Re: Cutting polymer plates
Last message of the day, I promise!!! Man am I getting myWe're getting your $10 worth and then some Chris, as always. So good to have your wisdom flying in remotely. :-)
Susan, I cut the plates with the school's big honkin' cutterHonkin' cutter = very good solution
Question: How particular are people about keeping their plates in the dark when handling/cutting? My newest batch I've been a little picky about in terms of keeping them out of the light sort of as a test. The results so far have been greater plate tone, presumably due to their "fresher" state and greater sensitivity. Used to be, I'd cut them in all conditions short of being in full direct sunlight -- ambient or reflected light was OK. Now I'm not so sure that was a good idea. David Hoptman would recommend only cutting plates in a dark room under safe lights. Seems like a reasonable precaution to take. What do others do/think?
Now, speaking of plate tone--the funny thing is that I wasPlate tone is indicative of the process and has a certain aesthetic appeal. It's certainly a way to affect apparent contrast and other qualities of the print and can be controlled via several different methods all listed in Dan Welden's book "Printmaking in the Sun" (p. 86). One is to flash the plate for 1-5 seconds of sunlight to decrease plate tone.
The layer on the KM73s is much thinner than the layer on theThe general consensus for the KM73s seems to be they have 'no plate tone'. I believe, (but haven't proven) it's because they're simply more sensitive and can 'burn out' faster under ambient or controlled exposure light sources.... I've recently seen some of the most dramatic plate tone I've ever seen (from any plate) in the KM73s, which I attribute to my keeping them in a darker environment than I have in the past. Not sure if that's really what's going on. I may test that.
Sorry to mix posts, but Jon, you said this:I agree with Dan and myself...and you. How's that? ;-)
I was speaking of extremes -- specifically in the case when one is trying to narrow down an exposure range for screen/positive.
Overexposing the aquatint to a degree gives finer dots overall, providing a higher key print with better highlight detail. Overexposing dramatically blows out highlights and eliminates most, if not all, plate tone, at least in theory. Getting smaller dots through overexposure is not the same thing as using a screen with smaller dots however. Making them smaller through overexposure sacrifices the shadows and richness in the blacks to some degree.
And what book is your friend Angela writing??Thanks for asking Chris but I don't know that she's shared the working title with me... and if she has I regret to say I don't remember it. She plans on featuring the work of a couple dozen photographers, including some on this list, with an emphasis on their techniques, I think!
And as far as why I say "luck" with no mottling, I haveI know the feeling. Just when I think I have it cured, some appears. I'm feeling very hopeful about Susan's spray coating suggestion/approach with regards to the Pictorico, however. Printing a new plate tomorrow and am praying my patches haven't merely transmogrified into aerosol spittle...or worse. Will report back.
If our tax refund is good, Amergraph here I come. If it isThere is no substitute for proper equipment. I'm hoping for you and your refund!