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  1. #21
    erikg's Avatar
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    Thanks Dennis, this is pretty interesting. Did you notice any change in color once the print was in the fix? Or could you just go by what you were seeing in the stop bath (as well as one can under the safelight)? As far as I know about tea staining it is the tannins that do the work so I think you are right that any black tea will do it, no sense wasting the good stuff.

  2. #22

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    Based on the color of my developer, I think the Chinese must have put a little "Yorkshire RED" in the big batch of Amidol :-)
    John Bowen

  3. #23
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    Quote Originally Posted by erikg View Post
    Thanks Dennis, this is pretty interesting. Did you notice any change in color once the print was in the fix? Or could you just go by what you were seeing in the stop bath (as well as one can under the safelight)? As far as I know about tea staining it is the tannins that do the work so I think you are right that any black tea will do it, no sense wasting the good stuff.

    My darkroom is very dark, lit only by red leds. However I did decide to re-stain one print after the fix and I just put it back over into the stop (after a rinse) and it worked just fine at the same time as before. In truth there is probably no actual advantage to staining in the stop other than it takes less trays and less overall time. When I was looking at my wet prints and considering the color, I rinsed them and then stuck them to a plastic divider from my print washer, standing up in the water tray and then held a neutral colored white mat in front of them. Sometimes it is hard to see warmth without a neutral reference next to it.

    I guess I should mention that I don't use indicator stop, I use clear glacial acetic acid.

    Dennis

  4. #24
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    Quote Originally Posted by Alex Hawley View Post
    It uses a minimum of 4 ml (going off memory here) KBr per liter but you can increase the KBr as desired to adjust warmth. You can get at least 24 hours, usually 30 hours solution life.
    It's 2ml / liter on the website, but since he wrote that the paper has gotten colder, so his standard now is 3ml / liter. Sometimes I double that, but I find that any more KBr than 6-8 ml really begins to degrade contrast (KBr is, after all, the restrainer in the formula).

  5. #25

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    This is all very interesting for me, always looking for new methods now that the true chloro-bromide papers are no longer available such as Portriga. I will definitely try this method you have outlined. I have used tea before particularly with changing the colours of Cyanotype prints. I always found the cheaper nastier teas (ie: not fit to drink!) made for better/stronger stains. I presume with your tea staining that it is equally staining the white borders as well as the image area?
    The Oriental WTP is almost all I've got now after lucking onto some cheap rolls a few years ago and I find the warmest methods are using only Hydroquinone/Glycin as developers (especially at dilutions) but the catch is in waiting for the extended developing times which can be long. My remedy for this is adding just a small amount of Metol but of course this will alter the intended colour of the end result. And using KBr of course. Using Benzotriazole will aid a split if toning later.
    With earlier Oriental WTP (graded) I used to get an amazing greenish hue over the whole image using Amidol. This doesn't happen with what I've got now though.

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