Techday: Oct 8

tuesday notes in passing.

Emulsion Making

  • Laboratory-scale photographic emulsion technique
  • Thomas T. Hill. A Tutorial Paper: Photographic Gelatin and Synthetic Colloids for Emulsion Use. Journal of the SMPTE 196877 (11) , 1185-1188. https://doi.org/10.5594/J10922

DARKROOM safety: If mixed use, meaning, your kitchen, bathroom etc serves as a chemical mixing, storeroom, darkroom — think it is riskier if you share it with others, cats, children… Consider this: powder can collect: cabinets, containers, exhaust ducts, sink drains. Kodak’s dye transfer process relied on Pyro as tanning developer. One lab (MPC in Texas) was referenced by Kodak technicians for years to Portrait / Wedding photographers. The facility was declared hazardous waste site because of the contamination in the pipes and vents.

You aren’t going to be sloppy, but what do you expect to gain by mixing from “skratch” — if you expect that there is a secret to your trial and error chemistry, be prepared to accept more consequence. While it is true that food is a complex of chemicals, which taken in isolation seem dangerous. That is also true of the earth we walk. I am not prepared to call it poisonous, nor hazardous. I am not careful about eating apples, nor am I carefree in mixing raw photochemicals.

I mix chemicals, and have since 1960. In that time, I have increased my skill and cuations considerably. When mixing tanning developers, i use a glove box. My sink has multiple levels of exhaust — for heavier than air, and for lighter, the airborne items. My drains are changed, with the pipes turned in at hazard sites. My exhaust vents are also “smooth” channel with drop caps for cleaning.

Reminder: flakes “flake” into dust; dust into finer powder.

Is there a disadvantage, do you increase risk if you wear PPE? What do you give up, lose, surrender? What are the motives of those on the hobby boards? Is their situation the same as yours? Do you think they would assume your losses if you have an accident?

WHAT DO YOU do for a splash to the eyes? If it is apple juice?


Acute Oral LD50 is the dose of a substance or mixture of substances, in milligrams per kilogram of test animal body weight, which, when administered orally as a single dose, produces death within 14 days in half of a group of 10 or more laboratory white rats.
The oral LD50 of arsenic ranges from 15 to 293 mg/kg in rats, and from 11 to 150 mg/kg in other experimental animals

——-

TANNING effect — if current products exhibited differential tanning, dye transfer [imbibition printing] wouldn’t require special emulsion making. Using Kodak’s Tanning developer shows no sogn of tanning Tmax, Delta, nor FP4 films. Although silver is developed, and leaves a ‘hole’ in the colloid if it is bleached out, this isn’t tanning — D23 produces the same effect.

F surface. Ferrotype

F means Glossy, because it means Ferrotype. Most commercial labs used heated dryers to get through the days workload. When I began, I used a ferrotype plate. My ‘gloss’ was my mixture of print flattening agent with “white wax.” A tip from a carbro printing handbook, now long lost.

The prompt for this posting was a gallerist making a footnote about a Vintage Print being ferrotyped. That struck me as a marker — a word falling into the past. Googling the word gets the wrong, at least from my world, meaning.

The prints came off the dryer with a curl. It was essential to get the temperature, and speed of the dryer correct to avoid many possible defects. Another balancing act was spotting the print after it had been ferrotyped. Oh, Spotone was a later development; we made our own dyes before then, or used Kodak provided sets for their papers. I considered spots a defect — a marker of my lacking craft. Much as some consider lumps in mash. Now, I am less concerned, even putting lumps of potato into the mash, along with fried scraps of potato skin.

As I grew in looking, I dropped the need to draw with a sharp pencil.

Kodak Paper Surfaces

ASmooth, lustre, lightweight stock. Use for folding, paper negatives, ad layouts
EFine-grained, lustre. Preserves details, used for mechanical reproduction
GFine-grain lustre, use for portraits, oil coloring.
FSmooth, glossy == Ferrotype
NSmooth, semi-matte ==Natural. designed for retouching on print. Accepts pensiling, preserve fine detail
MMatte
SUltra-smooth, high-lustre
RTweed surface, minimizes need for fine retouching. Popular in photomural work
XLustre, tapestry surface. Extemely coarse-textured. Frequently colored with opaque ols, which gives effect of an oil painting on canvas
YSimulates silk. Popular for wedding photography. Attractive brightness in snow scenes, seascapes..

1958 darkroom guide, from my early days.