RE: update on lumen prints

Damn if I'd didn't wish I had more time at the present, thanks for the
update Chris.

glad to hear he isn't carrying huge sheets of paper in the jungle

THINKING OUT LOUD - I wonder if fix is completely necessary? Would a
pre-fix toning not change the silver to a _(toner derived metal)_
compound?

I'm chemically challenged by the process to understand what is
happening in the paper's emulsion to produce the colors and wish I had
a more scientific ability to engage the problem... I guess that woud
require even MORE time, which isn't available.

On the digital display question - what I like about these tests I'd
done can't be seen on the screen (or in a book)... it's the surface
texture from the embossing and contact imagery from the plants' veins
and sturcture. The realism of the surface texture and detail is just
flat gorgeous.

Darryl

-----Original Message-----
From: Christina Z. Anderson [mailto:zphoto@montana.net]
Sent: Thu 9/15/2005 10:50 AM
To: alt-photo-process-l@sask.usask.ca
Subject: update on lumen prints
 
Hi all,
My student wrote Burchfield and he was very accessible in answering
her
questions, and seems a very nice man. More info he shared with her is
this:

He says some of the images are enhanced a bit digitally **only** to
print
properly for the book, but color was not changed.

The originals are scanned on a high end flatbed scanner and then he
makes
edition prints on Fuji Crystal Archive/light jet prints.

He said out of date paper comes out differently than the same paper
fresh.
No paper was better than another, as they are all unique. And his
fave
paper was made by PAL, long outdated (25 yr) and he has found nothing
like
it.

He uses regular Kodak fix without hardener and says all images will
bleach
in the fix, but it'll have minimal effect as long as the image is
strong to
begin with.

He suggests exposure times of 5 or more hours and he even has done a
94 DAY
one!

My student is having troubles getting anything more than a flat image
yet,
and I thought it might be nice to scan it before fixing, as Darryl
did, and
do that print digitally, as well as having a fixed original of a
different
color.

I have been having students in Experimental Class this week develop a
print
fully, stop bath it, and then bring it out into the light (what I call
in
the workbook "Painting With Light") and watch it change colors. With
that
process, I have observed some incredible deep reds, which, of course,
disappear to dark ambers and such in the fix. However, again, they
would
make for good scans and prints digitally. Even the fixed amber color
is
intriguing. I only mention this as another chemical variable to dry.
Chris