Alt-Process Prints from Digital Negatives or Positives

[sanking]

Attached is a shot of a CMY carbon pigment print. Image size is 7.25 X 10.5", on 12X16" Melinex 339, acrylic sized.

It has taken a lot of fine tuning to get the transfer right, including decreasing soak time and total time of development, and adding some alcohol to the transfer water when mating the second and third image. Even with these changes the magenta and cyan images over the yellow are very delicate, and even 20-30 seconds of over-development, or + 2 or 3 degrees of development water, will result in the very thin layers of those reliefs separating in part from what is below. So I have to be very careful with the development bath, both in terms of exact time and exact temperature.

The image is another wall art/grafitti from Oaxaca, Mexico. Rather macabre, entitled "La vida empieza en donde la vida termina. Dios Nunca Muere." = Reality begins where life ends. God never dies.


Sandy

[bob carnie]

I like your colour work Sandy , hope to see them in person some day

Bob

[sanking]

Thanks Bob,

The work itself is pretty fascinating, but I have mixed feelings about the prints. I am often pleased with the result, but not at all satisfied at this point with consistency in terms of color balance. As you can see, most of the prints I am making are able to live in a fairly wide range of color so everything I am doing at this point is almost in the realm of the one-off and done.

Sandy




I like your colour work Sandy , hope to see them in person some day

Bob

[bob carnie]

Thanks Bob,

The work itself is pretty fascinating, but I have mixed feelings about the prints. I am often pleased with the result, but not at all satisfied at this point with consistency in terms of color balance. As you can see, most of the prints I am making are able to live in a fairly wide range of color so everything I am doing at this point is almost in the realm of the one-off and done.

Sandy







Sandy - One of the reasons I took on colour gum was the fact that the colour was not consistent if being judged by side by side inkjets... This week I am showing 45 prints all from different sources and photographers, who come at photography from unique vantage points. All the prints are either tri toned silver, or duo tone gum and in some cases tri gum.

I expect there will be some with huge lunch bag letdown when they see what I have printed (I did not let the photographers interact with this show on the printing) but what will be funny and I know from last showings of gum prints, people will come in and absolutely love the very same prints. This will confuse the photographer, but I hope it makes them pause and look deeper at the images.

In this show I can say there are two of the very best prints I have made in my career, one coming from a digital capture and the other from film capture.
John Bentley is very concerned about the colour fidelity matching his transparency and I cannot argue with his results , but I must say the chance of allowing the image take on its own unique character with your help is
something very rewarding.
It has been said that John prints rival the very best inkjets in colour fidelity and look, (he strives for this perfection and in most cased gets it )I personally do not want this ever to be said about my work. So I am prepared for the inevitable let down but excited for the absolutely fantastic.

It is so common place these days to make a perfect inkjet or dye coupler print that I think the viewing audience is saturated with quality and when they see one of these non perfect, layered textured prints it takes them aback. Some people are too quick to judge and IMO not the audience I am aiming for. I want people to look at the image and not leave it for a very long time- go to any current contemporary show and you will not find people resting on images as we once did looking at a Salgado enlarger print, or a Sheila Meistner Fresson.

I encourage you not to get caught up in perfection but keep printing the colour and seeing where it takes you . You have such a vibrant archive of images that I for one would love to see one off not perfect colour alongside your perfect carbons we all have seen and love.
The last couple of years have shown me there is no subject matter that will not work, in some cases it takes me about four try's and a lot of paper to figure out how to represent some images.

I have just taken on a show in September of my solarized colour and black and white dresses, and I think I will completely enjoy playing with colour and density and I know for sure they will not be perfect.


Bob

[Len Middleton]

Bob,

Looking forward to seeing the final prints of the dresses. Knowing the dress designer, I think she has a whimsical outlook with some of her designs and will enjoy the use of gum of the dress images.

Keep us posted of when and where they are to be shown so we get a chance to see them.

Best regards,

Len

[bob carnie]

Bob,

Looking forward to seeing the final prints of the dresses. Knowing the dress designer, I think she has a whimsical outlook with some of her designs and will enjoy the use of gum of the dress images.

Keep us posted of when and where they are to be shown so we get a chance to see them.

Best regards,

Len

Thanks Len

I just put the second coat of blue/mag/lampblack mixture on them and am almost finished washing out, I am quite happy with some of them.

[sanking]

.......
John Bentley is very concerned about the colour fidelity matching his transparency and I cannot argue with his results , but I must say the chance of allowing the image take on its own unique character with your help is
something very rewarding.
It has been said that John prints rival the very best inkjets in colour fidelity and look, (he strives for this perfection and in most cased gets it )I personally do not want this ever to be said about my work. So I am prepared for the inevitable let down but excited for the absolutely fantastic....
......
Bob

I don't have any interest in color fidelity that would match a transparency or a specific white balance with a digital image. What I do want, however, is the ability to print very close to the color fidelity I see on the monitor, after I have crafted the tonal values and color balance in accord with my vision of the scene. And, I want to have enough consistency with my process to be able to make another print that comes close to the original in terms of color balance and the disposition of tonal values. And I am getting there with three-color carbon, but slowly.

Attached is a .jpeg of another three-color carbon print I made this past evening. This was the first test print after printing the first color separation set, and is very close to the digital file. Image size of this print is 7.25" X 10.5", transferred to Yupo with the single transfer process, Y>M>C.

Sandy

[bob carnie]

Hi Sandy

So how are you finding the negatives , I feel that I am getting good resolution with inkjet negatives and good colour when pressed to match.. This is not how Todd Gangler and John are making their negatives but relying on stochastic negs.

Also are you printing one layer on top of each other onto Yupo in register, if not when you say single transfer process I am wondering how you are doing this... do you have three separate tissues that are transferred one after the other to combine to make your colour image.?

I am getting really nice registration without aluminum by pre shrinking , better than I imagined and for me this would be great as it saves the aluminum step.

[sanking]

Bob,

I have no problem with inkjet negatives. Inkjet negatives are actually stochastic negatives so they have some of the characteristics of stochastic negatives made with imagesetter machines. But with a lot less hassle. People who began working with one kind of technology often have a lot of trouble adapting to another.

I am printing on the Yupo with single transfer exactly like one would print on polyester for double transfer, except that the reliefs are printed in their final order Y>M>C instead of C>M>Y as would be needed for double transfer where the image would be flipped to a final support paper. I am not using a K as it is not needed for shadow density in color carbon. I am also working with double transfer to paper, though I not shown any of these prints yet. I am including here the text of an article I published in Silverfast some years ago on color carbon where I describe Tod Gangler's method of transferring and developing the colors. John Bentley does the same thing. I am doing pretty much exactly what Tod describes, just in the order Y>M>C for single transfer, and of course without the K.

For various reasons pre-shrinking is not a viable option for carbon, nor is developing a carbon on paper adhered to aluminum.

Sandy


Typical Work Flow for Making Color Carbon Prints
To give the reader some idea of the amount of work that goes into making a color carbon print here is a condensed description of Tod Gangler’s working procedures. These procedures would be fairly typical of most people working with modern pin registrations systems. Modern color carbon differs from traditional forms of color carbon and color carbro in that pin registration is used instead of hand registration, printing is usually done with digitally produced separations, and the system is CMYK rather the CMY.
Steps
1. Prepare the pigmented gelatin emulsions in cyan, magenta, yellow and black. These are prepared in advance in large batches, each batch taking one full day of work. The emulsions are pre-sensitized and coated on polyester sheets.
2. Make the separation negatives. Original negatives or transparences are scanned on a drum scanner, edited in Photoshop with special ICC profiles, and then outputted as contact size separations with an imagesetter at 3600 dpi.
3. The CMYK emulsions are exposed in contact with the separations in pin registration in a vacuum easel.
4. Prints are made using the double transfer system, so the CMYK color reliefs must first be developed on a temporary support. For this Tod uses a sheet of 10 mil polyester which has been sized with hardened albumin.
5. The cyan pigmented emulsion is then wetted and rolled into contact with the double transfer support using a ping registration system. The excess water is rolled out and the sandwich is set aside for about five minutes. Development is carried out by immersing the sandwich in a tray of water at 120F. After a minute the backing sheet is pulled off and the image on the temporary support is gently agitated to remove the unhardened emulsion. Once development is complete the cyan image on the temporary support is placed in cold water to harden and the gelatin, and then set aside to dry. Once the emulsion is dry, the process is repeated with magenta, yellow and black pigmented emulsions, each transferred, processed and dried in register on the temporary support.
6. The final step is transfer of the image on the temporary support to a watercolor paper. Both the watercolor paper and the image on the temporary support are first coated with clear gelatin, and allowed to dry. Once dry, the final support and temporary support are placed in a tray of cold water and brought together emulsion to emulsion. The sandwich is then removed from the water, placed on a glass table, carefully squeegeed to remove excess water, and then set aside to dry. When dry the temporary support is peeled from the image, which at this point has a gloss surface. The image is now wetted again and allowed to air dry, which removes the gloss and gives it a final luster surface that is very attractive.



Hi Sandy

So how are you finding the negatives , I feel that I am getting good resolution with inkjet negatives and good colour when pressed to match.. This is not how Todd Gangler and John are making their negatives but relying on stochastic negs.

Also are you printing one layer on top of each other onto Yupo in register, if not when you say single transfer process I am wondering how you are doing this... do you have three separate tissues that are transferred one after the other to combine to make your colour image.?

I am getting really nice registration without aluminum by pre shrinking , better than I imagined and for me this would be great as it saves the aluminum step.

[sanking]

Bob,

Attached is a .jpeg of an image I am developing with the double transfer method. In this case the Cyan goes down first, next the Magenta, then the Yellow. All of this is done in register. You can see the registration platform inside a 16X20" tray. The platform is made of 1/8" Lexan, and has pin registrations marks on the side for the Stoesser punch. To use I punch the temporary support, either polyester or polyvinyl, and secure it to the pins. The tissues are exposed in register and transferred in register to the platform, then developed. The temporary support stays attached to the platform until all three images have been developed. The developed reliefs must dry before the next relief can be transferred and developed.

In the image attached you see a part image, in which I have already transferred and developed the cyan and magenta tissues. The final tissue, the yellow, will be exposed and developed over what you seen when the previous sandwich is dry. Once the yellow tissue goes on and is developed and dried I will transfer the sandwich to a sheet of cotton rag paper coated with gelatin. This is done in cold water so the gelatin coating is not hardened so that it can expand and come into contact with the relief. All of this is done as described in the previous message.

Sandy

[Erik Larsen]

Really vibrant Sandy, these images are gonna make a nice series!

[Erik Larsen]

Somewhere in west Texas. Gum over pt/pd. Forgive the iPhone reproduction it does the print no justice.
https://uploads.tapatalk-cdn.com/20170530/df02264808fe11217a44ea2f8513cb8c.jpg

[NedL]

Very dramatic photograph, I'll bet it looks beautiful in person!

[sanking]

Zhangjiajie National Park, China. Late October, 2016. We traveled four full days by car from Nanjing and back to get there, and stayed in the park for nine days, with heavy rain and fog all day, every day, with the exception of two times late in the afternoon, including when this image was made. Fantastic place, but the weather gods were not with us.

16X23" carbon transfer print on gelatin-albumen sized Canson watercolor paper. Digital capture with a Sony a7r, printed in carbon with a digital negative made with custom QTR profile and an all gray ink set with an Epson 7800 printer.

Sandy

[bob carnie]

Here are some of the works I have been doing lately .

these will be part of a Show we will Auction off in November.. 166378166379166380

All are Duo Tone Gum Prints.

[sanking]

Here are some of the works I have been doing lately .
All are Duo Tone Gum Prints.


Nice work, Bob!

Are you aware that your patersoncarnie.com domain name is for sale?

Sandy

[bob carnie]

Nice work, Bob!

Are you aware that your patersoncarnie.com domain name is for sale?

Sandy

Yes , I dropped the site in favour of alternativephotoservices.com I should remove from my signature line.

thanks

Bob

[David Lobato]

Zhangjiajie National Park, China. Late October, 2016.

Sandy, that is excellent.

[sanking]

Sandy, that is excellent.

Thank you, David. Zhangjiajie is a fantastic place, even more interesting than the Yellow Mountains. It is the place, BTW, where much of the movie Avatar was filmed. In fact, a common name now for the place is the Avatar Mountains.

Just wished the weather had been more cooperative as we spent a lot of time huddled in the hotel!! But I did take advantage of the down time to do some writing that I had been putting off.

Sandy

[Erik Larsen]

Here are some of the works I have been doing lately .

these will be part of a Show we will Auction off in November.. 166378166379166380

All are Duo Tone Gum Prints.

These are fantastic Bob! How did you get the negs? These will be very collectible I would think?

[bob carnie]

These are fantastic Bob! How did you get the negs? These will be very collectible I would think?

Hi Erik

I will post more - I am working with a friend who sourced out each photographer and we are able to produce this one off show , in total there are 48 different images
and in November we are auctioning off one of each images. Total 16 different photographers some with multiple images in the show.

I made the negatives from their supplied film, these particular set of images are made with my Lambda silver negatives and duotone gum bicromate.

I am getting very good response to this work and it encourages me in my own work, as the more I make for others the more $$ I have to make my own work. I have a two person
show coming up in September at Propeller Gallery here in Toronto.. It will be the first time I show a series of gum prints (dresses) . I will post them as well , I am actually pretty
proud of them as they meet my approval after 8 years of testing to get to this point.

166398 Gum Bichromate Print
166399 Gum Bichromate Print
166400 Silver Gelatin Lith Contact Print

bob

[bob carnie]

Here are two from my upcoming show

Hanamuhle Platinum Rag Duo Tone Gum Bichromate.. Solarized 8 x10 film .. Single film separate coatings
166403166404

[jnantz]

thank you for posting these bob
these are beautiful, and i am sure they look amazing in person

[Erik Larsen]

thank you for posting these bob
these are beautiful, and i am sure they look amazing in person

I agree, I really like the look of your current printing Bob. It is very distinctive, quite unique I think. What sizes are the dresses printed at?

[bob carnie]

Thanks John and Erik

these are printed at 16 x20 eventually when I get my plate burner , one size bigger they will be about 18 x 24 .

Here are two more, I am doing 12 like these and 12 full colour of the Solarized Dresses for a show in September.
166443
166444

Lately Erik I have been absorbed with Gum Only and I am not using Palladium, the Celeberty Images are mostly Gum.

I love the ability of coating two layers and revealing the bottom layer with the longer soak and a bit of brush and water work.. The Hannamuhle Paper is really well suited for Gum
as well with a good soaking prior to printing the shrinkage allows good registration with two coats at the size I am working on , but when I go three layers I am getting a slight mis registration
so I will be using metal for tri colour , I found a much more aggressive mounting solution (I hope) which will allow me much flexibility. But pre shrink I feel is mandatory and really shaking the shit out of the pigments , gum , dichromate is also giving me a very fast workflow, I can coat 16 sheets and print them in one day and then next day do the second coat. Allows me to work through a lot of negatives and the physical volume of exposures and washouts is actually making me much more aware of this wonderful process.

Bob

[bob carnie]

thank you for posting these bob
these are beautiful, and i am sure they look amazing in person

They may be coming to New York for a showing , stay tuned , not sure yet but a possibility.

[jnantz]

can't wait if that happens please let me know !

[Erik Larsen]

I'm impressed with the detail you are getting with no pd layer and only 2 coatings for a full scale print, a real time saver! You've really got it mastered

[Andrew O'Neill]

Carbon transfer over Kallitype

https://farm5.staticflickr.com/4288/35689234146_6970db17ba_b.jpg (https://flic.kr/p/WnJDVd)Carbon Over Kallitype (https://flic.kr/p/WnJDVd) by Andrew O'Neill (https://www.flickr.com/photos/62974341@N02/), on Flickr

[Ricardo de Oliveira]

170149
First ok gumoil. The original is not so grainy. Maybe is the scanning process...
I had already rendered it in cyanotype and carbon but that's my fav.
Loving the process :)

[Erik Larsen]

Gum over Van Dyke on Kozo paper. Please forgive the iPhone reproduction!
https://uploads.tapatalk-cdn.com/20171015/46be35180e0f2561c15d89505d10ae8f.jpg

[Erik Larsen]

Straight Van Dyke on Kozo. 35mm tri x, very grainy!
https://uploads.tapatalk-cdn.com/20171015/a61c08dcc051f5e7852ad10f5f1b1a35.jpg

[NedL]

Gum over Van Dyke on Kozo paper. Please forgive the iPhone reproduction!
Very nice! This is somewhere along the Colorado River?

[Erik Larsen]

Very nice! This is somewhere along the Colorado River?

Thanks Ned, it's near Moab ut.

[Erik Larsen]

iPhone in all it's glory[emoji849] van dyke on Kozo
https://uploads.tapatalk-cdn.com/20171029/de5a34638e8cfcb12900bd55f7ae4dba.jpg

[NedL]

van dyke on Kozo Very cool!

[Peter De Smidt]

Fun stuff, Erik. Nice work!

[Erik Larsen]

Thanks guys, the photo was the only thing I caught that day unfortunately

[Erik Larsen]

Palladium toned Van dyke on hahnemuhle paper. 8x10 fp4.
I left the water hose on in my backyard by mistake and it leaked slowly into the grass creating this. Please forgive the iPhone reproduction!
https://uploads.tapatalk-cdn.com/20171126/95bfd4ffa8077444091b51efbee29638.jpg

[sanking]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy

[Erik Larsen]

Just incredible Sandy! Straight albumen sizing, or albumen over gelatin?

[sanking]

Thank you, Erik.

Sizing was actually albumen plus gelatin with the so called GAD method described in the files on the carbon forum.

Sandy

[andrewch59]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy Amazing Art!

[CreationBear]

Live oak tree at Middle Place on Ossabaw Island.

That's a print I'd love to see in person! I seem to remember you saying (regarding Wayah Bald) that traditional prints of scenes in the Southern Appalachia's sometimes seem to fall short--the texture and tones hinted at here make me think a carbon print might better convey some of the experience.

[jon.oman]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy

Very nice image Sandy!

[paulbarden]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy

I'm impressed. Beautiful piece!

[Louis Pacilla]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy

Man oh man Sandy this is simply terrific! Just has such a soft Southern feel to it but w/ great detail.

[sanking]

Hi guys,

Glad you liked the image of the old oak on Ossabaw Island. The light was very soft and IR capture allowed me to capture details in the sky that would not have been seen with only visible light. It was kind of a unique lighting situation, and a situation where I was fortunate to be at the right place at the right time with the right equipment.

Sandy

[Pere Casals]

Very nice image, viewing the real print should be impressive !

[scheinfluger_77]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy

Pah—lease, don’t apologize. Your work always inspires.

[wager123]

It truly does after visiting and see Sandy work in person I couldn't wait to start working again. so much I went and bought two new to me cameras.

[Ken Lee]

Live oak tree at Middle Place on Ossabaw Island. Image capture made in the rain with partial clearing in the sky to reveal clouds. Nine frame stitch from Sony a7r II converted to IR, final about 200 mp in size. Carbon print 16X23" on 20X25" albumen sized art paper. Printed from a digital negative. The low resolution .jpeg does not do justice to the print as detail is pretty incredible.

Sandy

Bravo !

[Vaughn]

I have seen the presence Sandy's work has on the wall. Excellent!

[sanking]

Thanks to Vaughn for his generous comment about my work.

Attached is another image of the same oak tree on Ossabaw that was in an exhibition at Hayward last year near the beginning of Vaughn’s artist in residency at PhotoCentral. The tree is the same one in the image we are currently talking about, though taken some years ago, and from another point of view.

And now, a lot more information than you bargained for.

Middle Place on Ossabaw Island is near the north to south road on the island, said to be one the oldest in continuous use in the US. Charles Kuralt did a segment about this road in his on the road series. The road dates from about 1720 when the island was first logged for the live oaks to serve the shipping industry.

Middle Place was also the center of a live off the earth experience called the Genesis project that lasted from about 1970-83. Left from that project are several building near the old oak tree, and a bunch of abandoned VW campers from the 1970s and 1980s.

There is also a scene that took place in Middle Place in the film, “Sherman's March: A Meditation on the Possibility of Romantic Love In the South During an Era of Nuclear Weapons Proliferation,” a documentary written and directed by Ross McElwee, that won the grand prize at the Sundance Film Festival in 1987. https://en.wikipedia.org/wiki/Sherman%27s_March_(1986_film) In the scene from Middle Place one of the female members of the Genesis project, Winnie, is seen picking ticks from her naked body while sunbathing, less than 50 yards from the old oak tree, just northeast of a branch of Buckhead Creek. https://mapcarta.com/20774508

The old tree itself is several hundred years old, which means that it predates the logging in the early 18th century. It is the largest living creature by far on the island, and I am fortunate to have had the chance to spend some time under its branches.

Sandy

[Barry Kirsten]

I've also had the privilege of seeing Sandy's work 'on the wall'. Inspirational!

[sanking]

A direct carbon print made with tissue pre-sensitized with a ferric salt.

Image is somewhere near Xian, China

An unexpected result, kind of like Fresson without all the washing with saw dust. The process of iron sensitizing is capable of giving smooth and sharp results, here I just failed to get the pigment thoroughly mixed in the solution. But this would be entirely repeatable I believe by using powder pigment. Scan has some weird blurriness, but that is due to the fact that the carbon print is over a sheet of white paper, which is giving reflections.

Sandy

[Andrew O'Neill]

Very interesting... Ferric Salt??

[Andrew O'Neill]

175330

175333

[sanking]

Very interesting... Ferric Salt??

Yes, ferric salts include compounds such as ferric citrate, ferric ammonium citrate, ferric ammonium oxalate, ferric oxalate, etc. They are primarily used as light sensitive compounds in processes like cyanotype, pt/pd, vandke, kallitype, etc. where their use has been well documented in photograhy.

The ferric salts have also been used to tan and harden gelatin and have some history of use in this area of photography with colloid processes. The Chiba system is one example of their use in gum and carbon printing, though my experiments with the ferric salts and carbon are following a very different work flow.

Sandy

[Andrew O'Neill]

Interesting. Since I do make Kallitypes, I have Ferric Oxalate on hand. Thank you.

[sanking]

If you decide to try it, just try your normal carbon tissue formula, but add 2% - 5% of ferric oxalate to thd pigmented gelatin before you coat. First mix it in water to dissolve, which from memory can be a bit difficult with ferric oxalate. I have not experimented with FO so I have no idea how it will work.

Coat your tissue on a clear polyester sheet (fixed out film, lith tape, etc.) and dry in the dark.

When the tissue is dry, expose through the base. Do not expose directly on the tissue and transfer, this will not work with ferric carbon.

Develop for 2-5 minutes in a 1/2% to 1% solution of hydrogen peroxide, wash for a minute or two, then place in the warm water bath as you normally do with carbon to wash off the soluble gelatin.

It should be possible to transfer the carbon relief on the polyester base to a final paper support, but I have not gotten to that point yet.

I will be interested to hear of your results.

Sandy

[Andrew O'Neill]

Very interesting... thank you for your directions, Sandy. I'll have to find some acetate...
What is the role of hydrogen peroxide?

[Andrew O'Neill]

I also have some ferric ammonia citrate... maybe I should give that a try. Ferric Oxalate is a PITA to get into solution.

[sanking]

I also have some ferric ammonia citrate... maybe I should give that a try. Ferric Oxalate is a PITA to get into solution.

I have used ferric ammonium citrate and ferric ammonium oxalate. Both worked well and go into solution easily. The formula I am now using is a slower than dichromate and diazo senstized carbon, but it may be possible to modify the ingredients to get faster cross-linking.

Sandy

[Erik Larsen]

A little fly fishing on the Gunnison river. Van Dyke on HPR.
https://uploads.tapatalk-cdn.com/20180624/be1193e6913b3b7dbddea46c34844074.jpg

[Louis Pacilla]

A little fly fishing on the Gunnison river. Van Dyke on HPR.


I really dig this image Erik. BIG TIME!

[Erik Larsen]

I really dig this image Erik. BIG TIME!

Thanks Louis, I think of Clint Eastwood if he fly fishes

[dpn]

11x15 Cyanotype with a tape-transfer overlay. A fun accident, but it matches the subject's personality (and educational background) well.https://uploads.tapatalk-cdn.com/20181009/917c5bf41c7e92676489b3624bfcd3df.jpg

Sent from my Pixel 2 XL using Tapatalk

[Andrew O'Neill]

189945


Kilby Mill. Autumn.
Carbon Transfer. Shot on 120 Bergger Panchro 400. Digi neg.

[NedL]

Kilby Mill. Autumn.
Carbon Transfer. Shot on 120 Bergger Panchro 400. Digi neg.

Feel like I've seen this before, maybe in color? But not this version. Very nice!

[Andrew O'Neill]

Thanks NedL! I don't think I've shot this in colour, but I have posted various versions of this mill in the past.

[ndg]

It's been a while!

194420

1935 Packard 1207 V12 Convertible Coupe"
A Gumoil Print on Fabriano Artistico paper with Sennelier carbon black oil paint.

[NHE]

Palladium print on HPR. Original file from Sony A7RII, negative printed on Pictorico using a Canon Pro-1000


https://www.dropbox.com/s/6hc979ivahoq0j6/Photo%20Aug%2019%2C%2010%2005%2054%20PM.jpg?raw=1

[ndg]

“Chiasso dei Baroncelli, Florence, Italy”
- a 10” x 12” Lith Print

Paper - Expired Forte Polygrade V FB
Developer - Moersch SE5
Digital negative.

https://uploads.tapatalk-cdn.com/20190911/4b67802cf11474b65a0f87f6ff9f4ae9.jpg

[ndg]

“Portraits from the Bluegrass No. I”
- an Oil Process Print on Fabriano Artistico paper using Charbonnel Black Etching ink.

https://uploads.tapatalk-cdn.com/20190918/187223cddc896123dfd43573bc23b22c.jpg

[Tin Can]

Impressionistically great!

[ndg]

Impressionistically great!

Thanks!

[jjames100]

Was the kozo sized with ? I want to print Van Dyke on vellum and wonder if Gamblin PVA would be better than gelatin hardened with Formalin. Any opinions?

[Monty McCutchen]

A little fly fishing on the Gunnison river. Van Dyke on HPR.
https://uploads.tapatalk-cdn.com/20180624/be1193e6913b3b7dbddea46c34844074.jpg


A wonderful photograph. Original and printed to perfection.

[Colin Graham]

http://colinflanarygraham.com/darkshop/public_html/darkshop/wp-content/uploads/2012/12/Nesjaja-Hatali_ESCurtis.jpg

I did a series of carbon transfers from Edward S. Curtis prints (Library of Congress scans) (http://www.loc.gov/pictures/resource/cph.3g08918/?co=ecur) a few years ago, which was a nice break from printing my own stuff.

[Tin Can]

I like it!

Let’s see if the others do

5 years ago I posted that I had done something similar but did not post the image.

I was pilloried...

[Colin Graham]

Pilloried for what, printing from Library of Congress scans? Curtis's LoC scans are in the public domain. https://www.loc.gov/rr/print/res/369_curt.html.
Anyway, the project was just for my own edification, not for the marketplace.

[Tin Can]

I understand we are free to use LOC sources.

The 'group' here sounded off because I wrote about copying an image on film for practice in my own home which was never seen by anybody.

Was what they disliked. Loudly

Thought Police!




Pilloried for what, printing from Library of Congress scans? Curtis's LoC scans are in the public domain. https://www.loc.gov/rr/print/res/369_curt.html.
Anyway, the project was just for my own edification, not for the marketplace.

[Colin Graham]

http://colinflanarygraham.com/darkshop/public_html/darkshop/wp-content/uploads/2012/09/ducky.jpg

Ziatype (K) over inkjet (CMY). Separations made in PS from a digital camera photo.