From: Joe Tait (jtait@texas.net)
Date: 12/15/02-11:15:06 PM Z
I have an enduring love affair with the complete unreality of 50'/60's
advertisements & I have a few ideas that I would like to bite off that look for,
but have little experience shooting color and was seeking some advice.
Are today's color emulsions just too clean and refined to get anywhere close to
what was used forty plus years ago? Are there lens filters out there that could
help the situation? I have taken initial shots with some older lenses
(Koni-Omega Rapid & LF barrel lenses), and they are certainly more suited in
this situation to say my Nikon lenses, but I am definitely not getting a
negative anywhere close to what I want. I am shooting this under tungsten studio
lighting with kodak supra.
Gum seems the obvious choice for this. Should I not worry about the negative as
much and concentrate on gum's ability to be "painterly"? This will be my first
serious shot at gum....any suggestions on a substrate (preferebly _not_ paper)
that would retain a decent amount of detail and allow me to get bold color? I
want a short scale, semi-blocked up shadows and high-contrast. These prints are
planned to be process prints, btw....
Can you paint on top of gum with acrylic w/out an intermediate layer of varnish?
I would like to do just that in light washes with translucent liquitex medium
viscosity paints, but with a varnish layer I worry about the interaction that
makes glazing/washes so attractive.
As a side note, what were the working process/techniques of the press/graphic
designers of the time? I see a lot of ads that are just b/w shots with spot
plates and are easy enough to duplicate, but most of my favorite ads appear to
be process. Was it just the emulsions, or manipulation of the separate process
plates? Maybe the instability of the inks? The color is just so off, but
pleasing to the eye and expressive, makes me want to fear communism and buy a
toaster....
-Joe
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