[Alt-photo] salted paper

Marek Matusz marekmatusz at hotmail.com
Thu Sep 15 00:36:14 UTC 2016


I have printed a lot of casein salt prints. Mostly to get away from gelatin and have another size. It is compatible with salt printing process and feels like sensitizing with silver nitrate goes very smooth after casein containing salting. My impression is that it is redder and darker, but I have to examine a number of the prints vs. some controls. No issues with gold toning.


Marek


________________________________
From: Alt-photo-process-list <alt-photo-process-list-bounces at lists.altphotolist.org> on behalf of Christina Z. Anderson via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org>
Sent: Wednesday, September 14, 2016 3:45 PM
To: Alt List
Cc: Christina Z. Anderson
Subject: Re: [Alt-photo] salted paper

Serdar,
Casein and “serum of milk” aka whey. More serum of milk. There was actually a matte silver/casein paper marketed in the early 1900s.

Anne, google Lyonel Clark and platinum toning on books.google.com. Many of the newer books on salted paper include a platinum/palladium toner formula and an arrowroot formula.

Salt’s exposure scale is longer than platinum so the print is softer/more delicate than a platinum print, but otherwise almost indistinguishable.

Very easy to do, btw. Strength, as Clark says, is immaterial, a few ml in a liter of water, but the toner must be on the acid side. I have had no yellowing issues commonly talked about with platinum toning, and easily mixed my own.

Also check out Ellie Young’s book here:
https://researchbank.rmit.edu.au/eserv/rmit:7850/Young.pdf

researchbank.rmit.edu.au<https://researchbank.rmit.edu.au/eserv/rmit:7850/Young.pdf>
researchbank.rmit.edu.au
ii DECLARATION This thesis contains no material which has been accepted for the award of any other degree or diploma in any university and, to the best of my ...




Chris

On Sep 14, 2016, at 9:36 AM, Serdar Bilici <sbilici at gmail.com> wrote:

> Hi Christina,
>
> I haven't tried that formula. I recall reading in some old text that in small amounts cupric chloride helps to increase contrast.
>
> I've just adjusted the regular formula (salt, citrate and gelatine) and replaced the table salt with cupric chloride.
> It was an attempt to achieve different colors with salt prints. Cupric chloride prints out as expected.
>
> The print is very beautiful magenta much vivid than regular salt prints but it starts to fade in wet process.
> I tried a few chemicals in first wash to precipitate the copper hoping that it wont bleach the silver image but no success.
>
> I think I might have seen zinc chloride somewhere. It is quite soluble in ethanol, that is why I tried it with collodio-chloride (as strontium chloride substitute).
> It works with regular salt prints too. Salt print with zinc chloride prints quite fast, but they are very prone to bronzing. Nothing special about the color, Zinc chloride is hard to store, it is very very deliquescent.
>
> What about casein for sizing?, someone must have tried that.
>
> Regards
> Serdar
>
>
>
>
>
>
> On Wed, Sep 14, 2016 at 6:06 PM, Christina Z. Anderson via Alt-photo-process-list <alt-photo-process-list at lists.altphotolist.org> wrote:
> How exciting; I have added quite a few of you now to my list!
>
> Serdar, did you do Thomson’s formula of 1908?
>
> 18g cupric chloride
> 18g gum arabic
> 1 liter water
> up to 1ml potassium dichromate 1% optional.
> Silver is 12.5% with 5.7% added citric and 0.5% gum arabic.
>
> He goes on to say that either ammonium or sodium will suffice as well.
>
> I think Marek might have tried it, too, and found it a bust. Marek, am I remembering this correctly?
>
> I can count that in all the formulas I recorded 88 use ammonium 66 use sodium 7 use barium, 1 cupric, 1 strontium. So obviously barium, cupric, strontium were outliers. I’ve used barium and did not like it. I sized some more sheets with it to see if I still feel that way. The color was a poopy yellow-brown and the paper felt like it had a deposit on it, scratchy.
>
> 64 gelatin 26 arrowroot or common starch, 54 no sizing agent, 3 agar agar, 1 Icelandic moss.
>
> Of course, by far albumen is ubiquitous in the literature but I wasn’t researching it.
>
> In other words I can see trends, e.g. from no sizing at all until gelatin came in and in the late 1800s arrowroot was talked about a lot because  glossy was out, matte was in, and it was perfect for platinum toning.
>
> The big variance is in the amount of gelatin. 1-28g per liter. I usually use 8, tried 20 and I did not notice any benefit to a larger amount. The most common amount back in the day was 2.3g
>
> OK enough geeking out for the day.
>
> Chris
>
> On Sep 13, 2016, at 11:45 AM, Serdar Bilici <sbilici at gmail.com> wrote:
>
> > I do salt prints too. I have been stalking all the salt printing posts for a while.
> >
> > Btw, I have tried using purely cupric chloride  for salt prints. There is no way to stop the bleachig while wet processing due to the presence of copper.
> > But in very small amounts it is a better contrast control agent than dichromates.
> >
> > Regards
> > Serdar
> >
>
> _______________________________________________
> Alt-photo-process-list | altphotolist.org
>

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