Re: Show and Bromoil Inking Demo in Texas

Hello Dan,

Thanks for the detailed response.

It's beautiful work. I regret not being able to see the actual prints.
Best of success with the show.

Dave in Wyoming

----- Original Message -----
From: "Dan Burkholder" <fdanb@aol.com>
To: <alt-photo-process-l@sask.usask.ca>
Sent: Thursday, September 08, 2005 8:58 PM
Subject: Re: Show and Bromoil Inking Demo in Texas

>
>
> Dave Rose wrote on 9/8/05, 9:10 PM:
>
> > I can't make the show (too far away), but I visited the websites and
I'm
> > very impressed with the work. What process did you use to make your
> > prints?
>
> Hi Dave,
>
> I was afraid you'd ask that. For both Jill and myself, this is the first
> time either of us has had a show that included NO handmade prints. It
> sorta took us aback when we realized it just as we were preparing to
> deliver the prints.
>
> Jill made 6x8-inch bromoils and then scanned those handmade prints. (By
> the way, she prints all her original bromoils from digital negs made on
> the Epson 2200. And all her images were shot with a little 3 mega-pixel
> digital camera.) As you probably know, printing platinum is like falling
> off a log compared to the handwork that goes into the bromoil. Thank god
> Jill loves it and I only have to watch. ;^)
>
> Jill's final prints in this show (www.jillskupinburkholder.com) are
> 11x14-inch Pigmented Ink Prints (around this household we don't call
> them "inkjet" or--worse yet-- "Giclees") made on the Epson R2400 using
> the Advanced Black and White Mode. The paper is Red River Lux Art
> (lovely paper) and she mattes (actually I get that job) to 16x20.
>
> She does very little Photoshop work on her images; her final prints are
> practically an exact replica of the smaller bromoil, right down to the
> brushed ink marks. The Epson's Advanced Black and White Mode provides
> neat (though not perfect) ways to control image color. She's got the
> 2400 output looking really sweet.
>
> My prints are Pigmented Ink too in a 9.5x13-inch size, matted to 22x28.
> I'm using Crane's Museo paper, which I like a lot. Like Jill, I'm using
> the R2400 Epson. IMHO, this printer is a big step forward in quality,
> reduced metamerism, speed, archival standards and grayscale output.
>
> And all the images in this group (www.danburkholder.com/new_images) came
> from digital capture running 3 mega-pixel on up. Unlike Jill, I never
> know when to stop in Photoshop and sometimes it shows. On the other
> hand, that's how I've learned my 27% of Photoshop over the past 13 years
> so I have a lot of respect for playfulness, be it in the darkroom, on
> the computer, or on a motorcycle.
>
> I'm not abandoning the handmade print. In fact, I'm eager take a few of
> these color images to Pigment-Over-Platinum (POP). After three years of
> dicking with the process, I've learned that only certain "special"
> images can truly exploit the virtues (and merit the work) of POP. I
> wasted far too much time trying to squeeze unsuitable images into the
> POP color space, and that is neither good for the print nor does it
> provide enough positive feedback to keep me interested. Now that I'm
> developing a feel for which images can "let the process breath," it's
> going to be fun to get back to the darkroom. Plus, I have a bunch of
> images that need to be "straight" platinum-palladium. Make sense?
>
> Anyway, Jill's the star of the show as you can tell by looking at her
> images. Her designs are so unforced and inviting; I'm constantly envious
> of how easy it is for her to point her camera in exactly the right
> direction.
>
> Sorry you can't make the show but thanks for looking at the web images!
>
> Dan
>
>
>
> --
> www.danburkholder.com
> www.tinytutorials.com
>
Received on Thu Sep 8 21:15:51 2005