U of S | Mailing List Archive | alt-photo-process-l | Re: curves and gum and Christopher James book

Re: curves and gum and Christopher James book


here is a link to Reinhard paper
It is considered one of the very good operators.


----- Original Message -----
From: "Christina Z. Anderson" <zphoto@montana.net>
To: "Alt, List" <alt-photo-process-L@usask.ca>
Sent: Thursday, March 06, 2008 10:06 AM
Subject: curves and gum and Christopher James book

> Hi all,
> I am so thrilled with Christopher James' new edition of the Book of Alt
> Proc.  I'm not going to go into all the reasons why, just buy it you won't
> regret it.  Besides, it's got 3 Judy Seigels in there as well as Dan
> Burkholder's piggies and Sandy King and probably more names otherwise you
> all would recognize--can't say you don't get your money's worth from the
> images therein!
> Anyway, we've talked off and on about curves and gum, about different
> negatives and gum, etc. etc.  As we have probably always concluded, gum
> suit itself to whatever practice is chosen, and there are many ways to
> a cat.
> Lately I have been working with a variety of negative choices to compare
> practice (tricolor seps with individual PDN derived curves and colors for
> each neg) with other lesser techy ways to teach students who may not have
> Photoshop or even know what a curve is.  Bitmap, all ink negs, CMYK,
> a curve out of my butt/on the fly...I have changed my teaching practice,
> even, at MSU, to start the students with all inks greyscale neg one coat
> first, then a Sam Wang duotone negative next (greyscale, no curve, all ink
> neg), then an all inks tricolor third (no curve) and finally they will do
> the grandaddy of them all, making a custom curve PDN Mark Nelson tricolor.
> I find that starting students out low tech and moving to high is a way to
> "hook" them into the process.
> So when I saw the gum curve of Tony Gonzalez in James' book I about died.
> It is hilarious.  I mimicked it on my computer and found that the range of

> tones he has in it go from about 26 to 92!  He has essentially clipped
> almost 200 tones!  It looks like a flatline/dead person curve.  However,
> THEN look at his gum print (curve p. 351, gum p. 352-3)!  The proof of
> someone's working process is ALWAYS in the pudding.
> I will try Gonzalez' curve but what I bet I will find is that I have to
> alter other parts of my practice to fit into the curve, whether it be
> pigment load or development time or dichromate amount or exposure time or
> whatnot.  The reason I bring it up is that as I tell my students, gum is
> really not a photographic process.  If you did a curve like that with
> you'd have posterization and a gross print, but with gum which is just
> hardening a layer where it needs to harden, it just isn't the same (e.g.
> can choose an exposure time of 1 min vs. 8 minutes and get a thinner or
> thicker layer of hardening which is not possible with BW printing or even
> pt/pd--certainly not as much variability.)  And Gonzalez looks like he is
> just squushing all his tones into the narrow range of stops that gum
> represents, being a shorter scale process than other longer ones like
> It looks like Gonzalez teaches at Queens College, CUNY so if he ever has
> exhibit I would run to it.  Anyone on the list know him?  I wonder if he
> a student of Sarah Van Keuren's?
> So check out the book--it'll definitely spur the creative alt juices going
> with the images alone, much less the information.
> Chris
> Christina Z. Anderson
> Assistant Professor
> Photo Option Coordinator
> Montana State University
> CZAphotography.com
> _______________