Ferric. By Ed Buffaloe Ferric-silver processes fall into two broad categories--those which contain ferric ammonium citrate and those which contain ferric oxalate. Prints from the former are generally referred to as brown prints, sepia prints, or Vandyke Brown (VDB); and prints from the latter are generally referred to as kallitypes. Some formulae contain both chemicals, however kallitypes generally require a developer whereas brown print is a printing out process. Brown Print (Vandyke) Formulae Today’s “standard” brown print formula adheres closely to the original formula patented by Arndt and Troost in 1895, and is found in a multitude of minor variations. Well into the 1930’s, the process was referred to variously as “brown print,” “sepia print,” and sometimes “Kallitype,” but never Vandyke. Frederick Reginald Vandyke joined the Survey of India in 1889 and retired as manager of the Photo-Litho office in 1923.
Washing should be thorough. Various additives may be used with the brown print. Lith Developers. Litho Film & Developers. Soemarko LC-1 Developer. Links related to Black and White Photography Resources. Black & White World Photographer's Toolkit. Darkroom Home Page. Formula for lith type developers. Darkroom Formulae. Photo Technical Data. Formulary. Photographic chemicals, photo chemistry, photo processing equipment, p (...)
Salted Paper Formulae. By Ed Buffaloe Salted paper is perhaps the most basic of the historical or alternative processes, giving a color much like Vandyke Brown but with no worries about residual iron compounds, a somewhat longer tonal scale, and very different gradation.. The process combines a salt and silver nitrate to form silver halide (usually silver chloride), but since silver halides are insoluble in water it is necessary to make them form within the paper itself by coating first with the salt solution and then with the silver sensitizer.
The paper is dried between steps. Sizing paper with gelatin, arrowroot, casein or cornstarch is recommended to keep the solutions from sinking beneath the surface, which causes the print to lose contrast. Often gelatin is combined with the salt, but sometimes the paper is sized first and then salted. Paper may be coated by immersion in the solutions, or by brush. Salted paper requires a very high-contrast negative with a density range in the vicinity of 2.0 or higher. Kodak's D-76 Film Developer formula. Directory featuring thousands of Hand Selected links to the best Photographic Sites on the web. Black and White Photo Resources. Lith print materials update by Tim Rudman. Writer / Tim Rudman © Photography / Tim Rudman This article should be read in conjunction with the introduction to the Lith Printing process.
It is based on 2 parts of a 5 part Lith printing series that I wrote earlier this year (2004) for ‘Black & White Photography’. The first part lists the current lithable papers that I know of and use (about 60), together with some brief thoughts on how to choose them. The second part lists the Lith developers that I know of and have used, again with some thoughts on their use. There may be other suitable products that remain outside my experience.
A newer addition to this materials list can be found as a pdf download here Current status of suitable papers for Lith Printing Emulsion changes Kodalith paper and Sterling Lith paper were both much loved dedicated Lith papers. The Kentona, Art Classic, Tapestry, Luminos emulsions changed when EEC laws restricted the use of cadmium in the manufacturing process. Changes in paper emulsions are a fact of life. BKA Group Home Page. Www.photographyboard.net - Ansco 120 P.F. 130 P.F. Dr. Beers.