post alternative techniques

[Tin Can]

Look at post 3304 I added it to my last post and you may of missed the reference to the link.

Post 3304

Got it, thanks!

I also downloaded and locally saved the PDF!

[Emil Schildt]

so this is how it goes: Primer on the backside of a canvas - Oil Paint applied and dried. Liquid emulsion and finally finished using Oil Paint again...

(Painted with light on pol 665)

[bob carnie]

So lately I have been thinking about a photo project that involves American Cities and Canadian Cities that are situated on the waterways that separate us. Specifically the Great Lake Cities but as well the St Lawrence waterway.

I want to leave behind a colour series of these cities, and I want to do it in tri colour pigment prints. for future generations to see where we lived,worked and played before the cyborgs come and force us underground.

I am currently thinking that lugging around a 4 x5 camera is really a PITA and I would like to involve my family with visits to each city , Ball game, Evening outs, and get to know each city a bit.

I think I could take a film camera like a Leica or a digital monochrome(if I win the lottery) and expose three separate exposures through separation filters to record the red, green and blue wavelengths.
I then think that either I scan the three exposures that I took with film and make separation films that I can then multiple print to get back a full colour image. Using the monochrome would eliminate one step of scanning.

I know there are those here who do expose three filter images and then recombine them in photoshop to make inkjet prints, are there those of you here doing somewhat what I am thinking on doing.?? if so are you willing to elaborate
on your methods, and how you end up with permanent prints.

btw the images I am envisioning are static and very deep tonalities, no or little movement.

[SergeiR]

so this is how it goes: Primer on the backside of a canvas - Oil Paint applied and dried. Liquid emulsion and finally finished using Oil Paint again...

(Painted with light on pol 665)

this is fantastic, Emil.

[basiltahan]

Bob, with the 1 mil layer it's just as sharp (at least printing platinum or gum on typical papers). The only downside is that the 1 mil plastic has a fair amount of static attraction, so it's a pain to cut pieces from the roll, though they do last quite a while. I suspect you could go with a thicker film and still maintain sharpness.

Hi Denny,

What light source are you using with the 1 mil plastic "protective" sheets? I'd like to use them (printing Ziatypes) but I use a bank of UV tubes and the angle of incidence from the outer tubes to the print is quite oblique. Unless I have very tight contact, I don't get sharp prints.

The sun works much better, but I'd like to have more control of exposures.

Thank you.

[Denny]

Basil, I'm also using a bank of UV tubes, but I maintain tight contact with a vacuum frame. I find the vacuum setup very helpful for maintaining contact and sharpness when printing on heavy weight papers, especially with prints larger than 8 x 10 inches.

[basiltahan]

Basil, I'm also using a bank of UV tubes, but I maintain tight contact with a vacuum frame. I find the vacuum setup very helpful for maintaining contact and sharpness when printing on heavy weight papers, especially with prints larger than 8 x 10 inches.

Thank you so much.

What vacuum frame do you use? Did you make it or buy it? I would love to have one 20x24"!

[Emil Schildt]

Big exhibition coming up - so busy doing something...

painted with light - liquid emulsion on the back of canvas - hand coloured using oil paint (some gold bronze which proved almost impossible to photograph...)

70c110cm

[mono]

Fantastic, Emil!
I always admire your work and creativity!!

[sanking]

I know there are those here who do expose three filter images and then recombine them in photoshop to make inkjet prints, are there those of you here doing somewhat what I am thinking on doing.?? if so are you willing to elaborate
on your methods, and how you end up with permanent prints.

btw the images I am envisioning are static and very deep tonalities, no or little movement.

This process is quite feasible.

For shooting you would make three exposures, one through a Red #25 filter, and label this as the Red/Cyan exposure. You would make another exposure with a Green #58 filter, and label this as the Green/Magenta exposure. The third exposure would be through a Blue #47 filter. You would have to work out exposure time for each filter, which will vary some by film type and lighting conditions. In most cases you need about +3 for the Red and Green filters, about +2 for the Blue.

If working with roll film you would just develop, scan the records, and then equalize contrast and density in Photoshop.

After scanning you load the three records in Photoshop with File>Scripts>Load Files into Stack, and check the auto align box.

Then you create a new RGB file, as large as the largest of the color records, select the R, G and B records and copy them into the appropriate color channel of the new RGB file, Red into Cyan, Green into Magenta, and Blue into Yellow. Now you have a full color RGB file that you can edit as you choose.

Sandy