The kallitype article is now up on Unblinking Eye. The direct
link to the article is
There is another gold toning formula in the article that has
slightly different working characteristics than the one based on
Perhaps someone else can comment on Reilly's remarks about acidic
gold toners. I am aware of a need to print slightly deeper when
using gold toner than when using platinum or palladium toners.
As I note in the article, with gold toners "image contrast is increased by about
a step through loss of density in the high values, but Dmax values
(shadows) are changed little if at all." With one recent image I needed an
exposure of 250 units with a gold-toned print to get the same final
density as 230 with a palladium-toned print.
However, even with the acidic gold toner the maximum density of
the gold-toned kallitypes I have made is as high as those toned with
palladium and platinum toning. On Stonehenge paper the reflective
reading of both is around 1.52. Those who print on art papers such as
Stonehenge with either kallitype or Pt/Pd will recognize that this is
a very high maximum density and about the maximum achievable with
To Sandy and everybody else who wants to
I have been printing Kallitypes lately, following the procedure as
King had nicely wrote down and distributed to the list. The results
When you use a gold toner before the fix, the colour of the final
determined by the gold toner, not by the developer, Sandy told me.
makes ofcourse sense.
But there are quite bunch of different gold tonere formula's around,
was wondering if these different formula's give different colours in
And related: Sandy uses an acid Gold toner (citric acid), but
Reilly (The salted paper and albumen print book, or something similar
title), warns against using acidic gold toners, they are supposed to
in a weaker image (by heart; an acidic goldtoner replaces an silver
1:1, a basic one 1 silver for 3 gold)?
thanks & best,