Re: direct carbon or gum bleach development
Keith, it's somewhat confusing because "carbon black" is sometimes
used as a general term to designate black pigments made from carbon
and sometimes to designate a specific pigment, PBk7, which is why
pigment numbers are so important. Lamp black pigment is PBk6; PBk7
is called sometimes carbon black and sometimes furnace black and is
sometimes given the marketing name "lamp black," but isn't actually
lamp black. According to some sources, PBk7 is darker and
velvetier than PBk6.
I've been sick for weeks with a flu thing that turned into bronchitis
and haven't got down to the workshop to continue my experiments with
this. But because I'm still interested in exploring this, I wonder
if you could say a little more about what's not working for you; is
it "just" staining, or is it a problem with the bleaching too? Thanks.
On Jan 2, 2008, at 7:41 AM, Keith Gerling wrote:
Cold here in the midwurst and I'm staying put and making do with what
I have at hand (which does not include Fabriano). But carbon black is
the same as lamp black, correct? And I also have some pure graphite,
and both of these stain what I've been using, which include Masa (as
predicted by Loris), gessoed paper and wood, and the flip side of
other gum prints on various papers (which, come to think of it does
include Fabriano, albeit many times immersed in water, so it isn't
like what you have used).
Thanks for the offer. I'll play around a little more. The picture
you posted was on unshrunk paper, correct? What impresses me the most
is not so much the bleaching (without seeing a before-and-after it is
hard to tell what that is) but the intensity, shapness and grain of
the print (resembling, come to think of it, a Ralph Gibson...) What I
would very much like to do would be to produce duotones by using this
process over a Van Dyke print. What are your thoughts on that?
On Jan 2, 2008 8:09 AM, Marek Matusz <firstname.lastname@example.org> wrote:
I have been using carbon black powder from Daniel Smith. Gum bleach
development requires higher density negative then normal gum. I
something more like palladium negative density would be fine to
If you can email me a scan of your work I can perhaps troublesoot it.
Date: Tue, 1 Jan 2008 19:47:57 -0600
Subject: Re: direct carbon or gum bleach development
My attempts look atrocious. What kind of pigment are you using
On Dec 20, 2007 4:05 PM, Keith Gerling <email@example.com>
Awesome, Marek. This is what I want MY prints to look like. Forget
all that multi-coat nonsense.
On Dec 20, 2007 2:28 PM, Marek Matusz <firstname.lastname@example.org>
More experimentation with gum printing and bleach development.
I was intrigued by Loris's results with using unsized paper. I
it would give a rather bad stain. My tricolor gum practice
to believe this. However on numerous occasions I did observe that
paper that I used which did not have gelatin size gave a
uniform black. SO last week I tried to use single sized paper,
unsized Fabriano Artistico, and a throw away gum print that has
over and over, but had a reverse side of Fabriano paper quite
overall conclusion with this set of prints is that I liked unsized
soaked paper best. They gave crispier prints. Perhaps this
the gum to be tied up with the fiber of the paper and the bleach
can give clear paper base. So I would advocate use of straight
paper, no need to size. I have not tried any other brand, but I
some at hand and will try next printing session.
I have also experimented some more with pigment density. I had
concentrated carbon stock of 3.75% carbon in 14 baume gum, that
then in my last set of experiments. The solutions are left over
or maybe hundreds of experiments done in the last two years.
dried out this would result in 3.75/0.27=14% carbon/solid gum
assume 14 baume gum is 27%). This is definitely black black.
velvety matte texture of the deep black to take your breath
the print here. This print was made on unsized Fabriano Artistico
The mid tones are a little bit darker on this screen that in
even the two tones of black on the very edge are visible. Very
most exposure (I uped the exposure to 6 minutes from last time)
it is somewhat lighter edge from exposure through blank part of
(Pictorico). This is a further illustration of how a fine tonal
can be achieved with this method.
I have also included an detail of the print scanned at 300 dpi:
Don't get caught with egg on your face. Play Chicktionary!
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