From: Dave Rose (photo@wir.net)
Date: 11/12/01-08:27:47 AM Z
Another approach is to make a combination gum/cyanotype print. In my
experience, using cyanotype with magenta and yellow gum yields beautiful
prints with deep, well defined shadows.
Dave in Wyoming
----- Original Message -----
From: "Keith Gerling" <kgerling@ameritech.net>
To: <alt-photo-process-l@sask.usask.ca>
Sent: Monday, November 12, 2001 7:08 AM
Subject: RE: Zimmerman's gum process
> Judy asks:
> >"(I think Keith Gerling has been more successful with black layer than I
> >was, however, maybe because he's a finer person, maybe because he knows
> >how to make the right black neg digitally. Keith, are you there????)"
>
>
> Even when I'm looking for a softer look, I always use black to some
degree.
> Without it, the print lacks "punch" (and I realize that a "punch-less"
look
> is exactly what draws many people to gum printing - but not me.) In many
> instances, the black is of a "skeletal" nature, adding density only to the
> deeper shadow areas. Arriving with the right pigment can be quite
> problematic, as many of them are difficult to control: for me, lamp black
> and sumi inks stain, Ivory black is too weak, etc., and because of this it
> can be useful to use a mixture of other colors. But my purpose in mixing
is
> not so much an attempt to enhance the primaries, but to just get adequate
> density. (I just received some Lunar Black from Daniel Smith, but I
haven't
> tried it yet). I treat black as any other color, and if it clears
properly,
> I don't see what it should be any more difficult to control.
>
> Keith
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