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Thread: Salted paper #2

  1. #11

    Salted paper #2

    Wow! Very nice.

  2. #12

    Salted paper #2

    Earl, This image is very beautiful and the tone wonderful. I don't know your level of expertise but you are making some very fine prints.

    To achieve more image permanence you could tone the prints using gold, platinum or palladium toner. The silver will, over time, oxidize. However, if you tone with one of these noble metals you could potentially achieve permanence into the centuries, assuming the prints are taken care of. The toning metal will replace the silver thus eliminating silver oxidation. Also, to achieve full replacement, or nearly full replacement, toning must be done in the 10-15 minute range. Selenium toner will also give more permanence. The toning must be done before the fixing stage, except with selenium.

    It is just a thought that you might want to consider. You certainly don't need to tone to achieve a particular color because your prints are beautifully toned the way they are. But if you are concerned about image permanence it might be something to consider.

  3. #13

    Salted paper #2

    Oh, another thing. Thanks for the info on washing prints. I have not been using hypo clearing as I thought a long enough (50 minute) water wash would do the trick. I will now add a clearing step just to make sure. Thanks.

  4. #14

    Salted paper #2

    Quote Originally Posted by earlj
    Does this answer your question?
    Yep, that just abour covers it.

  5. #15
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    Salted paper #2

    Quote Originally Posted by ImageMaker
    Have you experimented yet with overprinting and bleaching back? I understand a lot of printers do that with salt prints and van Dyke (though Farmer's Reducer is probably better for the bleach-back than, say, acid rapid fixer).
    I have been reading up on this subject, and it looks like Farmer's Reducer is potassium ferricyanide and sodium thiosulfate, both of which I happen to have on hand. From what I have been able to read, if you keep the two solutions separate, you can go back and forth between them, alternately reducing some of the silver grains and then removing them with the hypo. This seems to work as a proportional reducer (working first on the highlights) when the solutions are separated, and works as a cutting reducer (reducing all areas at once) when mixed and treated in one tray. It sounds similar to the method that I used with the sodium carbonate and the tannic acid on the cyanotype that I toned. I think that this image could have used some brightening of the highlights without removing any density from the shadows. I will give it a try the next batch of salt prints that I crank out.

  6. #16

    Salted paper #2

    Intriguing process and image -- both suit each other very well.

  7. #17

    Salted paper #2

    This is a really nice image Earl. Somewhere along the line I missed it when you posted it.

    The process and your composition make me think this was done in 1906, not 2006.

    The link to the Reilly Salted Paper and Albumen book looks helpful too.

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