• Grant Handgis

"Stairway to the Past" ~ Palladium toned Kallitype

I continue to work with the 11x14 negatives, for now making Kallitype prints. As noted last post working with silver is way, way cheaper than working with palladium these days, having doubled in price over the past year. A secondary reason is simply that Kallitype print and palladium printing are all but identical processes, with exception to the fixer bath for silver. This print was toned in palladium mixed to 5ml Pd (15%) to one liter of distilled water, as well as pinch of citric acid. This solution is slightly more concentrated than some toning formulas I've seen; calling for 2ml of palladium for 500ml solution. One ml less than what I'm using..

It has been my experience that the palladium toner in less diluted form, tends to do just a skosh of 'bleach back', mostly in the middle tones and some highlights. The more diluted form is less so, as well as not toning the print image more neutral to cool, from the far more warm tone of the original Kallitype print. The a longevity of a palladium toned Kall9itype print triples it's archival life, simply because the palladium salts are a more noble metal than silver, so the palladium toning replaces the silver with palladium, thereby making it a palladium print. A century ago, many of these "poor man's palladium" prints were made. Same reason as today.

I printed this image on Revere Platinum paper, then on Hahnemuhle paper for comparison. For my eye it appears the Hahnemuhle paper renders the image a bit cooler toned than the Revere, however, I am not the one to describe image color of comparative prints, for obvious reasons. I'm posting the print made on Hahnemuhle paper as that is the print I will be using for the portfolio. The deciding factor for me was the middle tones.

Palladium toned Kallitype

"Stairway to the past" ~ 11x14

Tumacacori, Arizona


g. Michael Handgis Photography


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