Thanks Jim, your commendation is very encouraging & nice to hear.
Is this the M1 mordant post you're referring to? -> http://tech.groups.yahoo.com/group/d...r/message/3526
Thanks also for the note on the conditioner. I tend to post in haste (post haste? haha) and often make erroneous claims only to learn otherwise down the road! It has been recommended that a dilute sodium acetate solution will act as a paper conditioner; given that I don't have any of the "official stuff".
Ultimately I'd like to hand-coat receiving paper, but having the M1 mordant formula might come in handy. In fact, I wonder if a plain gelatin coated paper, such as final-transfer papers in carbon, would work if mordanted in M1. I'm intrigued by the fact that these papers don't keep well. I guess I would have figured that these chemicals were fairly inert and would keep indefinitely. Does the M1 mordant have any hardening charactersitics?
The dye-imbibition system sure is a complicated beast. It's probably not any more complex than b&w silver-halide systems, but the fact that so few people practice it makes it much less prevalent in the "collective knowledge-base".
Paper Prep for DT
>Is this the M1 mordant post you're referring to? -> http://tech.groups.yahoo.com/group/d...r/message/3526
Yes, that is the posting, follow the instructions there and you will get good results.
>It has been recommended that a dilute sodium acetate solution will act as a paper conditioner; given that I don't have any of the "official stuff".
There are formulas both for Kodak's version (which requires Formalin), and Bob Pace's formula which is simply a buffer solution of Trieth and AA, IIRC. If you have a pH meter (necessity), you will use it to titrate the buffer to the proper pH.
>Ultimately I'd like to hand-coat receiving paper, but having the M1 mordant formula might come in handy. In fact, I wonder if a plain gelatin coated paper, such as final-transfer papers in carbon, would work if mordanted in M1. I'm intrigued by the fact that these papers don't keep well. I guess I would have figured that these chemicals were fairly inert and would keep indefinitely. Does the M1 mordant have any hardening charactersitics?
A Baryta base paper coated with a thick gelatin coating will serve well. It needs to be hardened, but not overly hardened. If you can't incorporate a mordant when coating the paper, use the M1 mordant to post mordant it. You are right, the life of an aluminum mordant is only a few weeks. I think that it continues to harden the gelatin until it won't accept the dyes readily, or it won't conform to the the undulations in the the matrix, causing bleeding, particularly out of the image area into the borders.
Regards - Jim
There are several patents with alternate mordants that I have here somewhere. I'll try to post the numbers if I can find them. The chemicals are compatible with gelatin. The M1 mordant is NOT compatible with gelatin or emulsions which are to be coated.
Does this arise from the fact that it will harden it, resulting in a big blob of insoluble gelatin?
One patent that I know of is U.S.P. 2,952,566, assigned to Louis Condax (EK), Mordanted Photographic Imbibtion Dye Printing Blank.
Haven't actually read it yet..
The Louie Condax patent is probably one of them. But yes, the Alum in the gelatin is a good hardener. So, you must apply it or activate it after coating.
just wanted to pass along this link to David Doubley's archive of Dye-Transfer documents. It's pretty well excellent... http://daviddoubley.com/DyeTransfer.htm
I'm one of those folks hoarding matrix film, which I hope will stay good in the freezer a few more years until I retire and have enough time to seriously dye transfer print. In the meantime I've acquired all the necessary supplies and equipment, have mastered separations and masks using analog dkrm techniques exclusively, and have worked out the protocol for wash-off relief technique, which seems a little more straightforward than tanning development. This is a process which has tactile appeal (especially if you make your living using a computer and are damn sick of it); but is also capable of rendering hues with a
vivacity very difficult or impossible to achieve with inkjet or other digital color printing techniques.
Amen to the part about being sick of computers. That's what I always think... I spend all day on one, and when I get home I do everything in my power not to sit in front of another.
When you say wash-off relief technique, are you referring to dichromate bleaching as in Kodak's older "Wash-Off Relief" process? Are you using that with matrix films or something else? That's very intriguing, and is a 3rd technique for the formation of a relief matrix that I don't think has been mentioned in this thread yet.
Thanks for joining the conversation, and welcome to APUG!
Hi. Having tested the alternatives and the fussiness of them, I wanted a slower-acting matrice developer which I could potentially use in drums and that was easy to mix. I settled on a tweak of HC-110 with post hardening. No dichromate involved. A few minutes slower than tanning developer but much simpler and seems to give comparable results when printing. I happen to be using the newer Efke matrix film, but the older Kodak film should work similarly. Dyes are no problem. I have Kodak dyes as well as a set of Pylam dyes. There are also a variety of mordants which can be used, but uranyl nitrate is a good choice. The trick with the paper is allegedly to find one which contains pig gelatin. I have been fixing out an EMaks paper and getting sharper images than with some of the others. But I'm still in the early stages of this myself, with not much time either, since I'm also involved in Ciba, Type C, and silver gelatin printing.
Hi Drew, you should try using the M1 mordant with the Emaks. That gives very good sharpness (much better than simply fixing out). The sharpness is comparable to the Kodak DT paper. I find that you do have to scrub the surface of the paper with a paper towel and a photo-flo solution to remove any residual mordant which remains on the surface. If you don't, you can get some blotches, and some mordanting of dye back in the matrix. I like to clean the matrices with matrix cleaner on every transfer when using the M1 mordanted paper, you will get more consistant results this way. Once nice thing about the Aluminum mordant is that the cyans (and greens and blues) render much better than with the Kodak paper. This increases the color gamut in that region. Note that the Cyan hue conversion only happens after drying (I'm not sure if it needs to be a hot drying. I haven't tested warm air drying to see if the conversion happens at low temperature). I like the high-gloss quality of the Emaks, and the brighter white compared to the Kodak paper. But mainly, I like the idea of not having to worry about running out of a hoarded supply. The Emaks paper is still available from Freestyle, and it is pretty inexpensive.
Another way of increasing color gamut is to display the print under LED lighting. I was trepidatious about the demise of Tungsten lighting, but now I think that LED lighting will actually be superior to Tungsten or Tungsten Halogen for viewing DT prints. I have been using an Ecosmart Bright White A19 40 W equivilent light in a Luxo-Lamp for viewing prints. While I make my final decisions based on a Tungsten Halogen light since that is still predominant in galleries, I use the LED bulb for most viewing. This bulb is rated as 3000 deg. K with an 85 CRI. I find that the effective CRI is actually higher than that since the color error is not in hue, but in chroma (saturation). The bulb doesn't disturb the hues, but it does increase the saturation, and the gamut. My only complaint is that it needs to be brighter for exhibiting prints, to get the necessary 650 lux it has to be about 2 feet away. I'll continue to look for LED lighting which is brighter than this but which has the same qualities.
- Jim Browning