I should add I am not dissing the halftone as it is a very strong way of laying down precise colour that will stick. John Bentley's colour palette is beyond belief and accurate , I do not
think I will ever capture the clarity of this method. I just prefer the fresson, dye tranfer and gum over look.
As I am doing gum colour which may blend easier than the others as the layers just kind of sink into each other.
I have found a lot of intelligent thought in the books Dan Marguilis wrote about digital files. I remember the four courses I took with him were based on a simple premise that
all colour images have a DETAIL black image underneath with three colours over top. He would sharpen the black negative and slightly soften the colour negatives to get believable
look. He rarely sharpened any of the colour separation negative but rather let them blend into the colour.
I have taken this to heart and now my palladium negative is sharpened and holds all the image detail.
All the colour negatives are not sharpened .
Also the Blend If function is extremely important for tri toned over palladium, I just figured this out thanks to a thread on this site about separating tonal values.
This creates an interesting phenomenon much like un sharp masking which is surprising as we have made 10 x10 prints from original Iphone capture and the detail is extraordinarily sharp
within the image. This simple delightful surprise is very encouraging as I move up in size and will do tests to see how magnification of print size is affected by playing with the four negatives sharpness.
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