From: Larry Roohr (lrryr@home.com)
Date: 01/01/01-10:00:18 AM Z
Peter,
I've been printing Piezography for several months now and I agree with your
observations, I love this system, the prints are beautiful. I ended up here
after looking for a way to make inkjet negatives for ziatypes. The longevity
seems to depend on paper choice more than anything and certainly doesn't
compare to platinum/palladium. The inks are carbon based pigments (not dyes)
so a lot of data thats out there on pigment ink longevity applies. I'm
hopeful that someday a transparency material will appear that has density
and will hold a linear scale without extreme movements, in which case I'll
make piezo's along with zia's. In the mean time I've become proficient
enough with photoshop that I'm hooked, there's no looking back for me now.
I've offered up a print for swap with anyone who wishes to, so if your
curious and wish to swap drop me a note. This is possible because it takes
me 3 minutes to make a print and I do it while I'm reading my email <g>.
The image is (yet another) corn lillie at:
http://members.home.net/lrryr/cornlilliedisplay.jpg . I can go up to a 12x18
image on 13x19 paper.
Larry
----- Original Message -----
From: "Peter Marshall" <petermarshall@cix.co.uk>
To: <alt-photo-process-l@skyway.usask.ca>
Sent: Sunday, December 31, 2000 11:08 AM
Subject: Re: First kallitype
> I've just started making prints on Somerset Enhanced Vellum using the
> Cone Piezography plugin and inks.
>
> I'm not sure what the archival properties of this combination is, but
> my first results looked exactly like very good platinum prints. If you
> take a loupe to them they look like platinum prints produced from good
> digital negatives. Significantly better than the best Iris prints I've
> seen.
>
> I'll be posting a feature including some comments on using this system
> in a day or two at http://photography.about.com/, but in short, I think
> the claim made by Jon Cone on http://www.piezography.com where he says
> it is 'a new medium based on photography that records without
> limitations imposed by the short dynamic range of wet process
> photography' is worth looking at. Image colour is fixed at the moment
> though, and it only works on suitable papers. I've yet to experiment
> with suitable 'sizing' - I don't know if others have done so.
>
> Peter Marshall
> Photography Guide at About http://photography.about.com/
> email: photography.guide@about.com
> _________________________________________________________________
> London's Industrial Heritage: http://petermarshallphotos.co.uk/
> The Buildings of London etc: http://londonphotographs.co.uk/
> Also on Fixing Shadows: http://www.people.virginia.edu/~ds8s
> and elsewhere......
>
> (much snipped)
> >
> > Which is to say that as far as I have been able to discover, the
> > *difference*, the reason for greater value of pt-pd, is archivality.
> (I
> > don't address prestige, I mean print "quality.") Toning the kalli may
> > take
> > care of that, partially.
> >
> > > Your point was well intended, but it missed the mark. And don't
> take
> > > this
> > > personally, it is not. You would have been better served to have a
> > > group of
> > > "knowledgable" platinum and kallitypists in a room and show them
> ten
> > > prints
> > > of mixed petigree and ask them to tell you which is which.
> >
> > And how about a ringer -- one inkjet print (and no loupes allowed)?
> New
> > inks on right paper are claiming 200 years.
> >
> > Judy
> >
> > .................................................................
> > | Judy Seigel, Editor >
> > | World Journal of Post-Factory Photography > "HOW-TO and WHY"
> > | info@post-factory.org >
> > | <http://rmp.opusis.com/postfactory/postfactory.html>
> > .................................................................
> >
> >
>
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