post alternative techniques

[bob carnie]

Hi Andrew, what dilution are you using for the carbon size? Carbon over kallitype sounds very interesting! It seems it would enable you to bring in delicate highlights with the kallitype that carbon sometimes struggles with. I would love to see some examples

good observation, I wonder if Sandy has ever tried one over the other?

[Andrew O'Neill]

Close up showing carbon's relief. I love the Kallitype's subtle rendering of high values... much better than what carbon transfer can do. I'll definitely explore this further.

Carbon Over Kallitype_Detail1 by Andrew O'Neill, on Flickr

[Erik Larsen]

good observation, I wonder if Sandy has ever tried one over the other?

It seems to have potential, but I'm struggling to picture trying register the carbon tissue under water? Perhaps Andrew will elaborate

[bob carnie]

If he is doing the carbon in reverse would he not have to figure out how to transfer the carbon to the finished Kallitype that would have been registered to the Kal neg and as well the carbon..

I am interested as well, not going to go there but could be a wonderful look

[Erik Larsen]

If he is doing the carbon in reverse would he not have to figure out how to transfer the carbon to the finished Kallitype that would have been registered to the Kal neg and as well the carbon..

I am interested as well, not going to go there but could be a wonderful look

I'll try anything once!

[Christopher Barrett]

Originally shot on Portra 160 4x10. Inkjet neg at 8x20. Printed on the new Hahnemuhle paper. 3 drops platinum to 10 palladium. Developed in Ammonium Citrate.

[Andrew O'Neill]

Stonehenge paper was preshrunk in boiled water. It shrunk 3mm in one direction. I stuck it in boiling water again, but no more shrinkage. This paper needs to be acidified, so it received it's usual bath in sulfamic acid.

Two digital negatives were used, one for the kallitype and one for the carbon tissue. I used my usual profiles... but they will have to be modified for this process after viewing finished print.


Registration was very, very simple. A heavy piece of plexi with two pins stuck through from the bottom side. You can see the registration marks on the finished print. The negative is taped to the tissue, registration marks are carefully poked with a pin (same size as pins on the registration board) Once exposed, the kallitype is placed on the registration board pins facing up. The exposed tissue is placed on the pins facing down. Both slipped into the mating bath for determined time. Pulled out, squeegeed, 30 minute wait time. Then the sandwich is pulled off the pins and placed in development bath.

I've been doing carbon transfers for 7 years and always struggled with highlight detail, especially when using digital negatives. This seems to solve that problem and add a new dimension that I'm digging. My first attempt was a bit on the contrasty side, so I will work it to get a much better balance. Once I've nailed it, I'll move on to my batch of more costly papers.

[bob carnie]

Stonehenge paper was preshrunk in boiled water. It shrunk 3mm in one direction. I stuck it in boiling water again, but no more shrinkage. This paper needs to be acidified, so it received it's usual bath in sulfamic acid.

Two digital negatives were used, one for the kallitype and one for the carbon tissue. I used my usual profiles... but they will have to be modified for this process after viewing finished print.


Registration was very, very simple. A heavy piece of plexi with two pins stuck through from the bottom side. You can see the registration marks on the finished print. The negative is taped to the tissue, registration marks are carefully poked with a pin (same size as pins on the registration board) Once exposed, the kallitype is placed on the registration board pins facing up. The exposed tissue is placed on the pins facing down. Both slipped into the mating bath for determined time. Pulled out, squeegeed, 30 minute wait time. Then the sandwich is pulled off the pins and placed in development bath.

I've been doing carbon transfers for 7 years and always struggled with highlight detail, especially when using digital negatives. This seems to solve that problem and add a new dimension that I'm digging. My first attempt was a bit on the contrasty side, so I will work it to get a much better balance. Once I've nailed it, I'll move on to my batch of more costly papers.

I definitely think you are on to something Andrew, would love to see a finished print live.

Bob

[Andrew O'Neill]

Thanks Bob. It definitely has me motivated to keep going. I'll send you something in future.

[Tin Can]

Originally shot on Portra 160 4x10. Inkjet neg at 8x20. Printed on the new Hahnemuhle paper. 3 drops platinum to 10 palladium. Developed in Ammonium Citrate.

I think I know that location.

Very nice!