I dont think Thomas is planning to print in albumen. He is most likely to try an use a suggestion given at APIS to size the paper with albumen or collodion prior to coating to keep the "wet" look pt/pd prints have and minimize dry down. A wet pt/pd print is a thing of beauty, but dry down takes it's toll and unfortunatelly it is a weird effect. The highlights get darker but the dark tones get lighter. I once measured the Dmax of a wet print and it was 1.85, I then measured the same tone dry and it was 1.3, this is 1 and 2/3 stops loss! I think this technique bears experimentation, if one is able to get Dmax tones of 1.85 and above without having to do double or triple exposures, I think this will be the future preferred method for many pt/pd printers.
Jorge said:and put in another tray to denaturate in the refrigerator for a week.QUOTE]
We have to wait a week for the next instalment ?
roy said:Jorge said:and put in another tray to denaturate in the refrigerator for a week.QUOTE]
We have to wait a week for the next instalment ?
I know Roy, when I first read about the process thought how did anyone ever get any prints made...those guys were dedicated. Have seen several Albumin prints and they are really nice looking prints - kinda like the ones that have small holes where the bubles were, that way you know it was an albumin print.
photomc said:roy said:I know Roy, when I first read about the process thought how did anyone ever get any prints made...those guys were dedicated. Have seen several Albumin prints and they are really nice looking prints - kinda like the ones that have small holes where the bubles were, that way you know it was an albumin print.
If what you really want is high Dmax with palladium/platinum printing you might want to consider Craigh Koshyk's methods for hand coating fixed=out baryta papers. It is of course much more complicated to get a smooth coating on a fixed-out paper than on the papers we normally use of palladium and platinum printing. However, in level of difficulty I woud guess that getting good results by coating with albumin would also be very complicated.
I have experimented with this both ways, i.e. with fixed out baryta papers and with albumin sizing, and without a lot of effort I have gotten much better results with the fixed out baryta papers.
As far as I know Craig's directions are not on-line but he has a small booklet about this that I believe is for sale.
Sandy
photomc said:Interesting Jorge, would not have thought about it, but from previous discussions about how the plt/pld replaces silver makes sense. Also, seems like I recall reading somewhere that COT320 is used to make some Bergger silver papers, just don't recall what or where I read it......may not be true. I still like COT320/Platine and sure can't see much reason to go through fixing paper, then re-coat. But then I still have a lot to learn, so may change that thought later. The albumin makes more sense on the other hand, would seem like it would be like difference between glossy and matt finish silver paper.
nze said:Sandy
Coating fix out paper is not as difficult as this it depend on the paper you use. I 've got great result bu using an ilford paper called ilfomar. with this paper I jst need to add 3 drops of Tween 20 to get a good coat of the platinunm , cyanotype and kallitype sensitizer. I think it should work with other process but as I 've never try I am not sure.
With this paper Idon't need to heat the paper or any other magic bullet, Just need to coat like I do with other paper let dry and expose, like I do with any other paper.
for sur ethe clearing is a little longer and it is better to avoid using platinum as it make the clearing impossible
Christian
I tried the wax thing and did not work worth a damn. I saw little change in the print properties.photomc said:Was wondering if coating with albumen would have any impact on the archival properties of a plt/pld print? I realize that there are many albumen prints that are well over 100 years old (saw some yesterday), but looking at them got me to wondering what impact either pre or post coating with albumen would be. Are the proteins altered to a more stable state by the chemicals in the process?
One other question, what would be the difference between coating, post exposure, with albumen and waxing with one of the fine art wax?
As always, Thanks in advance.
Jorge said:I tried the wax thing and did not work worth a damn. I saw little change in the print properties.
Albumen has great keeping properties if processed correctly, remember gelatin is nothing more than another organic material. The problem can be yellowing and the cracking, both of which are avoided by the addition of acetic acid and plenty of stirring...
photomc said:Well, that makes sense and I knew we had albumen prints that have lasted a long time. Wonder if egg albumen is any better than say bovine or pork. I know they are made from different components...will have to give it try. Maybe find some of the powered albumen they sell at some of the scientific web sites, if they sell it in small enough quantities.
Jorge said:Some people in the B&S forum mentioned the powdered egg whites were great since the denaturation time was less than doing the egg white separation from eggs
roy said:I made an albumen print during a workshop with Terry King and I do not recall keeping the egg white for as long as a week. Is it necessary to let it mature for that length of time ?
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