On Feb 17, 2007, at 8:25 AM, Christina Z. Anderson wrote:
> Second, I went back over my Dan Welden's book, which I love, and he
> says a very interesting point in there which I would love to see if
> you all, too, have found this in practice. I think this applies to
> II Test and/or Expose the Plate on Jon's website: (p. 87-88, long)
> " In general, with the double exposure technique the best results
> are obtained by using equal times for both exposures, but you can
> manipulate the relative times of each exposure to influence the
> final impression. If you increase the exposure time of the screen
> relative to the positive, say 2 min 15 sec for the screen and
> 1mn15sec for the transparency, lighter tones are strengthened,
> while some darker tones will become darker. The overall effect is
> to darken the image and is a useful approach for very light
> transparencies....Yu can also do the converse and decrease the time
> of the screen relative to the positive, say, 30 seconds for the
> screen and 1mn30sec for the transparency. With this type of
> exposure you may gain a better range of midtones, but lose some
> lighter tones. The overall effect is to lighten an image. Deep
> grooves and areas of open bite can form, and, by fine tuning the
> relative times of each exposure, you can control the extent of open
> bite."
Chris,
I played around with this for a while, but (with my setup) I found
the best results nearly always came from equal exposures.
> If I ever master this, and bromoil, then I will have "arrived". At
> least with gum it is only a wasted piece of paper and no trips to
> town to use a press.
> Chris
Personally, I think can be one of the most frustrating processes I've
ever worked with, but the results are so worth it. When things go
wrong and don't work out I can sink to depths unimaginable, yet when
I pull a great print, the feeling is like no other.
"Everyone must fight his or her own personal battle with the polymer
plate. The material seems to have a strong will of it's own, which it
imposes on the work whether the artist wants it or not."
- Taneli Eskola.
Keith.