Re: Where's Waldo... errrr I mean Christina?
Christina Z. Anderson wrote:
But anyway, back to solarplate--last night I printed out some step
tablets (6) and am going to expose them to different ratios of screen
and positive to see how the scale changes up and down the tonal
range. I have been using 2mn/45sec ratio on KM73 that works well for
me with UVBL--rich darks and detail in highlights, so I may end up
sticking with that after all and making a curve based on that, but I
did want to continue to understand the dynamics of the ratio.
I also am going to do some outside sun exposures to see if there is a
difference in that vs. UVBL with both mottling and sharpness. I am
really excited about that, now that spring and bright sun are here.
Point source (like the sun) vs. diffuse UVBL should produce sharper
results. As far as the mottling - again maybe it was the bulbs but I
would use the sun before using UVBL tubes if I had the choice.
I have read all your posts on this and it seems that powdering the
positive, the screen, letting the Pictorico dry for a while and even
with a heat dry, heat drying the plate post development and then doing
the post exposure is all in order.
That news from Keith was a godsend. It's opened up all kinds of doors
for me.
No one has mentioned using something in between the Pictorico and the
glass to prevent that kind of Newtony possible contact, correct?
Therefore heck, I might even powder the top of the Pictorico, too.
Until I get a tax refund (maybe not) the Amergraph is a pipe dream and
I remain with UVBL.
Top of the pictorico doesn't have the coating the emulsion side has, so
I don't know that powdering that side would be helpful in solving the
problem per se. I still use the Kreene plastic and am quite happy with
it and its benefits still. I don't get the pressure of glass, but I
don't seem to need that much. Drawdown time and lack of sticky contact
between the plate and positive seem to be more ciritical
I have both KM73s and solarplates here to work with, and await my
chine colle supplies and my Somerset Satin paper so thanks for the
tips on paper you all. I also ordered the Hahnemuhle Copperplate. I
will be printing my image on top of a pale peach chine colle paper in
parts so am really excited to finish this particular image to see it
all pan out.
I did include a quickie solarplate chapter just in time for the second
edition of my Alternative Processes Condensed book to be printed. I
also included both Jon and Susan's images as well as my own...Keith's
is sorely missing, tho :( I also pay homage to Jon, Keith, and Susan
for help as WELL as Mark Nelson who, behind the scenes, has been
laboring with me over this solarplate stuff to come up with a
methodical way to calibrate the curve. Not only is it positive but
with two separate exposures and the ratio between the two coming into
play, it is much more complex than calibrating, say, gum or platinum.
He has listened to me whine and almost throw in the towel numerous
times, and in his quiet way has said, "Hmmm, I think you might want to
do this...." to spur me back to the drawing board. It's weird, Mark
doesn't even DO solarplate and he understands it better than I do,
that scumbag!
Awesome. I'm eager to hear the recommended PDN approach to exposing
these things now that the mechanical problems appear to be behind us!
So psyched,
Jon
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