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  1. #11

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    KRST has ammonium thiosulfate, lots of it.

  2. #12

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    I tone the POP paper from Chicago Albumen works fixed in Sodium Thiosulphate, with KRST. As long as you are willing to over expose the hell out of the print tone after fixing and experiment a little you can get really good consistent results. Good luck. From my reading it is normal to over expose if using KRST. I will be playing with gold toner here soon, so, It will be a new learning curve not having to over expose.
    Technological society has succeeded in multiplying the opportunities for pleasure, but it has great difficulty in generating joy. Pope Paul VI

    So, I think the "greats" were true to their visions, once their visions no longer sucked. Ralph Barker 12/2004

  3. #13
    Ole
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    I fix in dilute "plain hypo", about 100g to 2 liters of water. Gold toning before or after makes little difference - if toned to completion.

    Ammonium thiosulfate can be used as a bleach - whether in fixer, or KST. A 1:10 dilution of spent rapid fixer before toning can sometimes be used to clear "grubby" highlights.
    -- Ole Tjugen, Luddite Elitist
    Norway

  4. #14

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    I'm glad to see there is more people out there using POP!!!! I just ordered my first 20x24
    box from Chicago Albumen Works, that is it's coming on Tuesday but they get it from England. Isn't that were Retro is? Is there only one true producer? Well back to building film holders.

  5. #15
    Marco Gilardetti's Avatar
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    Yes, I believe that Retro is Albumen Works rebranded.
    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

  6. #16
    Marco Gilardetti's Avatar
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    Just a brief update: I got the incredibly expensive gold toner and things are getting much much better. If you ask me, there is no way to achieve a decent maximum density in the final print without toning, no matter how long you expose the paper or how short you fix it. Shadows WILL BE BLEACHED if not toned, this is a one-way road.

    Incidentally: of course it is not normal for the incredibly expensive gold toner to have a milky aspect with some white precipitate in suspension, and thus I've been scammed by mail to some extent, right? Well, however it is, it works.

    Now, how do you prepare your negatives? I remember being told that this paper needs EXTRA DENSITY for being printed satisfactorily. Consequently, I overexposed. I am now persuaded that an overall extra density is not what is needed, but an increased density RANGE instead. That is, a very contrasty negative, isn't it?
    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

  7. #17
    Ole
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    That's right. Normal exposure, and lots and lots of development. Staining developer is a definite advantage. One film I decided to pront on POP was way too soft, so I bleached it and redeveloped in a pyro/lye mix - no sulfite at all. The "developer" was completely dead after 10 minutes, but the negative was perfect for POP.
    -- Ole Tjugen, Luddite Elitist
    Norway

  8. #18
    Marco Gilardetti's Avatar
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    Thanks for clearing it out. Now, why would one board himself on sentences containing words of which he ignores the exact meaning, rather than just saying plain clear things like "pump the contrast up as much as you can" is beyond my comprehension.

    Back to topic, do you think that a N+1 / N+2 development is still not enough? What about trying to pull the hell out of the developer, and then even intensify with (say) Selenium?
    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

  9. #19
    Ole
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    In my (limited) experience selenium toning is just not enough. N+2 is not enough either, unless you have an extremely contrasty scene.

    The best negatives I've got from (unfortunately) APX100, developed in Pyrocat-HD as if for N+5... Those negatives are unprintable on anything but POP, even VC paper doesn't get low enough contrast.
    -- Ole Tjugen, Luddite Elitist
    Norway

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