I just finished a bunch of tri colour Gums, for Skip Dean a local photographer, these prints will be part of two shows, one in Vancouver during Capture and the other at my gallery in Contact Toronto.
I will say that the client if looking for realism, will never be happy with what I do, they should stick with inkjet, but for an abstraction away from reality Gum prints are the bomb.
Inkjet? It has all kinds of gamut issues! But I get your point. I'd personally love to see something that looks like a giant Autochrome.
faberryman - "perfect" might never arise; but "better" might easily be in reach if people asked the right questions.
Update on this thread... I had fun going over this one.... Calvin is offering workshops and is selling pigments , I use his brand and they are good, he has released a package on his work that to be honest is really difficult to navigate as he has
a lot of information and it is a bit of overload... A young dude has joined me who is great friends of John Bentley and is learning all he can about calibration and then on to digital stochastic negs, he plans to go to Spain to take a Calvin workshop, I
have met a younger dude in New York who has taken Calvin's workshop and is into photo gravure so I can honestly say that the group I am aware of working in carbon has spread beyond Sandy , Todd and John and it is quite interesting watching
the progress. I am still gobsmacked with gum over palladium so am sticking there, but with they new spectrometer and the new ortho film from Bergger we are calibrating the silver film off the Lambda to make contact prints in silver, gum, pd and are
trying to figure out how to lay down a stochasic dot onto this film that will hold the highlights in carbon..
Sounds fascinating, Bob. It was exactly there, at the stochastic hurdle, that Evercolor ran into its cul de sac. But that was a long time ago, so might not still be an issue today. I never did like the halftone look of commercial color carbon prints; but a rather coarse screen was deemed necessary to prevent interlayer bond failure.
I find it interesting that there is indeed interest. I will not be investing in new equipment to do the film but some of these younger guys may .. they are doing weekly research and reaching out to a lot of people.. I will update in awhile.
Bob,
The thing to keep in mind, from a commercial perspective of printing for someone else, is that color carbon is still just as complicated and time consuming as it was when John Bentley learned it from Tod Gangler, and to print at that level will still take a long time and a lot of dedication. Calvin makes this look simple, but to reach his level of print making will take literally hundreds of hours of work, if not thousands.
Sandy
For discussion and information about carbon transfer please visit the carbon group at groups.io
[url]https://groups.io/g/carbon
Here is link to a video Calvin just added on the use of earth pigments in color carbon.
https://youtu.be/QwLlVRC2r4U
Adjust your seat belts and take off when ready!!
Sandy
Last edited by sanking; 4-Oct-2020 at 19:01.
For discussion and information about carbon transfer please visit the carbon group at groups.io
[url]https://groups.io/g/carbon
Wow!
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
Bookmarks