Van Dyke Exposure and Developing
since: 2019/04/07
update: 2019/04/07
reference:
0-1. Bostick & Sullivan, Inc.
0-2. Pictorico Premium OHP Transparency Film
0-3. Digital Negative Resources
0-4. Piezography
0-5. QuadToneRIP
0-6. Introduction to Alternative Processing in Photography
0-7. CreativeLive Classes
0-8. Toning Cyanotypes
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
0-9. Red Rubylith - Blocks UV Rays
0-10. Sandy King Photography
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
1. Introduction to Van Dyke Printing
2. Setting Up the Van Dyke Workstation
3. Van Dyke Paper and Coating
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A. 接觸框架
Because it's been over there drying, I'll take my hand and just lightly rub across the top just to make sure there's no dust particles that have fallen onto it or any dirt that's fallen onto it.
因為它已經在那里乾燥，我會抓住我的手，輕輕擦過頂部，以確保沒有落在其上的灰塵顆粒或任何落在它上面的污垢。
This is one of the few pieces of cardboard I don't throw away and I replaced a number of times 'cause what it does is protect the glass in case something accidentally falls on it and I normally store my contact frames vertically as well.
這是我不會丟棄的少量紙板之一，我更換了很多次，因為它的作用是保護玻璃，以防萬一不小心落在它上面，我通常垂直存放我的接觸框架。
This is a digital negative, I'll go ahead and flip it so that actually it's centered towards the top.
這是一個數位負片，我會繼續前進並翻轉它以使其實際上朝向中心頂端。
The height of your work station will make a huge difference in your fatigue level throughout the day. Most people you're gonna need two hands to push down and you're gonna need the leverage to get the contact frame down. When these things are new, that springy tension in there is so tight
that you really gotta put some torque on it to get the contact frame.
工作站的高度會在一天中對你的疲勞程度產生很大的影響。 大多數人需要兩隻手來推倒，你需要利用槓桿來降低聯繫框架。當這些東西是新的時，那裡的彈性緊張非常緊，你真的需要在它上面施加一些扭矩來獲得接觸框架。
This is a larger contact frame: 11" x 17". The tradeoff is on the back, I've got three compression springs, and the
reason for the three is I've got a larger surface area that I need to
press and hold flat so that the negative will stay in contact with the
paper and not float apart and come out of focus. This one is really bent
for the compression, 'cause I want the frame to hold, and you'll notice
that it's what's called a double split back and the reason for that is
if you have more than one side to flip open, you can check the
negative.
這是一個更大的接觸框架: 11"x17"。權衡是在後面，我有三個壓縮彈簧，這三個的原因是我有一個更大的表面積，我需要按住並保持平坦，以便負片將保持接觸 紙張並沒有漂浮而且失焦。 這個是真的彎曲壓縮，因為我希望框架保持，你會注意到它是所謂的雙重分裂，原因是如果你有一個以上的一面翻開，你可以檢查負片。
You'll sometimes see a 20 by 24 contact frame, but that's starting to get large enough where it's too hard to have the frame compression work and too hard for the springs to hold that. What happens after that is you usually end up with something called a vacuum frame. And a vacuum frame has a little pump on it and a big piece of glass that'll come down, and then the vacuum will pull the glass down onto the surface, and those you can get in a number of different sizes, and it just requires electricity, cost, and a lot more space than a contact frame.
有時會看到一個20"x24"的接觸框架，但是它開始變得足夠大，使得框架壓縮工作太難以且彈簧難以承受。 之後發生的事情是你通常會得到一種叫做真空框架的東西。 真空框架上有一個小泵，還有一塊大玻璃落下，然後真空將玻璃拉到表面上，那些可以得到許多不同尺寸的玻璃，它只是 需要電力，成本和比接觸框架更多的空間。
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B. 曝光機預熱
Okay, that's been on for a minute, minute or two, so we've got enough consistency in the bulbs and we had it on earlier in the day to warm up. We're gonna slide that in. The time for this process under this light box is five minutes.
好的，這已經持續了一兩分鐘，所以我們已經在燈泡中保持了足夠的一致性，並且我們在當天早些時候進行了預熱。 我們將把它滑入。在這個燈箱下進行這個過程的時間是五分鐘。
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C. 顯影流程
For the Van Dyke process, it's a print out process so we'll actually be able to see what the image looks like as it comes out of the contact frame and you can check to make sure you've got enough highlight density for the image to actually properly render, but it's tray processing for the most part pretty simple, you're gonna have a water bath, then you're gonna have a fixer and you're gonna have a final water bath.
對於Van Dyke流程，它是一個打印過程，所以我們實際上能夠看到圖像從接觸框架出來時的樣子，你可以檢查以確保你有足夠的高光密度 圖像實際上正確渲染，但它的托盤處理大部分非常簡單，你將有一個水浴，然後你將有一個固定器，你將有一個最後的水浴。
You're gonna have about three to five minutes in this initial bath. Then you go into the fixer, you'll be in there for about five minutes and then your final water bath with running water, intermittently changing water is 20 to 30 minutes. What this first bath is doing is it's clearing off the excess salts from the process to remove so that we're bound to just the silver. The fixer, which in this case is sodium thiosulfate, the sodium thiosulfate is also referred to as hypo. So the job of the fixer is to stabilize the image.
在這個初始浴槽中你將需要大約三到五分鐘。 然後你進入固定器，你將在那里大約五分鐘，然後你的最後一個水浴用自來水，間歇性換水20到30分鐘。 這個第一次洗澡的目的是清除過程中多餘的鹽以便去除，這樣我們才能被銀色所束縛。 固定劑，在這種情況下是硫代硫酸鈉，硫代硫酸鈉也稱為次硫酸鹽。 因此，修復工具的作用是穩定圖像。
The sodium thiosulfate is a crystal form, so it comes with, it's like a wet bead, basically. So you can kinda see, it just looks almost like a really thick slushee. You're gonna use about 30 grams which is about four teaspoons, about 30 grams into a liter of water. It will dissolve basically just by agitating the tray. It will slowly dissolve itself for it to be able to work. This is a digital scale, gram scale for kitchen work.
硫代硫酸鈉是一種晶體形式，所以它附帶，它就像一個濕珠，基本上。 所以你可以看一下，它看起來就像一個非常厚實的slushee。 你要用大約30克，大約四茶匙，大約30克裝入一升水。 它基本上只是通過攪拌托盤溶解。 它將慢慢溶解自己，以便能夠工作。
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D. 顯影步驟一: 水浴
We have our five minutes, This is our initial water bath, and the print's gonna go into here.
我們已在五分鐘完成(曝光)，這是我們最初的水浴，印刷品將進入這裡。
The thing about a Van Dyke that's different than the cyanotype is it's gonna dry down considerably darker as the actual drying process happens, so we're gonna see it get a little darker in here, and if you like it right here, it's gonna be too dark when it dries. So you're gonna want your print to look a little bit lighter as it's going through the wash cycle so it gets that last bit of dry down. After you've done one or two prints, you'll get a sense of how much dry down you're gonna get, it's hard to say if it's at three percent, is it five percent? I hear some people say it's as much as half a stop or a stop.
關於Van Dyke與氰顯影不同的是它會在實際的乾燥過程中變得更暗，所以我們會在這裡看到它變得更暗，如果你喜歡它，它就會乾燥時太黑了。 所以你會希望你的印刷品看起來更輕一些，因為它經歷了洗滌週期，所以最後一點乾燥。 在你完成一兩次打印之後，你會感覺到你會得到多少乾，很難說它是否達到百分之三，是百分之五？我聽說有些人說如果你熟悉它就會停止或停止一半。
A lot of people have realized a citric bath or a little bit of an acidic wash actually clears the highlights a little bit more and you get a little bit more brightness and highlights. And so we're gonna do one print here with the standard washing method and then we're gonna add some citric acid to this first wash.
很多人已經意識到檸檬酸浴或者一點點酸性洗滌實際上更清晰地突出了亮點，你會獲得更多的亮度和亮點。 因此，我們將使用標準洗滌方法在此處進行一次打印，然後我們將在第一次洗滌時添加一些檸檬酸。
That will then help clear the highlights a little bit more and creates a little bit more pop within the image. And we're just gonna do that to show you some of the variations you could start to make even in a very simple process like this. Is the warmer the water, the faster it'll wash, so we talked in the cyanotype type process that room temperature water's pretty good.
然後，這將有助於清除更多的亮點，並在圖像中創建更多的流行音樂。 我們就是這樣做，以向您展示一些即使在這樣一個非常簡單的過程中也可以開始製作的變體。 水溫越高，它的洗滌速度越快，所以我們在氰顯影過程中談到室溫水很好。
This process does benefit from a warmer temperature, so a 90 degree temperature water bath will actually process faster. This first bath also usually lasts for about eight to 10 prints before it needs to be cycled out and changed. The other piece that we wanna look for is we're watching where the unexposed chemistry might be. You will see some yellow residual chemistry left there if it wasn't exposed, that's how you know your water bath is no longer doing its job or removing the residual salts.
這個過程確實受益於更溫暖的溫度，因此90度溫水浴實際上會更快地加工。 在需要循環和更換之前，第一次洗浴通常也會持續大約8到10次打印。 我們想要尋找的另一件事是我們正在觀察未暴光的化學反應可能在哪裡。 如果沒有暴露，你會看到一些黃色的殘餘化學物質留在那裡，這就是你知道你的水浴不再起作用或去除殘留的鹽的方式。
So now that we've kinda been in there for about four to five minutes, we're gonna pull up and let the print drip and dry. Some of these papers hold a lot more water than other papers, so what you're really watching for, you can see we're down to just some slight drips there. I usually then change corners and change the direction of the flow of the water. And you wanna get to where almost no water's dripping off of the paper. Usually it's about 10 to 15 seconds but some images, it goes a lot longer.
所以現在我們已經在那裡待了大約四到五分鐘，我們將拉起來讓印刷品滴乾並乾燥。
這些紙張中的一些比其他紙張含有更多的水，所以你真正關注的是，你可以看到我們只是在那裡輕微滴水。 我通常然後改變角落並改變水流的方向。 而且你想要到達幾乎沒有水從紙上滴下來的地方。 通常它大概是10到15秒，但有些圖像，它會更長。
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E. 顯影步驟二: 定影
Now I'm gonna come into my fix over here and then this is gonna agitate for about five minutes. The purpose of this is to stabilize the image. If you don't do this phase, what will happen is over time, your print will start to disappear because the image is not stabilized, it hasn't solidified the silver that's in there. It's a gentle agitation.
現在會在這裡進行定影然後這將會激動約五分鐘。 這樣做的目的是穩定圖像。如果你不做這個階段，會發生什麼是隨著時間的推移，你的印刷品將開始消失，因為圖像不穩定，它沒有固化在那裡的銀。 這是一個溫和的激動。
A gentle agitation is just a slight movement of the tray, and then the other thing we want is we want a randomness to the agitation because what can happen is as we move chemistry across an image, there's a memory that forms in how the paper's processed or how film is processed, so what you wanna do is just kinda gently just change your point of reference of how you're agitation, and then that's gonna cause the water to swirl in all sorts of random patterns and introduce fresh chemistry to it in a random pattern so you don't end up with these weird little lines that'll develop.
輕輕的攪動只是托盤的輕微移動，然後我們想要的另一件事就是我們想要隨機地進行攪拌，因為當我們在圖像中移動化學時會發生什麼，在紙張的處理過程中會形成記憶 或者如何處理膠片，所以你想做的只是有點溫和地改變你對你如何激動的參考點，然後這將導致水以各種隨機模式旋轉並在其中引入新的化學物質。 一個隨機的模式，所以你不會最終得到這些奇怪的小線，這些線將會發展。
And that's where the chemistry has settled then onto the print and it's been able to work certain edges of the paper more than other areas, so a constant, gentle agitation movement. I really, like I said before, it's meditative. There's a quality to this that's just kinda rhythmic and these are slower process than working quickly through a digital output, so kinda get used to the process, get used to the experience.
這就是化學已經沉澱到印刷品上的地方，並且它能夠比其他區域更有效地處理紙張的某些邊緣，因此可以進行恆定，溫和的攪拌運動。 我真的，就像我之前說的那樣，它是冥想的。 有一種質量，這只是有點節奏，這些過程比通過數字輸出快速工作更慢，所以有點習慣過程，習慣體驗。
What happens after it comes out of the fix is in a normal chemistry
process when we're dealing with fix, we can put it in something called a
hypoclear. Or a permawash, and what that bath does is it's a light bath that basically just helps remove any of the residual chemistry that's there, and it will shorten the final wash time and also ensure that that fixer's out of the print. So we're not gonna do a hypoclear here today and basically just means a longer wash cycle for this print, but if you're a person who has access to hypoclear or you wanna buy hypoclear, you can actually get that and it will shorten up your wash cycle. That's not an opportunity or a possibility. One of the kinda key things I think to decide if you can do that is gonna determine how much space you have.
它出現在定影之後發生的事情是在正常的化學過程中，當我們處理定影時，我們可以把它放在一個叫做 hypoclear 的東西中。或者一個 permawash，這個浴室做的是它是一個輕度浴，基本上只是幫助去除那裡的任何殘留化學物質，它將縮短最後的洗滌時間，並確保該定影劑不在印刷品中。 因此，我們今天不會在這裡做一個 hypoclear，基本上只是意味著這個版畫需要更長的洗滌週期，但是如果你是一個可以使用hypoclear或者你想購買hypoclear的人，你實際上可以得到它並且它會縮短 你的洗滌週期。 這不是機會或可能性。 我認為你能做到這一點的關鍵事項之一是決定你有多少空間。
So, now we go on ahead and go through the fix like that, and then, it will come out, same thing as before, it's gonna go through a drain drip cycle, and then I'll grab the next tray, we can just drop this in for the wash.
那麼，現在我們繼續前進並完成這樣的定影，然後，它會出來，和以前一樣，它會經歷一個排水滴週期，我會抓住下一個托盤，我們可以把它放進去洗。
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F. 顯影步驟一: 水浴(檸檬酸鈉)
Okay, we've got our next same image. And what we're gonna do is put a little sodium citrate into the bath. So we don't need a lot. We just need to change the acidity value of the water. So we're just gonna throw a little sodium citrate in there. We'll agitate that just for a couple seconds just so it dissolves. What this is just gonna do is help clear the highlights. Now it's gonna be hard to see under the lights we're using, but it's just gonna give a little bit more, a little less residual tone's gonna sit in the highlight, it'll help clear out any of the residual information that was left there.
好的，我們已經有了我們的下一個相同的圖像。 我們要做的是在浴缸中加入少許檸檬酸鈉。 所以我們不需要太多。 我們只需要改變水的酸度值。 所以我們要在那里扔一點檸檬酸鈉。 我們會激動它只是幾秒鐘才會消失。 這將要做的是幫助清除亮點。 現在在我們正在使用的燈光下很難看到它，但它只是會給出一點點，稍微少一點的殘餘音調將會突出顯示，這將有助於清除剩下的任何剩餘信息 那裡。
That'll go just into that wash just like before, and it's gonna get a few minutes in that wash. 就像之前一樣，它只會進入洗滌狀態，並且在洗滌過程中會有幾分鐘的時間。
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G. 調色
Now the other thing we can do with a Van Dyke that's pretty cool is we can introduce a toning factor component just like we did with cyanotypes. So we can come in and tone those and they tone to kind of a blue 'cause it's a gold toner. Have you put the toner in there yet?
現在我們可以用Van Dyke做的另一件事非常酷，我們可以引入一個調色因子組件，就像我們對氰顯影一樣。 因此，我們可以進入並調整它們，並將它們調成藍色，因為它是一種金色調色劑。
So this toner is the two components you get, the gold chloride and the ammonium thiocyanate. These two pieces mix together to create your gold toner and this can be staved and replenished like the other one can with the cyanotype, so you're gonna use those two chemicals together into a liter of water.
所以這種調色劑是你得到的兩種成分，氯化金和硫氰酸銨。 這兩個部分混合在一起形成你的金色調色劑，這可以像其他人一樣用氰顯影進行加工和補充，所以你要將這兩種化學物質一起用於一升水中。
The toning process, you can see the way we have the tray set up. Some toning processes require you to have the print dry, and then you come back and you do the toning process again. One of the cool parts about a Van Dyke is you can tone in the sequence of your process, so once this comes out of the initial wash, it's then gonna go into the toner.
在調色過程中，您可以看到我們設置托盤的方式。 一些調色過程要求您打印乾燥，然後您回來再次進行調色過程。 關於Van Dyke的一個很酷的部分是你可以按照你的過程順序調整，所以一旦這個從最初的洗滌開始，它就會進入調色劑。
So we're actually gonna tone it before we put it into the fixer. This is really kind of a nice part of this process because it saves you from having to come back into the dark room later, resetting up all the trays and redoing the process. Most toners will require a fixer again, so you'd fix the image, then you'd have to come back and fix it again after the toning, so it's really nice that we only have that at one step in the process.
所以在我們把它放入定影之前，我們實際上要對它調色。 這實際上是這個過程的一個很好的部分，因為它可以讓你不必再回到黑暗的房間，重置所有的托盤並重做這個過程。 大多數調色劑會再次需要定影，所以你需要定影圖像，然後你必須在調色後再回來定影它，所以我們在這個過程的一個步驟中只有這個非常好。
You can see a little bit more contrast, so that's what that citric acid
has done, it's just given us a little bit of a more aggressiveness
there. When we're thinking about that deep, rich black, one of the things particularly with the Van Dyke process is we can help certain papers get there, d-max by introducing a slight acidic bath to wash the paper before we actually coat it. So you can use a citric acid bath, about a one to five percent citric bath. Sandy King's done a ton of research on the different papers and the need to have that work done, so you get that information up on his website. There's a hair floating around in my water. I'm not gonna say whose, I'll blame my dog.
你可以看到更多的對比，所以這就是檸檬酸所做的，它只是給了我們一點點更具攻擊性。當我們考慮那種深沉，濃郁的黑色時，特別是Van Dyke工藝的一個方面是我們可以幫助某些紙張到達那裡，d-max通過引入一個輕微的酸性浴來清洗紙張然後再塗上它。 所以你可以使用檸檬酸浴，大約百分之一到五的檸檬浴。
What happens is if that paper gets a little bit of a citric acid introduced to it, you basically put it in a water bath like this with the citric acid, then you're gonna hang it to dry and it doesn't have to be completely dry, it just needs to be mostly dry, so just a dampness to it. And then you can coat it and then the paper has to fully dry before you would use it anyway, but that little subtleness of the citric acid helps create a deeper black in certain papers. The lanaquarelle paper will do that. BFK paper will do that. Platinum paper will do that. Revere platinum will do that.
如果紙張上加了一點檸檬酸，你基本上把它放在像檸檬酸這樣的水浴中，那麼你就要將它掛在乾燥的地方，它沒有完全乾燥，它只需要大部分乾燥，所以只是一個潮濕的。 然後你可以塗抹它然後紙張必須完全乾燥才能使用它，但是檸檬酸的微小的微妙性有助於在某些紙張中產生更深的黑色。 lanaquarelle 紙將做到這一點。 BFK 紙會做到這一點。 白金紙會做到這一點。 Revere platinum 會做到這一點。
So the toning, we're in the toner now, and this is, what we're looking for is it's gonna start to change subtly, components of the shadows and the highlights and it's gonna introduce a component of blue into the image. And so it doesn't change the image to be like a really deep blue, like some people think, oh, I can make a cyanotype like blue in the Van Dyke print. It's really more like a subtle introduction of a tonal shift in shadow and highlight towards a coolness so what you end up with is more almost like a split tone of a warm, cold relationship.
所以調色，我們現在正在調色劑，這就是，我們正在尋找的是它將開始巧妙地改變，陰影和高光的組成部分，它將在圖像中引入藍色成分。 所以它並沒有改變圖像就像一個非常深的藍色，就像有些人認為的那樣，哦，我可以在Van Dyke印刷品中製作像藍色的氰顯影。 它更像是一個微妙的陰影色調轉換和強烈的冷靜，所以你最終得到的更像是一種溫暖，冷酷的關係。
The longer it's in the toner, the more of an effect it will have, so usually I tone three to five minutes and I'm kinda watching for how it's affecting the print. It's a gentle agitation of kind of constant movement of that toner. And you wanna do this one face up, so that way you can actually see what's happening.
它在調色劑的時間越長，它的效果就越大，所以通常我會調到三到五分鐘，而且我正在觀察它是如何影響打印效果的。 它是對調色劑持續運動的溫和攪動。 你想要面朝上這樣做，這樣你就可以真正看到發生了什麼。
Certain times you'll want the process paper to be face down so you can help leak some of the chemicals down to the bottom of the tray, but when you're toning, you always wanna tone face up so you can actually watch the reaction.
某些時候你會希望處理紙面朝下，這樣你可以幫助將一些化學物質洩漏到托盤的底部，但是當你正在調色時，你總是想要面朝上，這樣你才能真正看到反應。
The Arches Platine is a great all around paper. It accepts toning well, it works with all the processes, so if you're gonna start, that's a nice, easy one to work with. There are certain papers though, you'll put them in the toner and you'll literally sit here for 20 minutes. And you'll be like nothing's happening, other ones you'll see in a couple of minutes. So you're not doing anything wrong or nothing's happening it's just that type of paper is a little more sensitive to the toner. Your toner will also expire over time, so as you run 10, 15 prints through the toner, you'll need to at some point replenish. So I'll let this go for one more minute and then we'll go ahead and move it.
Arches Platine 是一篇很棒的論文。 它很好地接受調色，它適用於所有過程，所以如果你要開始，這是一個很好，很容易使用的。 雖然有一些文件，你會把它們放在調色劑中，你會在這裡坐20分鐘。 你將會發生什麼事情，你會在幾分鐘內看到其他事情。 所以你沒有做錯任何事情或者沒有發生任何事情只是那種類型的紙張對碳粉有點敏感。 您的碳粉也會隨著時間的推移而過期，因此當您通過調色劑進行10次，15次打印時，您需要在某些時候補充調色劑。
We'll pull this out and we'll drop this into the fix.
我們將把它拉出來，然後我們將其放入定影中。
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H. 定影中觀察
And then we'll turn on the studio lights so we can actually look at this print. But you can see how much I end up with a difference in the quality of the highlights in particular. We've cleared it in that citric bath, so it removed a bunch more of that brown pulled out. And, the highlight got a little more contrast, and then we added in the blue off of this print. So that's why I like the citric acid in there. And for years, I didn't use that, I just used a water bath and then when I learned you could make that bath a little more acidic. The one thing to check is the quality of, oh here you can see now. That weird growth on his face. That's the water droplet that hit.
然後我們將打開工作室燈，這樣我們就可以看到這個打印件了。但是你可以看到我最終對高光的質量產生了多大的影響。 我們已經在檸檬浴中清除了它，所以它刪除了更多的棕色拉出來。 並且，亮點得到了更多的對比，然後我們添加了這個打印的藍色。 所以我喜歡那裡的檸檬酸。
If this stays in the fix longer, you're gonna be okay, but eventually if you're in the fix too long, you will start to bleach out the print as well.
如果停留在定影時間更長，那麼你會沒事的，但最終如果定影的時間過長，也會開始對這個版本進行漂白。
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I. 水的 PH 值
So one of the things to check is the Ph of your water. So if you've already got acidic water, if you're coming off well water or your city's water has a higher Ph level, you'll wanna check that 'cause you don't wanna over acidify your water. The other one that, cyanotypes are particular sensitive to, Van Dykes are sensitive too as well is the level of chlorine in the water. So if you have some chlorine, that's another thing to watch for in which case you might wanna use bottled water or distilled water from mixing up your fix.
所以要檢查的一件事就是水的Ph值。 因此，如果你已經喝了酸性水，如果你的水很好，或者你的城市的水有較高的Ph水平，你就要檢查一下，因為你不想過度酸化你的水。 另外一個，對於特別敏感的氰顯影，Van Dykes也是敏感的，即水中的氯含量。 因此，如果你有一些氯，這是另一件需要注意的事情，在這種情況下你可能想要使用瓶裝水或蒸餾水混合你的修復。
Most city water and pleasant drinking well water is pretty close to Ph neutral. I can't remember if it goes, we prefer water a little basic or a little acidic from a taste standpoint and I can't remember which is which. Usually they try to make the water pretty neutral. The other thing to watch for if you're on well water is the particulate that comes up and how hard the water is.
大多數城市用水和宜人的飲用水井非常接近Ph中性。我不記得是否它，從味道的角度來看，我們更喜歡水有點鹼性或有點酸性，我不記得哪個是哪個。通常他們試圖使水非常中性。如果你在井水上，要注意的另一件事是出現的微粒和水的硬度。
If you're in a city with hard water, you can end up with hard water stains and deposits and so rinsing oftentimes distilled water like when I'm doing film, we have hard water leave spots behind so I always try to rinse in distilled water.
如果你在一個有硬水的城市，你最終會得到硬水漬和沈積物，所以經常用蒸餾水漂洗，就像我在做膠片時一樣，我們有硬水留下斑點，所以我總是嘗試用蒸餾水沖洗 水。
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J. Q&A
Q1: Is stable before the fixer?
在定影劑之前穩定嗎？
A1: The fixer's gonna, yeah, it's stable at this point, 'cause it's a print-out process. The reason we run it through the fixer is when it hits the fixer, it stabilize for long term, and that was the problem that Herschel fixed for everybody, was they could get to this point, and then they'd come back a week later, a month later, two months later, and the print would have been faded. So the fixing at this point is the final stabilizer for the longevity of the print.
定影會，但是，它在這一點上是穩定的，因為它是一個打印輸出過程。 我們通過定影劑運行它的原因是當它撞到定影劑時，它會長期穩定，這就是Herschel為每個人修復的問題，他們是否可以達到這一點，然後他們會在一周後回來 一個月後，兩個月後，印刷品就會褪色。 因此，此時的定影是印刷品使用壽命的最終穩定劑。
Q2: Whereabout, well water, city water, where would you find out what the, how do you test that? How do you know in practice?
無論如何，井水，城市用水，你會在哪裡找到什麼，你如何測試？你怎麼知道在實踐中？
A2: You can get a Ph testing kit, and they're little strips of paper. Bostick and Sullivan actually sells a kit, and you can get a kit at Home Depot or Lowe's or plumbing supply stores will oftentimes have them. And it has little Ph pieces of paper and then you'll dip them into the water and the strip will change to a certain color, then there's a chart you can compare it to and it'll give you ballpark of how acidic the water is or Ph balance the water is.
你可以得到一個Ph測試工具包，它們是小紙條。 Bostick和Sullivan實際上銷售一個套件，你可以在Home Depot或Lowe's或管道供應商店購買套件。並且它有很少的Ph紙片，然後你將它們浸入水中，條帶將變為某種顏色，然後有一個圖表，你可以比較它，它會給你一個關於水是多麼酸的球場或Ph平衡水。
Q3: If you don't use the fix, how long does it take for the image to start to degrade?
如果您不使用此定影程序，圖像開始降級需要多長時間？
A3: It would be based on how much ultraviolet light it would get exposed to and the storage conditions would make a big difference on that.
它會基於它會暴露多少紫外線，存儲條件會對此產生很大的影響。
Q4: Could you use that as a creative process to make your image a little weathered?
您是否可以將其用作創作過程，以使您的圖像有點風化？
A4: Yeah, absolutely, there's also a, I saw on art exhibit a few years ago and it was for silver gelatin but they didn't basically fix it in the silver gelatin, so that'll fade over a couple of days, and the art exhibit was, if you were there at the opening, they flipped everything open and the image was there and literally over the course of the two hours of the art opening, you could start to see the image dissolve and fade away, and so the lack of permanence became part of that art exhibit and the discussion the artist was having was, these images were in relation to memory, and how does memory fade, how truthful is memory, does it last?
是的，絕對的，還有一個，我幾年前在藝術展上看到的，它是用於銀色明膠，但它們基本上沒有用銀色明膠固定，所以它會在幾天內消失，而藝術品展覽是，如果你在開幕式，他們翻開所有打開的圖像，並且在藝術開放的兩個小時的過程中，你可以開始看到圖像溶解和消失，所以缺乏永恆性成為藝術展覽和藝術家所討論的討論的一部分，這些圖像與記憶有關，記憶如何消失，記憶如何真實，它會持續多久？
So he was using the photographic medium which is oftentimes used for the idea that photography adds a permanence to that, so it was a play on that. But you could absolutely use that as a component. The other piece that would be interesting that I've never experimented with would be to see how much longer does it work if it's toned, if it's not toned.
所以他正在使用攝影媒體，這種攝影媒體經常用於攝影為其增添永久性的想法，所以這是一個戲劇。 但你絕對可以將它作為一個組件使用。 我從未嘗試過的另一件有趣的事情就是看它有多長時間才有效，如果它沒有被調色。
update: 2019/04/07
reference:
0-1. Bostick & Sullivan, Inc.
0-2. Pictorico Premium OHP Transparency Film
0-3. Digital Negative Resources
0-4. Piezography
0-5. QuadToneRIP
0-6. Introduction to Alternative Processing in Photography
0-7. CreativeLive Classes
0-8. Toning Cyanotypes
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
0-9. Red Rubylith - Blocks UV Rays
0-10. Sandy King Photography
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
1. Introduction to Van Dyke Printing
2. Setting Up the Van Dyke Workstation
3. Van Dyke Paper and Coating
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A. 接觸框架
Because it's been over there drying, I'll take my hand and just lightly rub across the top just to make sure there's no dust particles that have fallen onto it or any dirt that's fallen onto it.
因為它已經在那里乾燥，我會抓住我的手，輕輕擦過頂部，以確保沒有落在其上的灰塵顆粒或任何落在它上面的污垢。
這是我不會丟棄的少量紙板之一，我更換了很多次，因為它的作用是保護玻璃，以防萬一不小心落在它上面，我通常垂直存放我的接觸框架。
這是一個數位負片，我會繼續前進並翻轉它以使其實際上朝向中心頂端。
工作站的高度會在一天中對你的疲勞程度產生很大的影響。 大多數人需要兩隻手來推倒，你需要利用槓桿來降低聯繫框架。當這些東西是新的時，那裡的彈性緊張非常緊，你真的需要在它上面施加一些扭矩來獲得接觸框架。
這是一個更大的接觸框架: 11"x17"。權衡是在後面，我有三個壓縮彈簧，這三個的原因是我有一個更大的表面積，我需要按住並保持平坦，以便負片將保持接觸 紙張並沒有漂浮而且失焦。 這個是真的彎曲壓縮，因為我希望框架保持，你會注意到它是所謂的雙重分裂，原因是如果你有一個以上的一面翻開，你可以檢查負片。
有時會看到一個20"x24"的接觸框架，但是它開始變得足夠大，使得框架壓縮工作太難以且彈簧難以承受。 之後發生的事情是你通常會得到一種叫做真空框架的東西。 真空框架上有一個小泵，還有一塊大玻璃落下，然後真空將玻璃拉到表面上，那些可以得到許多不同尺寸的玻璃，它只是 需要電力，成本和比接觸框架更多的空間。
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B. 曝光機預熱
Okay, that's been on for a minute, minute or two, so we've got enough consistency in the bulbs and we had it on earlier in the day to warm up. We're gonna slide that in. The time for this process under this light box is five minutes.
好的，這已經持續了一兩分鐘，所以我們已經在燈泡中保持了足夠的一致性，並且我們在當天早些時候進行了預熱。 我們將把它滑入。在這個燈箱下進行這個過程的時間是五分鐘。
C. 顯影流程
For the Van Dyke process, it's a print out process so we'll actually be able to see what the image looks like as it comes out of the contact frame and you can check to make sure you've got enough highlight density for the image to actually properly render, but it's tray processing for the most part pretty simple, you're gonna have a water bath, then you're gonna have a fixer and you're gonna have a final water bath.
對於Van Dyke流程，它是一個打印過程，所以我們實際上能夠看到圖像從接觸框架出來時的樣子，你可以檢查以確保你有足夠的高光密度 圖像實際上正確渲染，但它的托盤處理大部分非常簡單，你將有一個水浴，然後你將有一個固定器，你將有一個最後的水浴。
You're gonna have about three to five minutes in this initial bath. Then you go into the fixer, you'll be in there for about five minutes and then your final water bath with running water, intermittently changing water is 20 to 30 minutes. What this first bath is doing is it's clearing off the excess salts from the process to remove so that we're bound to just the silver. The fixer, which in this case is sodium thiosulfate, the sodium thiosulfate is also referred to as hypo. So the job of the fixer is to stabilize the image.
在這個初始浴槽中你將需要大約三到五分鐘。 然後你進入固定器，你將在那里大約五分鐘，然後你的最後一個水浴用自來水，間歇性換水20到30分鐘。 這個第一次洗澡的目的是清除過程中多餘的鹽以便去除，這樣我們才能被銀色所束縛。 固定劑，在這種情況下是硫代硫酸鈉，硫代硫酸鈉也稱為次硫酸鹽。 因此，修復工具的作用是穩定圖像。
The sodium thiosulfate is a crystal form, so it comes with, it's like a wet bead, basically. So you can kinda see, it just looks almost like a really thick slushee. You're gonna use about 30 grams which is about four teaspoons, about 30 grams into a liter of water. It will dissolve basically just by agitating the tray. It will slowly dissolve itself for it to be able to work. This is a digital scale, gram scale for kitchen work.
硫代硫酸鈉是一種晶體形式，所以它附帶，它就像一個濕珠，基本上。 所以你可以看一下，它看起來就像一個非常厚實的slushee。 你要用大約30克，大約四茶匙，大約30克裝入一升水。 它基本上只是通過攪拌托盤溶解。 它將慢慢溶解自己，以便能夠工作。
D. 顯影步驟一: 水浴
We have our five minutes, This is our initial water bath, and the print's gonna go into here.
我們已在五分鐘完成(曝光)，這是我們最初的水浴，印刷品將進入這裡。
關於Van Dyke與氰顯影不同的是它會在實際的乾燥過程中變得更暗，所以我們會在這裡看到它變得更暗，如果你喜歡它，它就會乾燥時太黑了。 所以你會希望你的印刷品看起來更輕一些，因為它經歷了洗滌週期，所以最後一點乾燥。 在你完成一兩次打印之後，你會感覺到你會得到多少乾，很難說它是否達到百分之三，是百分之五？我聽說有些人說如果你熟悉它就會停止或停止一半。
A lot of people have realized a citric bath or a little bit of an acidic wash actually clears the highlights a little bit more and you get a little bit more brightness and highlights. And so we're gonna do one print here with the standard washing method and then we're gonna add some citric acid to this first wash.
很多人已經意識到檸檬酸浴或者一點點酸性洗滌實際上更清晰地突出了亮點，你會獲得更多的亮度和亮點。 因此，我們將使用標準洗滌方法在此處進行一次打印，然後我們將在第一次洗滌時添加一些檸檬酸。
That will then help clear the highlights a little bit more and creates a little bit more pop within the image. And we're just gonna do that to show you some of the variations you could start to make even in a very simple process like this. Is the warmer the water, the faster it'll wash, so we talked in the cyanotype type process that room temperature water's pretty good.
然後，這將有助於清除更多的亮點，並在圖像中創建更多的流行音樂。 我們就是這樣做，以向您展示一些即使在這樣一個非常簡單的過程中也可以開始製作的變體。 水溫越高，它的洗滌速度越快，所以我們在氰顯影過程中談到室溫水很好。
This process does benefit from a warmer temperature, so a 90 degree temperature water bath will actually process faster. This first bath also usually lasts for about eight to 10 prints before it needs to be cycled out and changed. The other piece that we wanna look for is we're watching where the unexposed chemistry might be. You will see some yellow residual chemistry left there if it wasn't exposed, that's how you know your water bath is no longer doing its job or removing the residual salts.
這個過程確實受益於更溫暖的溫度，因此90度溫水浴實際上會更快地加工。 在需要循環和更換之前，第一次洗浴通常也會持續大約8到10次打印。 我們想要尋找的另一件事是我們正在觀察未暴光的化學反應可能在哪裡。 如果沒有暴露，你會看到一些黃色的殘餘化學物質留在那裡，這就是你知道你的水浴不再起作用或去除殘留的鹽的方式。
所以現在我們已經在那裡待了大約四到五分鐘，我們將拉起來讓印刷品滴乾並乾燥。
這些紙張中的一些比其他紙張含有更多的水，所以你真正關注的是，你可以看到我們只是在那裡輕微滴水。 我通常然後改變角落並改變水流的方向。 而且你想要到達幾乎沒有水從紙上滴下來的地方。 通常它大概是10到15秒，但有些圖像，它會更長。
E. 顯影步驟二: 定影
Now I'm gonna come into my fix over here and then this is gonna agitate for about five minutes. The purpose of this is to stabilize the image. If you don't do this phase, what will happen is over time, your print will start to disappear because the image is not stabilized, it hasn't solidified the silver that's in there. It's a gentle agitation.
現在會在這裡進行定影然後這將會激動約五分鐘。 這樣做的目的是穩定圖像。如果你不做這個階段，會發生什麼是隨著時間的推移，你的印刷品將開始消失，因為圖像不穩定，它沒有固化在那裡的銀。 這是一個溫和的激動。
A gentle agitation is just a slight movement of the tray, and then the other thing we want is we want a randomness to the agitation because what can happen is as we move chemistry across an image, there's a memory that forms in how the paper's processed or how film is processed, so what you wanna do is just kinda gently just change your point of reference of how you're agitation, and then that's gonna cause the water to swirl in all sorts of random patterns and introduce fresh chemistry to it in a random pattern so you don't end up with these weird little lines that'll develop.
輕輕的攪動只是托盤的輕微移動，然後我們想要的另一件事就是我們想要隨機地進行攪拌，因為當我們在圖像中移動化學時會發生什麼，在紙張的處理過程中會形成記憶 或者如何處理膠片，所以你想做的只是有點溫和地改變你對你如何激動的參考點，然後這將導致水以各種隨機模式旋轉並在其中引入新的化學物質。 一個隨機的模式，所以你不會最終得到這些奇怪的小線，這些線將會發展。
And that's where the chemistry has settled then onto the print and it's been able to work certain edges of the paper more than other areas, so a constant, gentle agitation movement. I really, like I said before, it's meditative. There's a quality to this that's just kinda rhythmic and these are slower process than working quickly through a digital output, so kinda get used to the process, get used to the experience.
這就是化學已經沉澱到印刷品上的地方，並且它能夠比其他區域更有效地處理紙張的某些邊緣，因此可以進行恆定，溫和的攪拌運動。 我真的，就像我之前說的那樣，它是冥想的。 有一種質量，這只是有點節奏，這些過程比通過數字輸出快速工作更慢，所以有點習慣過程，習慣體驗。
它出現在定影之後發生的事情是在正常的化學過程中，當我們處理定影時，我們可以把它放在一個叫做 hypoclear 的東西中。或者一個 permawash，這個浴室做的是它是一個輕度浴，基本上只是幫助去除那裡的任何殘留化學物質，它將縮短最後的洗滌時間，並確保該定影劑不在印刷品中。 因此，我們今天不會在這裡做一個 hypoclear，基本上只是意味著這個版畫需要更長的洗滌週期，但是如果你是一個可以使用hypoclear或者你想購買hypoclear的人，你實際上可以得到它並且它會縮短 你的洗滌週期。 這不是機會或可能性。 我認為你能做到這一點的關鍵事項之一是決定你有多少空間。
So, now we go on ahead and go through the fix like that, and then, it will come out, same thing as before, it's gonna go through a drain drip cycle, and then I'll grab the next tray, we can just drop this in for the wash.
那麼，現在我們繼續前進並完成這樣的定影，然後，它會出來，和以前一樣，它會經歷一個排水滴週期，我會抓住下一個托盤，我們可以把它放進去洗。
F. 顯影步驟一: 水浴(檸檬酸鈉)
Okay, we've got our next same image. And what we're gonna do is put a little sodium citrate into the bath. So we don't need a lot. We just need to change the acidity value of the water. So we're just gonna throw a little sodium citrate in there. We'll agitate that just for a couple seconds just so it dissolves. What this is just gonna do is help clear the highlights. Now it's gonna be hard to see under the lights we're using, but it's just gonna give a little bit more, a little less residual tone's gonna sit in the highlight, it'll help clear out any of the residual information that was left there.
好的，我們已經有了我們的下一個相同的圖像。 我們要做的是在浴缸中加入少許檸檬酸鈉。 所以我們不需要太多。 我們只需要改變水的酸度值。 所以我們要在那里扔一點檸檬酸鈉。 我們會激動它只是幾秒鐘才會消失。 這將要做的是幫助清除亮點。 現在在我們正在使用的燈光下很難看到它，但它只是會給出一點點，稍微少一點的殘餘音調將會突出顯示，這將有助於清除剩下的任何剩餘信息 那裡。
That'll go just into that wash just like before, and it's gonna get a few minutes in that wash. 就像之前一樣，它只會進入洗滌狀態，並且在洗滌過程中會有幾分鐘的時間。
G. 調色
Now the other thing we can do with a Van Dyke that's pretty cool is we can introduce a toning factor component just like we did with cyanotypes. So we can come in and tone those and they tone to kind of a blue 'cause it's a gold toner. Have you put the toner in there yet?
現在我們可以用Van Dyke做的另一件事非常酷，我們可以引入一個調色因子組件，就像我們對氰顯影一樣。 因此，我們可以進入並調整它們，並將它們調成藍色，因為它是一種金色調色劑。
So this toner is the two components you get, the gold chloride and the ammonium thiocyanate. These two pieces mix together to create your gold toner and this can be staved and replenished like the other one can with the cyanotype, so you're gonna use those two chemicals together into a liter of water.
所以這種調色劑是你得到的兩種成分，氯化金和硫氰酸銨。 這兩個部分混合在一起形成你的金色調色劑，這可以像其他人一樣用氰顯影進行加工和補充，所以你要將這兩種化學物質一起用於一升水中。
The toning process, you can see the way we have the tray set up. Some toning processes require you to have the print dry, and then you come back and you do the toning process again. One of the cool parts about a Van Dyke is you can tone in the sequence of your process, so once this comes out of the initial wash, it's then gonna go into the toner.
在調色過程中，您可以看到我們設置托盤的方式。 一些調色過程要求您打印乾燥，然後您回來再次進行調色過程。 關於Van Dyke的一個很酷的部分是你可以按照你的過程順序調整，所以一旦這個從最初的洗滌開始，它就會進入調色劑。
So we're actually gonna tone it before we put it into the fixer. This is really kind of a nice part of this process because it saves you from having to come back into the dark room later, resetting up all the trays and redoing the process. Most toners will require a fixer again, so you'd fix the image, then you'd have to come back and fix it again after the toning, so it's really nice that we only have that at one step in the process.
所以在我們把它放入定影之前，我們實際上要對它調色。 這實際上是這個過程的一個很好的部分，因為它可以讓你不必再回到黑暗的房間，重置所有的托盤並重做這個過程。 大多數調色劑會再次需要定影，所以你需要定影圖像，然後你必須在調色後再回來定影它，所以我們在這個過程的一個步驟中只有這個非常好。
你可以看到更多的對比，所以這就是檸檬酸所做的，它只是給了我們一點點更具攻擊性。當我們考慮那種深沉，濃郁的黑色時，特別是Van Dyke工藝的一個方面是我們可以幫助某些紙張到達那裡，d-max通過引入一個輕微的酸性浴來清洗紙張然後再塗上它。 所以你可以使用檸檬酸浴，大約百分之一到五的檸檬浴。
What happens is if that paper gets a little bit of a citric acid introduced to it, you basically put it in a water bath like this with the citric acid, then you're gonna hang it to dry and it doesn't have to be completely dry, it just needs to be mostly dry, so just a dampness to it. And then you can coat it and then the paper has to fully dry before you would use it anyway, but that little subtleness of the citric acid helps create a deeper black in certain papers. The lanaquarelle paper will do that. BFK paper will do that. Platinum paper will do that. Revere platinum will do that.
如果紙張上加了一點檸檬酸，你基本上把它放在像檸檬酸這樣的水浴中，那麼你就要將它掛在乾燥的地方，它沒有完全乾燥，它只需要大部分乾燥，所以只是一個潮濕的。 然後你可以塗抹它然後紙張必須完全乾燥才能使用它，但是檸檬酸的微小的微妙性有助於在某些紙張中產生更深的黑色。 lanaquarelle 紙將做到這一點。 BFK 紙會做到這一點。 白金紙會做到這一點。 Revere platinum 會做到這一點。
So the toning, we're in the toner now, and this is, what we're looking for is it's gonna start to change subtly, components of the shadows and the highlights and it's gonna introduce a component of blue into the image. And so it doesn't change the image to be like a really deep blue, like some people think, oh, I can make a cyanotype like blue in the Van Dyke print. It's really more like a subtle introduction of a tonal shift in shadow and highlight towards a coolness so what you end up with is more almost like a split tone of a warm, cold relationship.
所以調色，我們現在正在調色劑，這就是，我們正在尋找的是它將開始巧妙地改變，陰影和高光的組成部分，它將在圖像中引入藍色成分。 所以它並沒有改變圖像就像一個非常深的藍色，就像有些人認為的那樣，哦，我可以在Van Dyke印刷品中製作像藍色的氰顯影。 它更像是一個微妙的陰影色調轉換和強烈的冷靜，所以你最終得到的更像是一種溫暖，冷酷的關係。
The longer it's in the toner, the more of an effect it will have, so usually I tone three to five minutes and I'm kinda watching for how it's affecting the print. It's a gentle agitation of kind of constant movement of that toner. And you wanna do this one face up, so that way you can actually see what's happening.
它在調色劑的時間越長，它的效果就越大，所以通常我會調到三到五分鐘，而且我正在觀察它是如何影響打印效果的。 它是對調色劑持續運動的溫和攪動。 你想要面朝上這樣做，這樣你就可以真正看到發生了什麼。
Certain times you'll want the process paper to be face down so you can help leak some of the chemicals down to the bottom of the tray, but when you're toning, you always wanna tone face up so you can actually watch the reaction.
某些時候你會希望處理紙面朝下，這樣你可以幫助將一些化學物質洩漏到托盤的底部，但是當你正在調色時，你總是想要面朝上，這樣你才能真正看到反應。
The Arches Platine is a great all around paper. It accepts toning well, it works with all the processes, so if you're gonna start, that's a nice, easy one to work with. There are certain papers though, you'll put them in the toner and you'll literally sit here for 20 minutes. And you'll be like nothing's happening, other ones you'll see in a couple of minutes. So you're not doing anything wrong or nothing's happening it's just that type of paper is a little more sensitive to the toner. Your toner will also expire over time, so as you run 10, 15 prints through the toner, you'll need to at some point replenish. So I'll let this go for one more minute and then we'll go ahead and move it.
Arches Platine 是一篇很棒的論文。 它很好地接受調色，它適用於所有過程，所以如果你要開始，這是一個很好，很容易使用的。 雖然有一些文件，你會把它們放在調色劑中，你會在這裡坐20分鐘。 你將會發生什麼事情，你會在幾分鐘內看到其他事情。 所以你沒有做錯任何事情或者沒有發生任何事情只是那種類型的紙張對碳粉有點敏感。 您的碳粉也會隨著時間的推移而過期，因此當您通過調色劑進行10次，15次打印時，您需要在某些時候補充調色劑。
We'll pull this out and we'll drop this into the fix.
我們將把它拉出來，然後我們將其放入定影中。
H. 定影中觀察
And then we'll turn on the studio lights so we can actually look at this print. But you can see how much I end up with a difference in the quality of the highlights in particular. We've cleared it in that citric bath, so it removed a bunch more of that brown pulled out. And, the highlight got a little more contrast, and then we added in the blue off of this print. So that's why I like the citric acid in there. And for years, I didn't use that, I just used a water bath and then when I learned you could make that bath a little more acidic. The one thing to check is the quality of, oh here you can see now. That weird growth on his face. That's the water droplet that hit.
然後我們將打開工作室燈，這樣我們就可以看到這個打印件了。但是你可以看到我最終對高光的質量產生了多大的影響。 我們已經在檸檬浴中清除了它，所以它刪除了更多的棕色拉出來。 並且，亮點得到了更多的對比，然後我們添加了這個打印的藍色。 所以我喜歡那裡的檸檬酸。
If this stays in the fix longer, you're gonna be okay, but eventually if you're in the fix too long, you will start to bleach out the print as well.
如果停留在定影時間更長，那麼你會沒事的，但最終如果定影的時間過長，也會開始對這個版本進行漂白。
I. 水的 PH 值
So one of the things to check is the Ph of your water. So if you've already got acidic water, if you're coming off well water or your city's water has a higher Ph level, you'll wanna check that 'cause you don't wanna over acidify your water. The other one that, cyanotypes are particular sensitive to, Van Dykes are sensitive too as well is the level of chlorine in the water. So if you have some chlorine, that's another thing to watch for in which case you might wanna use bottled water or distilled water from mixing up your fix.
所以要檢查的一件事就是水的Ph值。 因此，如果你已經喝了酸性水，如果你的水很好，或者你的城市的水有較高的Ph水平，你就要檢查一下，因為你不想過度酸化你的水。 另外一個，對於特別敏感的氰顯影，Van Dykes也是敏感的，即水中的氯含量。 因此，如果你有一些氯，這是另一件需要注意的事情，在這種情況下你可能想要使用瓶裝水或蒸餾水混合你的修復。
Most city water and pleasant drinking well water is pretty close to Ph neutral. I can't remember if it goes, we prefer water a little basic or a little acidic from a taste standpoint and I can't remember which is which. Usually they try to make the water pretty neutral. The other thing to watch for if you're on well water is the particulate that comes up and how hard the water is.
大多數城市用水和宜人的飲用水井非常接近Ph中性。我不記得是否它，從味道的角度來看，我們更喜歡水有點鹼性或有點酸性，我不記得哪個是哪個。通常他們試圖使水非常中性。如果你在井水上，要注意的另一件事是出現的微粒和水的硬度。
If you're in a city with hard water, you can end up with hard water stains and deposits and so rinsing oftentimes distilled water like when I'm doing film, we have hard water leave spots behind so I always try to rinse in distilled water.
如果你在一個有硬水的城市，你最終會得到硬水漬和沈積物，所以經常用蒸餾水漂洗，就像我在做膠片時一樣，我們有硬水留下斑點，所以我總是嘗試用蒸餾水沖洗 水。
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J. Q&A
Q1: Is stable before the fixer?
在定影劑之前穩定嗎？
A1: The fixer's gonna, yeah, it's stable at this point, 'cause it's a print-out process. The reason we run it through the fixer is when it hits the fixer, it stabilize for long term, and that was the problem that Herschel fixed for everybody, was they could get to this point, and then they'd come back a week later, a month later, two months later, and the print would have been faded. So the fixing at this point is the final stabilizer for the longevity of the print.
定影會，但是，它在這一點上是穩定的，因為它是一個打印輸出過程。 我們通過定影劑運行它的原因是當它撞到定影劑時，它會長期穩定，這就是Herschel為每個人修復的問題，他們是否可以達到這一點，然後他們會在一周後回來 一個月後，兩個月後，印刷品就會褪色。 因此，此時的定影是印刷品使用壽命的最終穩定劑。
Q2: Whereabout, well water, city water, where would you find out what the, how do you test that? How do you know in practice?
無論如何，井水，城市用水，你會在哪裡找到什麼，你如何測試？你怎麼知道在實踐中？
A2: You can get a Ph testing kit, and they're little strips of paper. Bostick and Sullivan actually sells a kit, and you can get a kit at Home Depot or Lowe's or plumbing supply stores will oftentimes have them. And it has little Ph pieces of paper and then you'll dip them into the water and the strip will change to a certain color, then there's a chart you can compare it to and it'll give you ballpark of how acidic the water is or Ph balance the water is.
你可以得到一個Ph測試工具包，它們是小紙條。 Bostick和Sullivan實際上銷售一個套件，你可以在Home Depot或Lowe's或管道供應商店購買套件。並且它有很少的Ph紙片，然後你將它們浸入水中，條帶將變為某種顏色，然後有一個圖表，你可以比較它，它會給你一個關於水是多麼酸的球場或Ph平衡水。
Q3: If you don't use the fix, how long does it take for the image to start to degrade?
如果您不使用此定影程序，圖像開始降級需要多長時間？
A3: It would be based on how much ultraviolet light it would get exposed to and the storage conditions would make a big difference on that.
它會基於它會暴露多少紫外線，存儲條件會對此產生很大的影響。
Q4: Could you use that as a creative process to make your image a little weathered?
您是否可以將其用作創作過程，以使您的圖像有點風化？
A4: Yeah, absolutely, there's also a, I saw on art exhibit a few years ago and it was for silver gelatin but they didn't basically fix it in the silver gelatin, so that'll fade over a couple of days, and the art exhibit was, if you were there at the opening, they flipped everything open and the image was there and literally over the course of the two hours of the art opening, you could start to see the image dissolve and fade away, and so the lack of permanence became part of that art exhibit and the discussion the artist was having was, these images were in relation to memory, and how does memory fade, how truthful is memory, does it last?
是的，絕對的，還有一個，我幾年前在藝術展上看到的，它是用於銀色明膠，但它們基本上沒有用銀色明膠固定，所以它會在幾天內消失，而藝術品展覽是，如果你在開幕式，他們翻開所有打開的圖像，並且在藝術開放的兩個小時的過程中，你可以開始看到圖像溶解和消失，所以缺乏永恆性成為藝術展覽和藝術家所討論的討論的一部分，這些圖像與記憶有關，記憶如何消失，記憶如何真實，它會持續多久？
So he was using the photographic medium which is oftentimes used for the idea that photography adds a permanence to that, so it was a play on that. But you could absolutely use that as a component. The other piece that would be interesting that I've never experimented with would be to see how much longer does it work if it's toned, if it's not toned.
所以他正在使用攝影媒體，這種攝影媒體經常用於攝影為其增添永久性的想法，所以這是一個戲劇。 但你絕對可以將它作為一個組件使用。 我從未嘗試過的另一件有趣的事情就是看它有多長時間才有效，如果它沒有被調色。
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