Kallitype Fine Art Prints

A Comprehensive Guide to Kallitype Fine Art Printmaking by Tim Layton

Kallitype prints are a testament to the rich history and craftsmanship of 19th-century photography. Sharing a nearly identical appearance with platinum and palladium prints, Kallitypes are celebrated for their tonal richness, depth, and archival qualities. Many photographers of the late 1890s and early 20th century recognized their exceptional aesthetic value, creating works that stand the test of time.

I use the kallitype process because it allows me to create deeply toned, archival prints with my handmade calotype negatives. Kallitypes are one of the few 19th-century processes that rival platinum in beauty but allow me to work more freely and consistently. These prints are handmade one at a time and will outlast us all.

As a dedicated artist, I believe in the integrity of my work and the importance of transparency with my collectors. By choosing Kallitype prints, I remain faithful to the traditions of analog photography while offering an option that embodies both beauty and quality. Each print is meticulously handcrafted, ensuring that every piece is a unique and enduring work of art.

Through the Kallitype process, I honor the legacy of photographic pioneers and celebrate the timeless artistry of analog photography. These prints are not just images; they are meaningful expressions of history and creativity designed to captivate and inspire.

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The Kallitype Printing Process: An In-Depth Exploration with History, Toning Specifics, and Reuse Guidelines

The Kallitype process, developed in the late 19th century, is an alternative to the platinum and palladium printing processes. It produces beautiful, rich images with a tonal range comparable to those of platinum and palladium prints. Many Kallitype prints from the late 19th and early 20th centuries were sold as platinum and palladium prints, as their chemical composition was not widely known and they look identical. These discoveries were made when contemporary curators and historians used advanced tools to identify the chemical compositions of historical prints.

In this era, platinum prints were highly revered for their beauty and fine art status, and this admiration extended to palladium prints when they were introduced in the early 20th century.

As you will discover in the rest of this article, Kallitype prints are just as beautiful as platinum or palladium prints. They offer the unique advantage of producing a wider range of tones and colors than platinum and palladium prints.

Before we discuss the specifics of the Kallitype process, it is important to understand some basic information about how platinum and palladium printing are processed compared to Kallitype.

Comparing Kallitype, Platinum, and Palladium Prints: A Focus on Chemical Differences

Kallitype Prints

The Kallitype process, developed by Dr. W. W. J. Nicol in 1889, is a silver-based printing method that creates images using ferric oxalate and silver nitrate.

Here are the key chemical aspects:

• Sensitizer Composition: A mixture of ferric oxalate and silver nitrate.
• UV Exposure: UV light reduces ferric oxalate to ferrous oxalate, reducing silver nitrate to metallic silver.
• Development: The exposed print is developed in a solution (e.g., sodium citrate, potassium oxalate, ammonium citrate, or borax) to further reduce unexposed silver ions to metallic silver.
• Toning: Optional toning (e.g., gold, platinum, palladium, selenium) can alter the image tone and increase archival stability.
• Fixing and Clearing: Sodium thiosulfate removes unexposed silver salts and stabilizes the print.

Platinum Prints

The platinum printing process, invented by William Willis in 1873 and patented in 1879, utilizes platinum salts to create images.

Key chemical aspects include:

• Sensitizer Composition: Ferric oxalate and a platinum salt, typically potassium chloroplatinite (K2[PtCl4]).
• UV Exposure: UV light reduces ferric oxalate to ferrous oxalate, which then reduces the platinum salt to metallic platinum.
• Development: The development process completes the reduction of platinum salts to metallic platinum, resulting in a visible image.
• Fixing: Platinum prints generally do not require fixing, as platinum is already in its metallic state and is stable.
• Image Stability: Platinum prints are known for their exceptional archival stability due to the inert nature of metallic platinum.

Palladium Prints

The palladium printing process, adapted by William Willis in the early 20th century, shares many similarities with platinum printing but uses palladium salts.

Key chemical aspects include:

• Sensitizer Composition: Ferric oxalate and a palladium salt, typically sodium tetrachloropalladate (Na2[PdCl4]).
• UV Exposure: UV light reduces ferric oxalate to ferrous oxalate, which then reduces the palladium salt to metallic palladium.
• Development: The development process completes the reduction of palladium salts to metallic palladium, producing the image.
• Fixing: Like platinum prints, palladium prints do not require fixing due to the stability of metallic palladium.
• Image Tone: Palladium prints often have a warmer tone compared to the cooler tones of platinum prints.

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Chemical Differences

Metal Basis:

• Kallitype: Uses silver as the primary imaging metal.
• Platinum: Uses platinum as the primary imaging metal.
• Palladium: Uses palladium as the primary imaging metal.

Sensitizer:

• Kallitype: A combination of ferric oxalate and silver nitrate.
• Platinum: Ferric oxalate and potassium chloroplatinite.
• Palladium: Ferric oxalate and sodium tetrachloropalladate.

UV Exposure and Reduction:

• Kallitype: UV light reduces ferric oxalate to ferrous oxalate, which then reduces silver nitrate to metallic silver.
• Platinum: UV light reduces ferric oxalate to ferrous oxalate, which then reduces platinum salts to metallic platinum.
• Palladium: UV light reduces ferric oxalate to ferrous oxalate, which then reduces palladium salts to metallic palladium.

Fixing:

• Kallitype: Requires fixing with sodium thiosulfate to remove unexposed silver salts.
• Platinum and Palladium: No fixing as the metals are already in a stable metallic state.

Archival Stability:

• Kallitype: Stability depends on proper clearing and toning; silver is less stable than platinum or palladium.
• Platinum and Palladium: Highly stable due to the inert nature of the metals, making these prints exceptionally archival.

When processed using the best museum-quality archival standards, Kallitype prints should achieve considerable longevity, though they are generally less stable than platinum or palladium prints. Kallitypes, which use silver as the primary imaging metal, require careful fixing, thorough washing, and often toning to ensure their archival stability of two or three hundred years or possibly longer. Despite these precautions, silver-based prints are more prone to degradation over time compared to platinum or palladium prints.

The archival stability of your chosen printing process should be connected to the intentions of your work. If your print must maintain the absolute best quality and integrity for more than 500 years and you know it will be properly stored and curated by qualified personnel at a museum, then plaintum and palladium prints are likely your best choice. I don’t think many photographers or prints fall into this category. Even portraits that are passed down from generation to generation, a properly processed Kallitype should last for hundreds of years spanning 4 or 5 geneations. Over time, families lose sight of their ancestors and unless you are a royal or prestigious family of some sort, it probably doesn’t matter.

In contrast, platinum and palladium prints, which utilize inert metals, are renowned for their exceptional archival stability, so long as they are properly cleared and washed. It is important to note that a poorly processed platinum or palladium print will achive much lower levels of stability and integrity.

Platinum and/or palladium prints do not require fixing and are naturally resistant to environmental degradation, making them some of the most durable photographic processes available. Platinum prints tend to have a slightly cooler tone, while palladium prints are often warmer, but both types maintain their image quality and structural integrity for centuries under proper archival conditions.

While Kallitype, platinum, and palladium prints can produce visually similar results with rich tonal ranges, their underlying chemical processes and materials differ significantly. Kallitype prints rely on silver, requiring careful fixing and toning to achieve stability, while platinum and palladium prints use their respective metals, which are inherently more stable and do not require fixing. These differences impact not only the archival quality but also the specific visual characteristics and handling of the prints.

As you can discern from this information, the intentions and requirements of your project should drive your technical choices for printing methods.

The key considerations include the significant cost difference, with Kallitypes being about one-tenth the cost of platinum or palladium prints. Additionally, Kallitypes offer a much broader range of colors and tones. However, if you are specifically creating prints for a museum—an area where only a small fraction of photographers operate—archival stability likely takes precedence over the broader tonal range and cost. In such cases, the unmatched archival stability of platinum or palladium prints becomes more crucial than the aesthetic flexibility offered by Kallitypes.

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Platinum Printing

The platinum printing process, known for its exceptional tonal range and permanence, was developed in the 19th century. Here are the key historical details:

• Inventor: William Willis
• Development Year: 1873
• Patent Year: 1879

William Willis, a British inventor, discovered the platinum printing process while seeking a method to create more durable photographic prints. The process utilizes platinum salts, which, when reduced to metallic platinum, produce a wide range of subtle tones and exhibit superior archival stability. Willis patented his process in 1879, and it quickly gained popularity among photographers for its aesthetic qualities and durability.

Palladium Printing

Palladium printing, closely related to platinum printing, emerged as a practical alternative due to the high cost and scarcity of platinum.

Here are the key historical details:

• Inventor: William Willis (the same inventor of the platinum printing process)
• Development Year: Early 20th century (around 1916)

As platinum became more expensive and scarce, especially during World War I, photographers and inventors sought alternatives. William Willis adapted his platinum printing process to use palladium salts instead of platinum. Palladium prints share many characteristics with platinum prints, such as a similar tonal range and archival qualities, but often exhibit warmer tones.

Now as we operate in the 21st century, palladum is more costly than platinum.

Summary

• Platinum Printing:
• Inventor: William Willis
• Development Year: 1873
• Patent Year: 1879
• Palladium Printing:
• Inventor: William Willis
• Development Year: Early 20th century (around 1916)

Both processes have been cherished by photographers for their ability to produce prints with exceptional tonal depth and longevity. These qualities have ensured the continued use and admiration of platinum and palladium prints in the fine art photography community.

Known for its flexibility and potential for fine art photography, the Kallitype process allows photographers to create prints with various hues by altering the chemical composition and toning methods. This guide delves into the detailed steps and chemistry involved in creating Kallitype prints, including the preparation and reuse of specific toning solutions.

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Kallitype Historical Background

The Kallitype process was invented by Dr. W. W. J. Nicol in 1889. Nicol’s invention was seen as a more affordable alternative to the platinum printing process, which was popular but expensive due to the high cost of platinum.

The Kallitype process offered photographers the ability to achieve similar tonal qualities at a fraction of the cost. Nicol patented the Kallitype process in the same year, highlighting its potential to produce high-quality prints using silver salts instead of platinum.

The Chemical Process in the Kallitype Printing

Chemical Reactions During UV Exposure

When a Kallitype print is exposed to UV light, the following chemical reactions occur involving the ferric oxalate and silver nitrate:

Ferric Oxalate Decomposition:

• Ferric oxalate (Fe2(C2O4)3) is sensitive to UV light. Upon exposure to UV radiation, ferric oxalate decomposes and is reduced to ferrous oxalate (FeC2O4) while releasing carbon dioxide (CO2). This can be represented by the following reaction:
  
  Fe2(C2O4)3 → 2 Fe(C2O4) + 2 CO2

Reduction of Silver Nitrate:

• Silver nitrate (AgNO3) is also sensitive to light. During the exposure to UV light, the silver ions (Ag+) in the silver nitrate are reduced to metallic silver (Ag). This reduction is facilitated by the presence of ferrous oxalate (produced from the reduction of ferric oxalate). The simplified reaction is:
  
  Ag^+ + e^- → Ag
  

In summary, UV light reduces ferric oxalate to ferrous oxalate, and the ferrous oxalate then reduces silver ions to metallic silver. This results in the formation of a latent image on the paper.

Chemical Reactions During Development

After UV exposure, the Kallitype print must be developed to convert the latent image into a visible one. This involves immersing the print in a developer solution, where further reduction and chemical reactions occur:

Development in Sodium Citrate (or other developers):

• The developer solution (e.g., sodium citrate, potassium oxalate, ammonium citrate, or borax) plays a crucial role in reducing any remaining unexposed silver ions to metallic silver. The developer acts as a reducing agent, providing electrons to complete the reduction process. The reactions vary slightly depending on the developer used but can be generally represented as follows:
  
  Ag^+ + e^- → Ag
• For sodium citrate:
  
  Na3C6H5O7 + Ag^+ → Ag + Na3C6H5O7
• For potassium oxalate:
  
  K2C2O4 + Ag^+ → Ag + K2C2O4
• For ammonium citrate:
  
  (NH4)3C6H5O7 + Ag^+ → Ag + (NH4)3C6H5O7
• For borax:
  
  Na2B4O7 + Ag^+ → Ag + Na2B4O7

Fixing and Clearing:

• After development, the print is immersed in a clearing bath (typically sodium thiosulfate, Na2S2O3) to remove any remaining unexposed silver salts and excess iron compounds. The sodium thiosulfate reacts with silver ions to form a soluble complex, which is washed away:
  
  AgCl + 2 Na2S2O3 → Na3Ag(S2O3)2 + NaCl

Washing:

• Finally, the print is thoroughly washed in running water to remove all residual chemicals. This step ensures the longevity and stability of the print by preventing any leftover chemicals from causing degradation over time.

Summary of the Process

UV Exposure:

• Ferric oxalate (Fe2(C2O4)3) is reduced to ferrous oxalate (Fe(C2O4)).
• Silver nitrate (AgNO3) is reduced to metallic silver (Ag).

Development:

• Developer solutions reduce any remaining silver ions to metallic silver, enhancing the image’s visibility and density.

Fixing and Clearing:

• Sodium thiosulfate (Na2S2O3) removes unexposed silver salts and iron compounds, stabilizing the print.

Washing:

• Thorough washing removes all residual chemicals, ensuring the print’s longevity.

By understanding these chemical processes, photographers can better control the quality and outcome of their Kallitype prints, achieving the desired tonal range and image stability.

This format should work well in MS Word and on WordPress, ensuring the chemical reactions are displayed correctly.

Materials and Equipment

Paper: High-quality, acid-free paper that can withstand the wet processing involved in the Kallitype process.

Chemicals:

• Ferric Oxalate
• Silver Nitrate
• Potassium Dichromate (optional, for contrast control)
• Toning solutions (e.g., gold chloride, palladium, platinum, selenium)
• Developer (e.g., sodium citrate, potassium oxalate, ammonium citrate, borax)
• Clearing bath (e.g., sodium thiosulfate or hypo)

Coating Brushes: Hake brushes or glass rods for even application of the sensitizer.

UV Light Source: Sunlight or UV lamps for exposing the sensitized paper.

Darkroom Facilities: Necessary for handling light-sensitive materials.

Preparation of Sensitizer

The Kallitype sensitizer is a combination of ferric oxalate and silver nitrate. Here’s a step-by-step guide to preparing the sensitizer:

Ferric Oxalate Solution:

• Dissolve 20 grams of ferric oxalate in 100 ml of distilled water. Stir until completely dissolved.

Silver Nitrate Solution:

• Dissolve 10 grams of silver nitrate in 100 ml of distilled water. Stir until completely dissolved.

Mixing the Sensitizer:

• Mix equal parts of ferric oxalate and silver nitrate solutions in a dark or dimly lit room to avoid premature exposure. The standard mix ratio is 1:1, but this can be adjusted based on the desired contrast and image density.

Sensitizer Volume for Popular Print Sizes:

• 4×5: Approximately 10 drops of mixed sensitizer.
• 5×7: Approximately 20 drops of mixed sensitizer.
• 6.5×8.5: Approximately 30 drops of mixed sensitizer.
• 8×10: Approximately 40 drops of mixed sensitizer.
• 11×14: Approximately 90 drops of mixed sensitizer.

I have found that 20 of my drop are equivalent to about 1ml. Also, the drop counts listed above will vary based on paper used and your environmental variables such as humidity. You will have to simply test and confirm your drop counts for each paper and your local environment. These drop count estimations will get you started in the right direction.

Coating the Paper

Paper Selection and Preparation:

• Choose a high-quality, acid-free paper that can handle the chemical processes. Arches Platine or Fabriano Artistico are popular choices.
• Pre-treat the paper with a sizing solution if necessary to prevent excessive absorption of the sensitizer.

Applying the Sensitizer:

• In a dimly lit room, use a hake brush or a glass rod to evenly coat the paper with the sensitizer solution.
• Allow the paper to dry in complete darkness or under a safe light. I have a drying box and I have found that I let my newly sensitized paper for about 30 minutes before exposure.

Exposure

Negative Placement:

• Place the dried, sensitized paper in contact with a negative in a contact printing frame. Ensure the negative is emulsion side down.

UV Exposure:

• Expose the paper to a UV light source. This can be sunlight or a UV lamp. The exposure time can vary from a few minutes to over an hour, depending on the light intensity and desired print density.

Development

Choosing the right developer can influence the final tone and contrast of the Kallitype print. Here are the most commonly used developers and their effects:

Sodium Citrate:

• Preparation: Dissolve 100 grams of sodium citrate in 1 liter of distilled water.
• Effect: Sodium citrate produces neutral to slightly warm tones and is excellent for achieving fine details and subtle gradations.
• Process: Immerse the exposed print in the developer for 2 to 5 minutes. Agitate gently to ensure even development.

Potassium Oxalate:

• Preparation: Dissolve 300 grams of potassium oxalate in 1 liter of distilled water.
• Effect: Potassium oxalate yields warmer tones, especially in combination with certain papers and toners. It can produce rich, warm blacks and deep shadows.
• Process: Develop the print for 2 to 5 minutes, ensuring continuous agitation for even development.

Ammonium Citrate:

• Preparation: Dissolve 50 grams of ammonium citrate in 1 liter of distilled water.
• Effect: Ammonium citrate provides neutral to cool tones. It is less prone to staining and can be used to achieve high contrast.
• Process: Immerse the print for 2 to 4 minutes, agitating gently.

Borax:

• Preparation: Dissolve 20 grams of borax in 1 liter of distilled water.
• Effect: Borax is known for producing sepia tones and can be used to create a vintage look. It can also enhance mid-tones and highlights.
• Process: Develop the print for 3 to 5 minutes, with gentle agitation.

Clearing and Washing

Clearing Bath:

• Preparation: Dissolve 100 grams of sodium thiosulfate (hypo) in 1 liter of distilled water.
• Procedure: To remove any residual iron compounds and stabilize the print, immerse the developed print in a clearing bath. Typical clearing involves a sequence of three 5-minute baths with fresh hypo in each step to ensure thorough removal of unexposed silver and iron compounds.

Washing:

• Wash the cleared print in running water for at least 30 minutes to ensure all residual chemicals are removed. This step is crucial for the longevity of the print.

Toning

Toning not only enhances the print’s aesthetic qualities but also increases its archival stability. Various toning options include:

Gold Toning:

• Solution Preparation:
  • Dissolve 1 gram of gold chloride in 1 liter of distilled water to create a 0.1% gold chloride solution.
  • Optionally, add a few drops of muriatic acid (hydrochloric acid) to stabilize the solution.
• Toning Procedure:
  • Immerse the print in the gold chloride solution for 2 to 5 minutes. Monitor the toning process closely, as the image will gradually shift to a warm, reddish-brown tone.
  • Rinse the print in distilled water after toning.
• Reuse Guidelines:
  • Gold toner can be reused multiple times until it becomes visibly exhausted or contaminated. Store the solution in a dark, cool place and filter it before reuse to remove any sediment.

Platinum or Palladium Toning:

• Solution Preparation:
  • For platinum toning, dissolve 1 gram of potassium tetrachloroplatinate (K2[PtCl4]) in 1 liter of distilled water.
  • For palladium toning, dissolve 1 gram of sodium tetrachloropalladate (Na2[PdCl4]) in 1 liter of distilled water.
• Toning Procedure:
  • Immerse the print in the platinum or palladium solution for 5 to 10 minutes, depending on the desired tone. Platinum yields neutral to cool black tones, while palladium results in warmer tones.
  • Rinse the print in distilled water after toning.
• Reuse Guidelines:
  • Platinum and palladium toners can be reused until they become visibly exhausted or contaminated. Store the solutions in dark, cool conditions and filter before reuse.

Selenium Toning:

• Solution Preparation:
  • Dilute concentrated selenium toner (e.g., Kodak Rapid Selenium Toner) with distilled water in a 1:10 ratio (1 part toner to 10 parts water).
• Toning Procedure:
  • Immerse the print in the selenium toner solution for 3 to 10 minutes. The image will shift to a more purple-black hue.
  • Rinse the print thoroughly in distilled water after toning.
• Reuse Guidelines:
  • Selenium toner can be reused until it becomes visibly exhausted or loses effectiveness. Store it in a tightly sealed container and filter it before reuse.

Drying and Final Steps

Drying:

• Air-dry the toned and washed print on a drying rack or clean surface. Avoid direct sunlight or heat sources.

Flattening:

• Once dry, the print can be flattened using a dry mount press or by placing it under heavy books

Master the Craft of Analog Photography On Your Own Schedule
My Analog Photography Video Workshops deliver in-depth, practical instruction you can watch anytime. Whether you’re in the darkroom or out in the field, these workshops are designed to help you grow your analog photography and darkroom skills with clarity and confidence. 👉 Explore the workshops now.