from discarded postings. The bits of partial notations from references
I am clearing bits from the stock of papers. Some of these were the base of a post made sometime. Some have never made it into a paragraph.
Gassen: notes on characterizing film
Paper grad: old p.13
p26— dilution paper developer
p.71 Highlight shadow separation & 72
parametrics:
p.78 modifying paper devs
p.92 screens
.75 developer components
Gassan - gum pigment print
Kremer Paint
approximation of process inks
30 ml gum solution ADD
K - ivory black — 15 g
C - phthalocyanine blue — 1.8 g
M - alizarin crimson — 3.6g
Y - hansa yellow — 1.5 g
gum sensitizer
ammonium dichromate …. 29 grams
hot water ………………………..75 ml
dissolve, then cold water to 100ml
pigment to gum — 5 - 10 grams of pigment to 100 ml gum
watercolor (W&N ///#5 tubes\\\) & Grumbacher provide grayscale approximation (middle) tones
gouach produce silkscreen type dense images
SHIVA or Pranq provide strong color
seps for gum and silkscreen look similar …
tri-color session:
Y - cadmium yellow : 1 g + 13ml water
M - alizarin crimson: 1 g + 10ml water
C - windsor blue : 1 g + 13ml water
(print the C layer twice)
alternately, replace the C layer by printing a cyanotype layer FIRST, then Y & M layers
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Toning BW for Density
Henry, Controls in Black and White Photography
p 254: [his summary] “Selenium toning has two effects on a print: (a) Deepening of blacks, beginnin at about print zoneV (RD0.745)… maximum black is increased by about RD 0.2.
(b) The deepening of the blacks occurs rather quickly and may be the only effect desired. Depending on the concenteation of the selenium and the time in the reagent, a second phase begins to occur invovlving a color change towards reddish. This is more pronounced and occurs sooner with chlorobromide papers than with bromide papers but even most bromide papers eventaully experience some comlor change. There is evidence now in the photographic literature that selenium toning icreases the archival properties of the print.”
[p 116 ]
117 instructions:trays
Kodak method
or
Adams method. no measurable difference
Gassen method (Horenstein, Vestal get similar results/advice )
Kodak,
— Quality Enlarging with Kodak BW Papers, PUb G-1, 1982
— Processing chemicals & Formulas for Black-and-White Photography, PUb J-1, 1973
— The ABC’s of Toning, Pub K-23, 1975
— B/W Processing for Permanence, Pub J-19, 1977
— Kodak White Reflectance Coating, :Pub JJ-32, 1980
Gassan 174 — Handbook for Contemporary Photography, 1977
Horenstein 216 — Beyond Basic Photography, 1977
Vestal 496, 506 — The Craft of Photography, 1972
Saltzer 409 bromide papers don’t change color
Hill 213 hardening fixer delays, mottles toning
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Gassan provides some recommended dilutions for a variety of films, but keep in mind a few things:
1. These dilutions are from the 1:9 stock solution to approximate dilutions from the syrup (ratios in the left hand column).
2. This data is from 1977 and films have changed
3. He finds that a "decade change of dilution e.g. a change of 1:50 to 1:60 approximates a paper contrast grade". (for Kodak films, see below)
4. The system works for Ilford films as well, but that they exhibit greater sensitivity to developer strength variations.
5. There is almost no loss of shadow detail with this developer, even at the extreme dilutions.
All film is developed in HC-110 at 21C / 70F for five minutes with standard agitation.
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Light Impressions Publications
x-- Handbook For Contemporary Photography // Arnold Gassan
o-- Photography: Current Perspectives // Jerome Leibling
x-- Photography Between Covers // Thomas Dugan
-- Perception and Photography // Richard Zakia
x-- the gum bichromate book // David Scopick
-- The albumen and Salted Paper Book // James Reilly
x-- Breaking The Rules // Bea Nettles
-- Flamingo in the Dark // Bea Nettles
About Arnold Gassan:
small section at Eastman house here: http://www.geh.org/ne/mismi3/gassan_sld00001.html
his words on his cancer here http://myeloma.org/main.jsp?type=article&id=342
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