy Love It!!! Thank you
Have you ever tried using the gold toner before you fix the print?
Yes, I have done it before fixing. Either way seems to work fine.
So when you did the density stuff, and you said it will make a nice salt print, what are we talking in other terms? Eg dense over deved, thin, low contrast, high contrast etc?
And did you have lights on before going into the fix?
The density range was appropriate for a salt print. I usually tailor the negative for a specific Alt. process. Once done in the stop bath, the lights go on. It's perfectly fine...unless of course, I go back in the developer.
Nice video. Did you add the citric acid to the salt solution? When was the silver nitrate applied?
For this batch, the citric acid was kept separate until sensitising. Once the salted paper dried, the sensitiser was applied. In this case, I used a puddle pusher (with a drop of photo-flo for even coating).
Do you re-use the gold toner? If yes, for how long?
This was from my fresh bottle, as I just mixed it up. I toned only for a couple of minutes with it. After that, I reuse the the used toner, but before I do so, I replenish it with 20ml from the fresh bottle. I'm using the same gold toner formula that I use for Kallitypes, via Sandy King.
I never used commercial stop bath in my life. But I can be convinced... why is it better than a 2% vinegar (acetic acid) solution?
I usually use vinegar, or citric acid, but I had a bottle of the stuff in the cupboard, so I figured I'd use it up. What I like about an indicator stop, is that it does just that. When it starts to turn blue/purple, it's done.