![]() Some papers do well some don't, from across a range of periods and products (and even the same product). For a lot of photographic papers past and present the substrate is probably the big unknown - we have little or no information on it over the history of manufactured papers - right up to the present. It's hard to tell how long they will last. Sorry, young people like myself have these lazy habits. isn't it similar to rust? would it be better to use gold toner as gold does not tarnish?Ĭool! Platinum prints sound interesting, maybe the old family portrait is a platinum. Sorry, getting cranky at the end of a long week.īut i've seen silver coins that are tarnished and yucky brown. It's a lot easier to read if you'll just make that little bit of effort to follow standard capitalizations. This is sort of rare case where the amateurs led the professionals IMHO.ģ) Please, for the rest of us, learn to use your "shift" key. The smaller roll film negatives produced prints that were too small when contact printed, thus the desire for enlarging, thus the need for faster emulsions, thus the need for silver gelatin papers. Silver gelatin enlarging papers really had to wait for roll film to catch on, and roll film caught on with the of amateurs of the time (professionals were using glass plates still). Especially if it's a portrait - platinum did and still does make for an excellent portrait paper. What I'm saying is, there's good odds that the print from the 190x time frame is actually a platinum print contact printed from a glass plate negative. That is, there was little demand for enlarging, where the considerably more sensitive silver halide papers offer performance that wasn't available anywhere else at the time. This is because prior to that most prints were contact prints made from glass plate negatives. There is likely little iron in your print, but if you see reddish stains over time you'll know what it is.Ģ) While silver gelatin photo papers were available from around 1880, they didn't really take off until around 1910 or a little later. i must outdo my ancestors.ġ) Silver won't rust - rust is iron oxide. we have family pictures on silver gelatin that is over 100 years old and looks great, so i want mine to last too. ![]() Wouldn't the silver rust over time in fiber paper? i don't want my prints to rust, no, i want my prints to last at least 500 years. There's lots of information both on this site and on the web in general. There are variations: you can, for example, wash in still water with appropriate changes of water at various intervals. I rinse for a minute, hypo-clear for a minute, then wash for 30 minutes at 70 deg. Then, hang to dry.įiber paper doesn't have the plastic coating RC paper has and more fixer soaks into the paper, so it needs a longer wash. Next comes a wash for six minutes and I usually test one sheet every couple of weeks, just to verify that it's clear. F., then immerse in hypo clear for 30 seconds with continuous agitation. Here's my process for RC paper (this process tests to very low residual levels of hypo, according to my Hypo Test bottle:)Īfter fixing, rinse for 30 seconds in running water at 68 deg. In my experience, Kodak has in the past (like, when they made paper!) recommended four minutes wash for RC paper, after 30 seconds or a minute in hypo-clear. There's a product called Hypo Check which comes in a small bottle you put a drop on your supposedly washed print or film and it tells you whether the hypo is actually washed out of it or not. or higher may cause the emusion to soften, increasing risk of scratching. There are many factors involved, including the temperature and quality of the wash water. ![]() Immersion in a wash aide will reduce wash times, but the instructions on the bottle are rather optimistic in my opinon. The data sheet that came with your paper should give a recommendation, times both with and without a wash aide of some sort. Ten seconds isn't a wash, it's barely a rinse.
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