Re: digital negative possibilities for gum
I find this grain idea in gum very interesting. I have been thinking of it for a while as well. I like a grainy or almost pointilistic look of some of the prints where I have mutilated each of the tricolor layer separately, where the image is made of irregular spotrs of primary colors. I have been trying to introduce grain into RGB separation via the grain commands. I have just played with it, not made any negatives as yet. I am looking for it to produce more brilliant colors.
Actually I have been priniting B&W prints on my Epson 2200 with black ink only, that is only one of the six inks. It results in what people call TRI-X look. SOmewhat grainy(not to the naked eye), but with outstanding crispness. And somehow the print looks "cleaner" and fresher that way. That is dots of dark ink on white paper is more appealing to the eye then a continuous gray layer.
Now, I have lost the original post, where is the bitmap command in photoshop?
It will be grat to meet you next weekend at Clays
>As I said in my post,
>"In fact, my idea is to explore that softness and slight "grain"
>more, just as I advocate using a grainy film developed with Rodinal
>in my Experimental Photography classes to get students away from a
>Tmax-100-only mindset." I actually think the slight grain effect
>has a charm to it.
>And as I said in my very original post:
>"If not printing with a cyano underlayer, you can get an acceptable
>print with no curves, neg just inverted and printed as is, and
>layer with exposure, development, pigment load, brushing. But all of
>already knew that,
I'm sure I'll be told. I prefer the all inks
>to the bitmapped--I think." The "I think" is the qualifier here.
>The soft grainy charm is kind of...endearing.
>And third, personally, as I have said, too, I find the curved layers
>Fourth, I am intrigued by maybe using this method as overlayers for
>cyano or pt/pd, and my original reason for trying bitmap resulted in
>an entirely different reason for pursuing it further.
>Fifth, for the record, it was in Livick's book that I ran across the
>statement that "dotty" negs produce the bests prints. p25--even
>though I don't understand what he means by "The solid, little dots
>of color add to the light fastness of the image..." he goes to
>explain that one should ADD dots to the negative,
>Even though I don't agree with some of what Livick concludes
>technically with gum, there is no refuting that his prints are
>stellar--so his practice is working.
>So whatever the case may be, I get to lead a wonderful class of 20
>astray in Nacogdoches TX this coming week when I travel there to
>teach gum and mordancage, and will present them several different
>negative options for gum, including this lowly bitmapping....
>AND I GET TO MEET CLAY HARMON'S ALT GROUP TOO!! WHOOHOOO! I am
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