carbon and smooth tones

Discussion in 'Alternative Processes' started by mark, Feb 8, 2012.

  1. mark

    mark Member

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    Everything I have read says to NOT try to use negs with large expenses of smooth tones like skies or or skin tones when you start.

    There really is no explanation that I have found to explain what the pit falls are. Can someone enlighten me as to what the pit falls are or the possible issues that might arise? I have a still life project in mind.
     
  2. Vaughn

    Vaughn Subscriber

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    I think I have said it once or twice :whistling: -- but merely to warn folks not to get too discouraged when trying the process for the first time. Actually the opposite is true -- large areas of smooth tonality will quickly point out any sloppiness in one's process.

    Possible pitfalls:

    Incomplete or uneven mixing of the pigment in the glop
    Excessive graininess caused by poor pigment choice (particles of carbon too big)
    Beard hairs, dust, etc in the glop
    Uneven sensitizing
    Defects on the neg

    That is what I can think of right now.

    vaughn
     
  3. mark

    mark Member

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    That is not bad.
     
  4. Hexavalent

    Hexavalent Subscriber

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    It's the lightest smooth tones that usually cause trouble, as they are the thinnest and most fragile portion of gelatin.
    "Technique" is everything :smile:
     
  5. Vaughn

    Vaughn Subscriber

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    I have a 5x7 carbon print of a woman (nude) standing by a redwood. Beautiful print -- but there is a beard hair in the gelatin right in the middle of her left cheek of her bum.
     
  6. Hexavalent

    Hexavalent Subscriber

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    Was it in the negative too? :laugh:
     
  7. mark

    mark Member

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    Way to many bad things I want to say about that post vaughn.
     
  8. Vaughn

    Vaughn Subscriber

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    I said in the gelatin, boys...:D
     
  9. Hexavalent

    Hexavalent Subscriber

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    At least you didn't say in the 'glop':wink:
     
  10. Curt

    Curt Subscriber

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    OMG!!!! I just snorted my coffee!

    But really guys!!!
     
  11. Jim Fitzgerald

    Jim Fitzgerald Member

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    It really is about refining the complete work flow as Vaughn has said. The rewards are wonderful when you get it right. The challenge is worth the reward. Portraits are beautiful in carbon and getting clear skin tones is tough. Skies have always been a problem for me but I normally do not include them anyway.