From: Dave Rose (cactuscowboy@bresnan.net)
Date: 07/28/03-10:58:48 PM Z
Dear Chris,
Most of my gum and cyanotype/gum prints are made from 11x14" or 16x20"
negatives, with actual images closer to 10x13" and 15x19" respectively. I
leave a sufficient border area on my negatives to accomodate pin
registration and masking of edges.
All of my images are printed from either enlarged negatives or pinhole
camera negatives, made with lith film that's developed for continuous tone.
I've haven't experimented with digital negatives yet. Original film
formats: "Roadkill Dog" was a 35mm Kodachrome, "Clouds" a 2 1/4" square
Kodachrome, all others were 4x5" B&W negatives. "Fall Colors" was captured
with 3-color in camera B&W seperations that were subsequently contacted
printed (to create interpositives) and then enlarged to 11x14" negatives for
final printing as a 3-color cyanotype/gum. Sounds pretty darn tedious....
maybe I should be doing digital seperations and negatives! The "Clouds"
image was produced by alternately using both a film negative and positive.
There are no pinhole images on my alternativephotography.com gallery page.
The JPG's are quick copy stand digital photos of actual prints. It's
difficult to accurately gauge the quality of any image from a low resolution
JPG on a computer screen, however my prints do exhibit fine detail. I'm
pleased that you got that impression. Since picking up the view camera
years ago, I've been a fan of the Zone System and F64 philosophy, so that
approach carries over into my alt-photo work.
Best regards,
Dave Rose
Big Wonderful Wyoming
----- Original Message -----
From: "Christina Z. Anderson" <zphoto@montana.net>
To: <alt-photo-process-l@sask.usask.ca>
Sent: Monday, July 28, 2003 8:52 PM
Subject: Dave Rose's Images
> Dave,
> I just visited your website because I had heard via another alt list
> member that your gums are gorgeous, and that is true. I especially like
the
> one of the old car. It is an image that makes me want to be there, or feel
I
> am there. That emotional connection is what I look for in an image, the
> ability to feel within someone else's space.
> I also notice you have FINE DETAIL that seems to be a fallacy most
> people who have not worked extensively in gum promote--its lack thereof.
> What size are your images, and are they from diginegs or reg negs?
> Chris
> (PS test of the week--left dichromate and gum arabic in a cup for a couple
> days to see if it does harden with and without exposure. It produces a
coca
> cola colored hard jello like substance. Cool science experiment--both
> exposed and unexposed ended up about the same place, except the unexposed
> was a bit softer of a jel and a bit lighter of a black/brown. I know--I
was
> bored.)
>
> ----- Original Message -----
> From: "Dave Rose" <cactuscowboy@bresnan.net>
> To: <alt-photo-process-l@sask.usask.ca>
> Sent: Monday, July 28, 2003 9:24 PM
> Subject: Re: Re: Dry Dichromate and Gum, was Re: News from APIS
>
>
> > Greetings from Big Wonderful Wyoming,
> >
> > My frustration with the Cibachrome process was the impetus to begin gum
> > printing 13 years ago. I'd been printing 16x20" Cibachrome prints from
> 4x5
> > Ektachrome originals. After elaborate production of highlight and
> contrast
> > masks to tame contrast, I was still experiencing a red shadow/cyan
> highlight
> > color shift. Certain subject matter (images of Indian rock art) looked
> > absolutely horrible on Cibachrome. So I turned to gum for greater
> control.
> > Using umber and sienna pigments with gum yielded prints of stunning
> beauty.
> > Although the color was not precisely 'correct', it was so appropriate
and
> > natural for the subject matter that it simply worked.
> >
> > Paint used for ancient Indian rock art was created using charcoal, iron
> > oxide, and other inorganic pigments. This was not exactly gum printing
> > (very funny Clay), but close in spirit.
> >
> > You can see some of my petroglyph/pictograph images at:
> >
> > http://www.alternativephotography.com/dave_rose.html
> >
> > Best regards,
> > Dave Rose
>
>
>
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