answering a question they don’t have experience in cause they need to be heard parked car ... don’t need more information, they need more courage-- the power to try again. they always tell you what to wear to the dance .. they think you like the same music always telling you what to wear, no matter how you dance assume they know how to dance and aren’t merely jumping around showing off — remembering someone else’s memory mark of an amateur : they cant tell good advice from bad, they are too filled with fear. biggest fear is of making a mistake. art is about moving without enough knowledge -- that's what you are making ---- making a list key concept(s) -- assembly process pigment in colloid wash-off processing exposure hardens colloid to retain pigment -- more exposure = more density, depth of layer how to make your list work from both ends -- have a goal -- know where you're starting have distinct pages for each step so drill down isn't blocking your guide list. don't get yourself lost with stacks of pages, references. take each into notebook. stickies help
Category: morning wood
Lost Highlights
highlights can be washed away or crushed in assembly — huh? Okay, they can, but not if you are making dye transfers correctly.
Dye transfer was used by commercial photographers doing flatware, silk goods, diamonds, crystal — it seemed good enough for those highlight intensive products photos used for point of purchase along with sample books.
Dye transfer was used by portrait photographers selling upscale bridal portraits for their wedding — the 20×24 for the family to remember the bride in her white wedding gown. Another highlight intensive requirement.
Further examples seem unnecessary. The large-format dye transfer expert isn’t experienced. Sadly, those involved in that conversation don’t know enough to know — maybe they just don’t care, since they’ve nothing else to do. It is after all, only chat among the idle — an endgame move of resignation.
Why do so many believe the persistent posters?
The difference between a carbon print and a dye transfer is extreme. That they are assembly processes using gelatin as the image carrier, and that the image is a result of differential hardening of gelatin is what they share. Exposure method is a major factor in how highlights are maintained or lost.
In pigment processes exposure is from the top of the emulsion/coating. In dye transfer (imbibition ) exposure is through the base; this means the gelatin is hardened from the support upward. The highlight is thin but it is close to the support. In carbon the highlight tends to wash off, since it is being dissolved away. The pigment will actually collapse. The dye transfer mat has a relief image but it is durable. In imbibition printing the final image is assembled in thin layers; in gum/carbon it is stacked up in thicker reliefs. This can, likely will, result in some undercut of fine color details which occur alongside larger detail areas. In an effort to reduce this problem, screened negatives are being used by some carbon printers.
Dye transfer has additional controls to manage highlights which provide even more advantage over carbon printing. Carbon’s advantage is the tissue is easier to make than matrix film. Carbon rules because it can; it’s’ disadvantages have been made a part of the aesthetic feature: lots of “dimensional” texture.
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