Carbon Transfer Prints

[StoneNYC]

Stone, Sandy started this post for medium format and digital hybrid work flow image making. Digital negatives and such. I have not done this yet. I only use large format negatives and make my carbon prints from those negatives so it is not appropriate for me to post anything here.

I just re-read the original post, you're correct, my apologies I missed the "non-LF" work part...

[Curt]

A digital negative from a digital capture, until recently I would have thought it was a abboration of an alternate process. My latest trip to the George Eastman House reignited my optimism toward the future of photography. I see it in transition now, and as I struggled many decades ago to learn the Zone System by reading and studying the first edition of Ansel Adams photography series, in foot candles no less, I see new terminology and concepts that are just as foreign. These will become the "norm" as new generations embrace them.

The kernel or essence of the entire process is the imagination of the creator. Inspiration can drive one deep into complex problems and the results can be visionary. The print shown here is phenomenal! Carbon Transfer printing is definitely challenging but the rewards are beyond description.

A person who never made a mistake never tried anything new. – Albert Einstein

[sanking]

One thing to bear in mind is that while we are talking about carbon transfer prints we are not looking at the real thing. Rather, what you are seeing is a digital representation of the print, and of course digital representation privileges certain qualities of images (graphic quality, tonal values, color) more than qualities we would see in the print as object (surface quality, relief, reflection, etc.).

One might reasonably ask, if one can make a print with a inkjet printer with six or seven shades of permanent pigment by pushing a button, what is the point of taking the process a step farther and making a print with an alternative printing process like carbon or pt/pd?

The question could be answered in several ways. My answer is that I am able to do it, like the process of "hand making" a print, am interested in the long history of carbon transfer printing, and am fascinated by the surface qualities of the print as object.

Sandy

[Jim Fitzgerald]

Sandy, I can echo your reason as well. Something about using all that knowledge one gathers and then become inspired to mix pigments and create a hand made print regardless of the time involved. For me there is no other way. Beautiful work BTW.

[StoneNYC]

One thing to bear in mind is that while we are talking about carbon transfer prints we are not looking at the real thing. Rather, what you are seeing is a digital representation of the print, and of course digital representation privileges certain qualities of images (graphic quality, tonal values, color) more than qualities we would see in the print as object (surface quality, relief, reflection, etc.).

One might reasonably ask, if one can make a print with a inkjet printer with six or seven shades of permanent pigment by pushing a button, what is the point of taking the process a step farther and making a print with an alternative printing process like carbon or pt/pd?

The question could be answered in several ways. My answer is that I am able to do it, like the process of "hand making" a print, am interested in the long history of carbon transfer printing, and am fascinated by the surface qualities of the print as object.

Sandy

I've considered getting a pigment printer, to be able to make "normal" prints for clients who want a cheaper image, and then make "finer" prints for clients who appreciate the subtle difference in a handmade print.

[sanking]

Sandy, I can echo your reason as well. Something about using all that knowledge one gathers and then become inspired to mix pigments and create a hand made print regardless of the time involved. For me there is no other way. Beautiful work BTW.

Jim,

You as much as anyone would understand the joy of process. And as we know, things are not always perfect.

See attachment for one of the ways things can go wrong. This was one of my early work prints, made even after I worked out sensitizing and exposure. Still a long way from a fine print!

Sandy

[Jim Fitzgerald]

Jim,

You as much as anyone would understand the joy of process. And as we know, things are not always perfect.

See attachment for one of the ways things can go wrong. This was one of my early work prints, made even after I worked out sensitizing and exposure. Still a long way from a fine print!

Sandy

Sandy, you know as well as I do and the other fine carbon printers out there that there is an excitement that builds on the way to the final print. The failures we all have help us learn so much. When that final print comes it is pure heaven!

[Dinesh]

Sandy, fantastic as per usual.

It's amazing what one can accomplish when you remember to take the lens cap off.

[sanking]

Sandy, fantastic as per usual.

It's amazing what one can accomplish when you remember to take the lens cap off.

Good point about the lens cap. I have a friend from Toronto who missed out on some great shots of southern kudzu because he burned through three rolls of Portra before noticing the lens cap was on the camera. Oh well, Toronto is a big place so you probably don't know him.

Sandy

[sanking]

Another recent print. It is 17" X 23" in size and pure lamp black. The original capture was with micro four-thirds digital. This print took me a lot of gestation, and materials and work as I wasted 8-10 sheets of large tissue before getting the contrast and density just right. I call it Water Nymphs.

Sandy