[pure-silver] Re: Thiocarbamide Toner/ Defender Formula's
- From: "Breukel, C. (HKG)" <C.Breukel@xxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Thu, 23 Jun 2005 09:50:22 +0200
..Hi Richard,
I've digged up the post you were reffering too (it wasn't too deep,
saves you time re-typing..;-)..time better spend on new subjects as:
what is your opninion on a SuperAngulon 65/5.6, a lens I am considering
buying for my 4*5 Tech III..;-)..
best,
Cor
> -----Original Message-----
> From: pure-silver-bounce@xxxxxxxxxxxxx
> [mailto:pure-silver-bounce@xxxxxxxxxxxxx]On Behalf Of Richard Knoppow
> Sent: donderdag 23 juni 2005 9:42
> To: pure-silver@xxxxxxxxxxxxx
> Subject: [pure-silver] Re: Thiocarbamide Toner
>
>
>
> ----- Original Message -----
> From: "Peter De Smidt" <pdesmidt@xxxxxxx>
> To: <pure-silver@xxxxxxxxxxxxx>
> Sent: Wednesday, June 22, 2005 11:35 PM
> Subject: [pure-silver] Thiocarbamide Toner
>
>
> > Does using a bleach and redevelopment in a sepia
> > thiocarbamide toner effect print longevity?
I've
> posted the formulas in the past but I am not sure its in the
> archive. If there is any interest I will post it again (and
> keep it archived here this time).
>
> ---
> Richard Knoppow
> Los Angeles, CA, USA
> dickburk@xxxxxxxxxxxxx
----- Original Message -----
From: "Rob Champagne" <circles@xxxxxxxxxxxxxxxxxxxxxx>
To: <pure-silver@xxxxxxxxxxxxxx>
Sent: Tuesday, January 20, 2004 6:45 PM
Subject: [pure-silver]: Toning question
> I have been wondering why potassium bromide seems to be
the favoured bleach constituent when aiming for warm toned
prints.
> As I understand the procedures Bromide halides tend to
give neutral to cold toned prints when developed yet when
postassium Bromide is used in a bleaching process often the
resulting image will be warm toned such as when sepia toning
or using Selenium Sulphide indirect toners such as Kodak
T56. Is the reason for this that the sulpher component
effectively overides the tendancy towards cool tones of
Bromide Halides?
>
> Rob
>
I think this may have more to do with the ability of the
bromide to combine with the silver to form silver bromide.
There are alternative bleaches. For instance, one of the
Varigam sepia bleaches uses potassium iodide.
Here are the three Defender Varigam Bleaches:
B-1
Water 500.0 ml
Potassium Ferricyanide 22.0 grams
Potassium Bromide 25.0 grams
Water t make 1.0 liter
B-2
Water 500.0 ml
Potassium Ferricyanide 22.0 grams
Potassium Iodide 10.0 grams
Water to make 1.0 liter
B-3
Water 500.0 ml
Potassium Ferricyanide 22.0 grams
Sodium Chloride 35.0 grams
Nitric Acid 15.0 ml
Water to make 1.0 liter
These are used with a Thiourea redeveloper also in three
variations:
T-1
Water 500.0 ml
Thiocarbamide 3.0 grams
Sodium Hydroxide 6.0 grams
Water to make 1.0 liter
T-2
Water 500.0 ml
Thiocarbamide 3.0 grams
Sodium Carbonate 45.0 grams
Water to make 1.0 liter
T-3
Water 500.0 ml
Thiocarbamide 3.0 grams
Potassium Carbonate 48.0 grams
Water to make 1.0 liter
Bleach in Tone in Results
B-3 T-1 Deep brown, slight purple tint
B-1 T-1 Deep brown tint
B-2 T-3 |
B-1 T-3 |
B-3 T-3 |
Increasing warmth with a golden tinge till a bright sunlit
type of sepia is produced with the B-3, T-3 Combination.
T-2 can be used instead of T-3 but gives a little colder
tone and is given as an alternative when Potassium carbonate
is not available.
Additional tones are obtainable by treating sepia toned
prints in a Sodium Chloride bath followed by a Gold Chloride
and Thiocarbamide bath.
Source: _Photo-Lab-Index_ U.S.Navy 1944 Edition
I have no idea of what colors might be produced by the use
of a Sodium Sulfide redeveloper other than it should work.
Kodak also has a couple of variations of bleaches. The
bleaches given for film toners are just Potassium
ferricyanide in water, T-7a, for prints also contains
Potassium Oxalate. The original T-7 (from the late 1920's)
did not contain the Oxalate. I don't know what function the
Oxalate has, Kodak seems to be the only one to use it.
Defender Varigam (later made by DuPont) was an early
variable contrast paper. It was a fairly fast neutral tone
paper.
In general, the color of toned prints depends on the color
of the original. As a rule of thumb the yellower the
original silver the yellower the toned image will be.
Indirect (bleach and redevelop) toners tend towards yellower
tones than direct toners like Hypo-Alum toner, so are more
suitable for cold or neutral tone papers. Direct toners tend
to produce little color change, or to shift the color toward
purple when used on cold or neutral tone paper while
indirect toners tend to result in excessivly yellow colors
for warm toned paper.
---
Richard Knoppow
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