[alt-photo] Re: solarplate

[Clay Harmon Website]

Oh, a few more things:



9) These plates are pretty light sensitive. For reference, my palladium exposure time on my unit is 250 units and my screen/image exposure times are 100/125 on the same unit. Don't take a bunch of plates out of the bag and leave them on the counter while you cut them.



10) Speaking of cutting. Get a deburring tool and use it. My first wash out experiences were done in trays of pinkish water colored by my bleeding finger tips.


11) it is hard to put too much pressure on your press.




On May 18, 2010, at 7:18 PM, Clay Harmon Website wrote:

> Here are some web links to some information I found useful while I was getting my process calibrated. My write-up is not done yet :^)
> 
> John Lybrook has some very good tips about the process:
> 
> http://intaglioeditions.com/procedures/polymer_photogravure.html
> 
> Susan Daly Voss has a series of blog entries outlining her experience here:
> 
> http://susanvossgravures.blogspot.com/
> 
> There are also some useful posts here in the archives.
> 
> The quick summary of what i have learned is :
> 
> 1) get a point source light or use one that is highly collimated (sun will work). A fluorescent UV light box and contact frame are very problematic for getting a good screen exposure because light 'leakage' around the dots from omni-directional light can result in large lighter spots and areas.  This problem is ubiquitous and ultimately maddening and expensive. I use a plate maker with a vacuum frame and don't have the problem. I have successfully used the sun (the ultimate point source)  and a split-back printing frames during workshops.
> 
> 2) Newton rings caused by contact between shiny plate and the inkjet positives I use are equally maddening. I get around them by spraying the inked side of the positive with a light dusting of Krylon Clear Glossy Acrylic to give it some tooth.
> 
> 3) Use step tablets to establish your screen exposure time before you move on to trying to calibrate your positives. 
> 
> 4) The ratio between the screen and image exposure seems to be more critical than absolute time. During the workshops where I have had to use the sun, I just keep the ratio of these times roughly consistent with what I have established with my exposure unit.
> 
> 5) Practice inking and wiping. Practice inking and wiping. Practice inking and wiping. Practice inking and wiping. Calibration of the process when your technique is still wobbly can be frustrating. 
> 
> 6) Get a good etching ink and basic paper and stick to that while you work on your chops.
> 
> 7) Soaking time is paper dependent, but Rives BFK for about 45 minutes and then blotted and put in a wet pack for the printing session seems to work pretty well for me. YMMV, of course. 
> 
> 8) Plates can change from batch to batch and as they age. Test strips are not a bad idea.
> 
> 
> I have a few of the existing published books on the polymer process and frankly found them to be a little lacking. I think getting the Copperplate Photogravure:Demystifying the Process is a better bet for a long term reference. 
> 
> Hope this helps!
> 
> Clay
> 
> On May 18, 2010, at 5:36 PM, Weber, Scott B wrote:
> 
>> Just got my press and want to start making solar plates using digital positives. Any recommended reading?
>> 
>> Scott B. Weber
>> Associate Professor of Photography
>> Department of Fine Arts
>> Barry University
>> Miami Shores, Florida
>> 305 899 4922
>> sweber at mail.barry.edu
>> 
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