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Carbon Transfer Printing: A Step-by-Step Manual, Featuring Contemporary Carbon Printers and Their Creative Practice [Kõva köide]

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  • Formaat: Hardback, 266 pages, kõrgus x laius: 254x203 mm, kaal: 1043 g, 2 Tables, black and white; 4 Line drawings, color; 175 Halftones, color; 179 Illustrations, color; 2 Illustrations, black and white
  • Sari: Contemporary Practices in Alternative Process Photography
  • Ilmumisaeg: 25-Oct-2019
  • Kirjastus: CRC Press
  • ISBN-10: 1138353841
  • ISBN-13: 9781138353848
Teised raamatud teemal:
Carbon Transfer Printing: A Step-by-Step Manual, Featuring Contemporary Carbon Printers and Their Creative PracticeSuurem pilt
  • Formaat: Hardback, 266 pages, kõrgus x laius: 254x203 mm, kaal: 1043 g, 2 Tables, black and white; 4 Line drawings, color; 175 Halftones, color; 179 Illustrations, color; 2 Illustrations, black and white
  • Sari: Contemporary Practices in Alternative Process Photography
  • Ilmumisaeg: 25-Oct-2019
  • Kirjastus: CRC Press
  • ISBN-10: 1138353841
  • ISBN-13: 9781138353848
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138353848.html
Märksõnad:
Carbon Transfer Printing is a book about one of the earliest photographic processes that provided the first permanent printing methods, available in one form or another for over 150 years. This book reviews the extensive history of carbon transfer and related pigment processes in both monochrome and color, to serve as point source for a new carbon printer to begin to master the craft of carbon printing, as well as provide new material for experienced carbon printers so they can expand their techniques. The book includes never-before-published information on pre-sensitizing carbon tissue with newly identified compounds, information on the safe use and disposal of hexavalent chromium compounds, and simplified methods of producing 3-color carbon prints.

Carbon Transfer Printing is divided into two parts, illustrated with 175 photographs. Part One is a complete how-to on the carbon transfer process, from simple to complex, with a troubleshooting guide and an extensive chapter on digital negatives. Part Two is devoted to contemporary carbon printers who share their methods and secrets to creating their beautiful carbon prints.

Topics that the book covers are:











Key events in carbons history





How to organize the carbon workplace





Sections on necessary supplies and equipment





A step-by-step digital method of making high quality digital negatives





Simple and advanced methods of carbon printing





How to make carbon tissue, including several methods of pre-sensitizing





How to choose UV light sources for printing in carbon





Step-by-step processing directions





How to prepare final support papers





Troubleshooting carbon





Multi-layer printing to add tone, or make a full color carbon print





Finishing and final presentation of carbon prints





A gallery of images and advice from contemporary carbon printers

Carbon Transfer Printing is designed for both the beginning carbon enthusiast as well as for the advanced practitioner. Backed with extensive research on carbon printing from books, journals, and magazine articles from the 1800s to present day, and the extensive personal experience in carbon printing of the authors, there is enough information in this book to provide inspiration and proof of both the glorious past of carbon printmaking and its enduring importance to a new generation of image makers who value the handmade print.

Arvustused

"Will be a sought-after reference for carbon printers at all levels, but also collectors, gallerists, curators, and anyone with a keen interest in the history and practice of carbon printing. The book is intelligible and comprehensive on the topic of monochrome carbon transfer; the chapter on color is an added bonus. Carbon transfer can be a daunting undertaking, but the writing exudes good sense, informed by expertise and craftsmanship."

Philip Schwartz, Carbon Transfer Printmaker

"This is a welcome addition to the world of carbon transfer. After printing carbon transfers for more than 14 years I was delighted to discover thought-provoking information and more carbon related issues for me to research. Thank you Sandy King, Don Nelson, and John Lockhart for an amazing epic publication."

Ellie Young, Founder, Gold Street Studios

"The authors of Carbon Transfer Printing have brought extensive personal expertise and knowledge to this publication. This guide to an exquisitely detailed photographic process will provide the photographic artist with a practical means to achieve success. The numerous examples of current printers are an inspiration."

Gary Baker, Carbon Transfer Printer

Preface ix
About the Authors xi
Part One History of the Carbon Process and Carbon Transfer Printing Step-by-Step
1(148)
Chapter 1 History of the Carbon Transfer Process
3(10)
Monochrome Carbon Transfer
3(4)
Three-color Carbon
7(2)
Timeline of the History of Carbon Printing
9(4)
Chapter 2 Overview, and Making your First Carbon Transfer Print
13(6)
Step 1 Make the Carbon Tissue
14(1)
Step 2 Sensitize and Dry the Carbon Tissue
14(1)
Step 3 Expose the Tissue to a Negative with Ultraviolet Light
14(1)
Step 4 Mate the Tissue with a Temporary or Final Substrate
15(1)
Step 5 Develop the Print
15(1)
Step 6 Clear and Finish the Print
15(4)
Chapter 3 Supplies and Materials
19(10)
Introduction
19(1)
Negative Preparation
19(2)
Carbon Tissue Preparation
21(2)
Final Supports for the Print
23(1)
Sensitizing the Tissue
23(2)
Exposing the Tissue
25(1)
Mating the Tissue to Substrate
25(1)
Development
26(1)
Print Finishing
26(3)
Chapter 4 The Working Environment
29(10)
Lighting
29(1)
Humidity and Temperature
30(1)
The Wet Area
31(1)
The Drying Area
32(1)
Drying Unsensitized Printing Materials
32(1)
Drying Sensitized Tissue
32(2)
The Printing Area
34(5)
Chapter 5 Negatives for Carbon Printing
39(20)
Introduction
39(1)
Section One Notes on Basic Densitometry
40(2)
The Characteristic Curve
40(1)
Using Transmission Step Scales
41(1)
Procedures for Testing with a Step Wedge
41(1)
Determine Base Minimum Printing Time with a Step Wedge
42(1)
Calculating Exposure Scale (ES)
42(1)
Section Two Crafting the Analog Film Negative for Carbon Printing
42(1)
In-camera Film Negatives
43(1)
Section Three Digital Negatives
43(16)
Getting Started with QTR
44(1)
Printing with QTR Profiles
45(1)
Install QTR
45(1)
Install your Printer
45(1)
Create a Custom QuadTone RIP Profile for Carbon Printing
46(1)
Step 1 Determine a Standard Print Time
47(1)
Step 2 Print an Ink Separation Image to Determine Inks and Proportions
47(1)
Step 3 Create a Custom QJR Profile
48(1)
Step 4 Install the Profile and Print the 21-step Digital Negative
48(1)
Step 5 Adjust Ink Density to Get Dmax and Paper White
49(1)
Step 6 Linearize the Profile
49(1)
Linearizing with the Curveji
50(1)
Linearizing with the Linearize
51(8)
Chapter 6 Making Supports for Single and Double Transfer Carbon Printing
59(10)
Introduction
59(1)
Preparing Fixed-out Photographic Paper
60(1)
Sizing Watercolor Paper
60(1)
Sizing Watercolor Paper with Polyvinyl Acetate or Acrylic Medium
60(1)
Sizing Watercolor Paper with Hardened Gelatin
60(2)
Sizing the Paper
62(1)
Light Hardening of Watercolor Papers Sized with Gelatin or Albumen Plus Hardener
63(1)
The Albumen Solution
63(1)
Prepare the Gelatin Sizing Mixture and Coat the Paper
63(1)
Surface Prepping of Temporary Plastic Supports for Double Transfer
64(1)
Sizing Temporary Plastic Supports for Double Transfer
65(1)
Preparation of Final Paper Supports for Double Transfer
65(1)
Steps
66(1)
Sizing for Glass as a Carbon Transfer Support
66(1)
Classic Glass Sizing
67(1)
Modern Adhesion Promoter as a Sizing Agent
67(1)
Other Methods
67(2)
Chapter 7 Making Carbon Tissue
69(16)
Introduction
69(1)
How to Make Carbon Tissue
70(1)
Making Pigmented Gelatin
70(2)
Selecting a Gelatin
72(1)
Preparing the Pigmented Gelatin
72(1)
Coating Tissue
73(1)
Tip: Annotate the Back of Your Tissues
74(1)
The Laydown Method for Coating
75(1)
Preparation for Coating
76(1)
Basic Hand Coating
76(1)
Hand Coating the Tissue
76(1)
Tip: Calculating Volumes for Coating Height
77(1)
Using a Magnetic Frame and Rod
78(1)
Coating the Tissue with a Rod
79(2)
Using a Mayer Rod
81(1)
Coating with a Mayer Rod
81(2)
Selecting and Using Pigments
83(1)
Inks
83(1)
Watercolor Pigments
83(1)
Pigment Dispersions
83(1)
Dry Pigments
84(1)
Using an Improvised Ball Mill Storing Tissue
84(1)
Chapter 8 Basic Working Procedures for Single Carbon
85(22)
Overview
87(1)
Preparing a Printing Session
88(1)
Sensitizing the Tissue
89(1)
Mixing the Sensitizer with a Spirit
89(1)
Details of the Procedures
90(2)
Applying the Sensitizer
92(1)
Hybrid Dab-brush Sensitizing
93(1)
Dry the Sensitized Tissue
93(1)
Expose the Sensitized Tissue
94(1)
Mate the Exposed Tissue to the Final Support
94(1)
Mating the Tissue and Support
95(2)
Development
97(2)
Saving a Print with a Frilled Edge
99(8)
Chapter 9 Multilayer Transfer Carbon
107(8)
Introduction
107(1)
Correct Orientation
108(1)
Aesthetic Qualities
108(1)
Duotones and Full Color CMY and CMYK
108(1)
The Temporary Support
109(1)
Performing the First Transfer and Development
109(1)
Transfer to Soluble Support Paper
109(1)
Triple Transfer
110(1)
Pin Registration
110(5)
Chapter 10 Color Carbon
115(10)
Contemporary Color Carbon Printing
115(1)
Making a Color Carbon Print: Overview of Contemporary Practice
116(1)
Basic CMY Color Calibration Methodology
117(4)
Identify Suitable Pigments
118(1)
Design the Pigment Tissues
118(2)
Linearize the CMY Layers
120(1)
Adjust the CMY Layers for Gray Balance
120(1)
Make a Carbon Print
121(1)
Create an .ice Profile for More Accurate Color Reproduction
121(1)
Hybrid Color: Combining Color Capture on Film with Digital Methodology
122(3)
Chapter 11 Alternative Materials and Working Methods with the Carbon Process
125(18)
Introduction
125(1)
Section One Historical Review
126(5)
Pigment Prints with Direct Carbon Processes
126(2)
Pigment Prints with the Carbro Process
128(1)
Pigment Prints by Exposure through Substrate
129(2)
Section Two Alternative Light Sensitive Agents with Carbon Printing, with some Practical Workflow Procedures
131(9)
Silver Bromide
132(1)
Diazonium Compounds
133(1)
Practical Use of Diazonium Compounds in Carbon Printing
133(1)
Making the Diazonium Pre-sensitized Tissue
134(2)
Diazonium Pre-sensitized Tissue #1 Diazon 221
135(1)
Diazonium Pre-sensitized Tissue #2 DAS
135(1)
UltraStable Color Clearing Bath
136(1)
Ferric Salts
136(3)
Ferric Carbon with Exposure through the Substrate on a Permanent Base
139(1)
Exposure
139(1)
Development
140(1)
Wash off Development
140(1)
Clearing
140(1)
Double Transfer Ferric Carbon
140(1)
Steps in Making a Double Transfer Ferric Carbon Print
140(3)
Chapter 12 Finishing the Print
143(6)
Clearing
143(1)
Drying and Flattening
144(1)
Spotting
144(1)
Applying Finishes to Prints
145(1)
Applying Picture Varnish
145(1)
Overcoating with Gelatin
146(3)
Part Two Contemporary Carbon Transfer Artists
149(102)
Chapter 13 Artists and Their Creative Practice
151(100)
Introduction
151(2)
Tod Gangler
153(6)
Sam Wang
159(4)
Michal Macku
163(4)
Javier De Reparaz
167(4)
Vaughn Hutchins
171(4)
Fred Dusel
175(4)
Erin Kice
179(4)
Cheng Hua
183(4)
Zhong Jianming
187(4)
Philip Schwartz
191(4)
Kane Stewart
195(4)
Bruce Campbell
199(2)
Jim Fitzgerald
201(4)
Andrew Musil
205(4)
Marek Matusz
209(4)
Sidney Kapuskar
213(4)
David Christensen
217(4)
Majo Guerrero Fonseca
221(4)
Andrew O'Neill
225(4)
Gary Baker
229(4)
Dave Hatton
233(4)
Cathy Cakebread
237(4)
Mark L. Freedman
241(4)
Jonathan Taala
245(2)
Ellie Young
247(4)
Appendix A Suppliers and Resources 251(4)
Appendix B Safe Practice 255(4)
Appendix C Sites with Significant Collections of Vintage Carbon Prints 259(2)
Bibliography 261(2)
Index 263
Sandy King has been a fine art photographer since the early 1970s, printing with carbon transfer, kallitype, platinum/palladium and Van Dyke. For over two decades, King has devoted much of his time to carbon printing with publication of personal work in Photovision, Silvershotz and View Camera, conducting carbon printing workshops, and author of numerous publications. To see his work, visit www.sandykingphotography.com

Don Nelson has been a large format photographer since 1976, using 8x10, 7x17, and 12x20 inch cameras. Nelson has been an alternative process printer for the past three decades, using primarily carbon and platinum/palladium since 1991, although he has experimented with most alternative processes.

John Lockhart was inspired by the platinum work of Paul Outerbridge which led him to handcrafted printmaking and ultimately carbon transfer. In his work, Lockhart combines the authenticity and immediacy of documentary and street photography with a painstaking approach to printing each image as a handcrafted artifact. Lockhart is also involved in preserving, evolving, and teaching the craft. To see his work, visit www.johnlockhart.net