POP (Printing out paper)

[Dwane]

Here is my example - Kodak PolyContrast (exp 1967) treated with 10% potassium nitrate and toned with 10% KRST.

[ntenny]

Dwane, I like that one a lot! What was the colour like before toning?

-NT

[Stephen Frizza]

Here is my example - Kodak PolyContrast (exp 1967) treated with 10% potassium nitrate and toned with 10% KRST.

damn thatd delicious

[Dwane]

Dwane, I like that one a lot! What was the colour like before toning?

-NT

It was a salmon color before it went into the fixer. In the fixer it changed to a light brown color, but the salmon color returned when the print was dry. When I put it into a 10% KRST solution the tone first changed to a slate grey color, but further toning moved the color to the color it now has. I'm glad you like the print

[Philippe Grunchec]

Yes, great print! Do you have more?

[Dwane]

Philippe - sorry, this is the only one I did. I did this just to try out the process to see if it would work. It was enough for me to know that it does work.

And there is a Paris in France?! :o I learn something every day from APUG

[jnanian]

threads like this are the best!
thanks!

john

[PVia]

After the paper dries in the dark, does it have to be loaded into the contact frame in absolute darkness as well?

[Dwane]

After the paper dries in the dark, does it have to be loaded into the contact frame in absolute darkness as well?

I don't know if this is addressed to Martin or myself. I used an OC safelight when soaking the prints in the potassium nitrate, let them dry in total darkness, then used the safelight when I loaded the paper into the contact printing frame. Washed the exposed print in water and fixed with hypo under the same safelight, just as I would do with DOP paper. No problems with fogging.

Rlibersky (please see post #34 in this thread) soaked his paper in potassium iodide and found that his paper was fogged by his safelight when drying because the iodide made the paper sensitive to red light.

[Martin Reed]

After the paper dries in the dark, does it have to be loaded into the contact frame in absolute darkness as well?

In the case of the silver nitrate treatment, after drying it was just handled like original POP, subdued room light prior to exposure. If one of these methods can be nailed down as a definitive way of producing a POP, is it really such a big deal that it's not manufactured on a large scale any more?
I expect someone could set up shop post-treating roll paper from one of the manufacturers and packaging it.