Can anyone recommend the type of 10" tablesaw blade that might be best
for cutting 1/8" and 1/4" acrylic sheets? I need to make several
acrylic boxes/tanks approximately 10x10x1 1/2.
Also, What sort of adhesive would you recommend for gluing the sheets
together? I'll be putting some photographic chemicals in the tanks.
(Separate tanks for silver nitrate, potassium cyanide, and sodium
thiosulphate solutions if any of that matters as far as the adhesive.)
Thanks in advance for any suggestions.
GOOGLE this group. This has been discussed in detail over and over and over
and over. :)
As far as the adhesive, the chemicals you listed are not going to effect the
adhesive. The solvent you use for the chemicals would be more of a deciding
EEk, potassium cyanide. Be careful dude.
Sodium thiosulphate is an antidote for cyanide poisoning...
Doug Miller (alphageek at milmac dot com)
Nobody ever left footprints in the sands of time by sitting on his butt.
And who wants to leave buttprints in the sands of time?
Even so, both taste awful! :-)
Seriously though, call the plastic and glue makers and ask them. There are
different grades of acrylic and glues for different uses. Easier to check
than it is to clean up a mess.
Nope. It's the real deal-potassium cyanide. Deadly stuff if not
handled properly. It's a fixer for ambrotypes and collodion wetplates.
The chemical you are thinking of is potassium ferrIcyanide which is a
pretty benign compound used as a bleach when toning photographs or as a
Interesting - How much fume control do you have to provide ? I've
often wanted to use sodium/potassium cyanide in electroplating baths,
but couldn't face the hassle of setting up the fume control I'd need.
Even with a commercial lab fume cupboard to hand, I still needed to
provide fume extraction directly above the bath.
What do you use as a stop bath ? Presumably the usual acetic acid stop
bath from modern B&W processes is the last thing you'd want just
before a cyanide solution.
I'll be doing this outdoors in the field using a portable darkroom which
I'm currently building. I plan to have a sort of French easel type
arrangement for the darkroom with a safelight window at top and sleeves
at the front ala a changing bag to access the the chemicals within and
coat and develop the plates. Strictly 19th century.
You're totally right about the acetic or any other acid potentially
mixing with the KCN as that would release deadly hydrogen cyanide gas.
This process does not use a stop bath though.
The developer however is acidic ferrous sulphate followed by a water
rinse, then KCN or sodium thiosulphate as fixer and another wash. (I
believe that a brief rinse in sodium thiosulphate would also neutralize
the cyanide by forming a thiocyanate compound. Also, I believe the
ferrous sulphate would react with the KCN to form potassium ferricyanide
which is not very toxic. IIRC, sodium thiosulphate and ferrous sulphate
are both used as antidotes for cyanide poisoning because of these
reactions. I'll check on that before I actually attempt to do the
process. Additionally, the cyanide is required as a fixer only for
ambrotypes and I'm planning to start with wetplate negatives which use
the benign thiosulphate as a fixer. I've enrolled in a formal workshop
to learn this process and the safety requirements I'll need to consider
before actually trying it. I'm quite aware of the potential for
fatality with this stuff and also realize a great number of
photographers went to the "final wash" as a result of cyanide and
mercury poisoning in the 1800s. I have a very healthy respect for this
As far as ventilation is concerned, I think the worst of it will be from
ether fumes. Ether and ethanol (Everclear) are mixed with the collodion
as the vehicle for the emulsion. The stuff evaporates so quickly that
the entire process of coating, sensitizing, exposing and processing the
plate must be done within about a 5-minute timeframe. Otherwise the
collodion hardens and becomes impervious to the processing chemistry.
Hence the name "wetplate" and the need for a portable darkroom for
As a photographer the wetplate process has always interested me and
especially now as film choices are becoming limited due to the popular
switch to digital cameras. As a novice woodworker it is giving me the
opportunity to expand my skills making the portable darkroom, a camera
and plateholder, developing tanks and racks and a bunch of related items
like shutter boxes and plate cases, tripod cradles and perhaps even a
wooden tripod. I'm enjoying blending the two and making very practical
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