Testing Paper Sizing — alt processes

Paper sizing provides paper internal strength, making it more durable so that we can handle it without damage. There is a trade off made about resistance and paper characteristics. Most art papers have an internal size introduced during manufacture.
Chemical processes useful for photography are liquid so will wet the paper and sink into it. This may weaken it to the point of damage. The paper may be so absorbant that the ’emulsion’ sinks into the paper beyond useful range. This would be the case in a pigment process where the unexposed portion of the image must be washed away. If the unexposed portion of the ’emulsion’ won’t wash off, then there won’t be light tones in the image.
Most people automatically size papers for use in the pigment-colloid processes (gum, carbon). It is easy to test the paper for sizing need. Equally easy to check the suitable sizing procedure.

mix the base color with colloid. drop onto the paper. do not sensitize the mixture. allow it to dry, then wash it off. If this washes out, your paper doesn’t need any sizing. it is unlikely this will be the case. the ‘paint’ will likely stick to the surface fibers of the paper. Next step is to mix your sizing and apply. Run the ‘paint’ step again. If the paper clears, you have a good size procedure. With this known, you can proceed to make your carbons, gums, confident that any clearing problem isn’t because of paper sizing.

Tip: Mechanics Of Photography

the hand processes of photography require hand skill.
Obvious, yet so often unacknowledged by the do’er of the thing. They don’t have a mechanics mind.
I am reminded of two of my teen friends — both became physicists. One, the one who made a greater impact on the world of physics, was a theoretical person. Completely at home with math, with abstraction. He was the last to date. He died early at a house overlooking San Diego. Two infinity pools. One for the sunrise; another for sunset.
The other, a lesser degree from a lesser college, went to work as an experimental physicist — he gave us a glue. He has lived a much longer life, with a modest house in the suburbs of DC.

Both of these people serve as totems for my awareness of 2 ways of knowing/doing. Which goes on top; which on bottom. The numerator or the denominator of your actions.

The assembly processes of photography — carbon, dye transfer — such things are mainly hand processes. The theory can be given in an 8 page handout. Any commercial lab had the details of their lab written on the walls of the lab. We had a blackboard with lab times. Anyone who could read, if they had the hand skills, could walk into our lab and get to work. Dyes by the end of the day.

carbon tip: harden the blank from the back. (think like a mechanic)