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  1. #11
    Jim Fitzgerald's Avatar
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    Quote Originally Posted by Jeremy View Post
    I thought you meant you were doing carbon over platinum or platinum over carbon :-)
    No, two separate process in one workshop. So really a two for one deal. Our economic stimulus package the photographic community.

    Jim

  2. #12
    Michael Slade's Avatar
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    Quote Originally Posted by Jeremy View Post
    I thought you meant you were doing carbon over platinum or platinum over carbon :-)
    Michael Slade

  3. #13
    Perry Way's Avatar
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    Email sent. I'm lacking 8 x 10 negs for contact printing as I'm only up to Medium Format right now. Would love to join this workshop but need to get my hands on a few negs for contact printing. Anyone interested in lending some or <gasp> selling some to me?
    I love the wilderness and I love my trail cameras, all Fuji's! :) GA645, GW690 III, and the X100 which I think is the best trail camera ever invented (to date).

  4. #14
    Jim Fitzgerald's Avatar
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    Quote Originally Posted by 1SharpMonkey View Post
    Email sent. I'm lacking 8 x 10 negs for contact printing as I'm only up to Medium Format right now. Would love to join this workshop but need to get my hands on a few negs for contact printing. Anyone interested in lending some or <gasp> selling some to me?
    Not to worry about negatives. I am going to bring some of my 8x10 negatives for those that need to use them so they can learn the process. For my carbon printing workshop 8x10 would be ideal and 5x7 or 4x5 are okay. Those with digital negatives are okay also. This workshop will give you the fundamentals of the process and show you the potential of carbon transfer. Once you get some hands on with this process and understand the mechanics then the real fun begins. We need to walk before we can run.

    Jim
    Last edited by Jim Fitzgerald; 08-29-2009 at 10:57 PM. Click to view previous post history. Reason: ??

  5. #15
    Perry Way's Avatar
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    Quote Originally Posted by Jim Fitzgerald View Post
    Not to worry about negatives. I am going to bring some of my 8x10 negatives for those that need to use them so they can learn the process. For my carbon printing workshop 8x10 would be ideal and 5x7 or 4x5 are okay. Those with digital negatives are okay also. This workshop will give you the fundamentals of the process and show you the potential of carbon transfer. Once you get some hands on with this process and understand the mechanics then the real fun begins. We need to walk before we can run.

    Jim
    Yes, thanks for sharing this Jim! I'm on board! Per sent me back a message earlier today and said to bring my medium format negs and appropriate digital negs could be made for purposes of instruction. To be honest I don't really care which negs I'd be using, getting hands on instruction from masters and so nearby (I'm in San Luis Obispo) is just awesome. Either way I'll bring what I have and maybe I've got some good candidates already. For the record though, what constitutes a better negative for carbon printing? Would it be the more contrasting ones?
    I love the wilderness and I love my trail cameras, all Fuji's! :) GA645, GW690 III, and the X100 which I think is the best trail camera ever invented (to date).

  6. #16
    Jim Fitzgerald's Avatar
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    Quote Originally Posted by 1SharpMonkey View Post
    Yes, thanks for sharing this Jim! I'm on board! Per sent me back a message earlier today and said to bring my medium format negs and appropriate digital negs could be made for purposes of instruction. To be honest I don't really care which negs I'd be using, getting hands on instruction from masters and so nearby (I'm in San Luis Obispo) is just awesome. Either way I'll bring what I have and maybe I've got some good candidates already. For the record though, what constitutes a better negative for carbon printing? Would it be the more contrasting ones?
    For the purpose of carbon transfer and the way I work I try to go for a more contrasty negative. I think an important part of learning carbon transfer is seeing the negative and the resulting print. Contrasty negatives with textured areas work best in my opinion, but I have been able to produce very nice prints with negatives of low contrast. I do develop my negatives in Pyro but if you are using non Pyro developers that is fine. More contrast is better with traditional negatives. One would develop about 20% more or greater depending on the scene. A negative with a DR of 1.8-2.2 is a nice range for traditional negatives. If you are in the SLO area I hope you have checked out the Los Osos Oaks preserve. Some great Oaks in there and I will have some prints from that area to show.

    Jim

  7. #17
    Perry Way's Avatar
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    Quote Originally Posted by Jim Fitzgerald View Post
    For the purpose of carbon transfer and the way I work I try to go for a more contrasty negative. I think an important part of learning carbon transfer is seeing the negative and the resulting print. Contrasty negatives with textured areas work best in my opinion, but I have been able to produce very nice prints with negatives of low contrast. I do develop my negatives in Pyro but if you are using non Pyro developers that is fine. More contrast is better with traditional negatives. One would develop about 20% more or greater depending on the scene. A negative with a DR of 1.8-2.2 is a nice range for traditional negatives. If you are in the SLO area I hope you have checked out the Los Osos Oaks preserve. Some great Oaks in there and I will have some prints from that area to show.

    Jim

    Fantastic. After I asked this question last night I spent about an hour looking for more prints and writeups on carbon transfer. It seemed to me I had my head on straight (for a change, eh?). And while I was intuiting this process, guess what came to my mind first? <dinger sound> The massive 1000 year old Oak tree as you enter the Los Osos Oaks preserve. How do you like that? Am I psychotic or what? err.. I mean psychic. Bad joke attempt aside, I've been to Los Osos Oaks recently about 5 times this last two weeks. It is afterall only about 5 miles from my doorstep, and I love Live Oak trees so very much. The deciduous ones you see in central and east Texas and east of that to the Atlantic are a far cry different with their vertical rise and spindly horizontal branches that break off in autumn winds. Live Oak varieties a low lying much of their lives and develop an almost grotesque twisting and protruding array of branches. Anyway back to negatives.. I have a fist full of negatives from Los Osos Oaks preserve and due to the high and thick canopy of dense leaves they are all predominately dark toned. But there's a lot of detail in the negs. And I thought last night as I perused my negs that I'd bring them with me for certain.

    Speaking of Oaks, if you're a fan of them you might like this.. Yesterday I was out on the Big Sur coast snapping off a couple rolls through my RB67, and I came upon a very interesting thicket of those Coastal Live Oaks. I've passed by it a thousand times but never did see them until I was out looking for interesting shots. Having shot the Ocean and rocks and waves so many times It was time to find other things. I'm sure you've seen them before but maybe not knowing they were a special variation of Oak. They are especially low slung and grow wide.. very wide.. and when they grow in a thicket they take on a whole different look than the bumpy bursts of green cumulonimbus clouds on a grassy hillside of their larger Live Oak cousins. I spent about 45 minutes trying to get a really advantageous angle to take some shots of this one thicket, but every angle I got to while climbing over barbed wires and thick grasses with foxtails and barbs was not the one I saw from the road. The best angle was directly from Highway 1. I wasn't so brave. That part of the road people are going upwards of 65 mph. Still though I got some excellent shots, but just not the ones I wanted.
    I love the wilderness and I love my trail cameras, all Fuji's! :) GA645, GW690 III, and the X100 which I think is the best trail camera ever invented (to date).

  8. #18
    Jim Fitzgerald's Avatar
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    I suggest that anyone interested in carbon transfer ( seriously) do some research on line as I did. It will help you understand the process and get the most out of the hands on. This is true for the Platinum people also. Once you get the hands on that you need it then becomes making the process your own.

    The Oaks are a favorite of mine. Do bring some of the negatives you have as I would love to see them. I have several that are dark and print well in carbon. When the light streams through the canopy it is amazing the detail you can hold. I hope to have some new images to show at the workshop. As to having your head on straight , well at least you do! I'm still working on it! Psychotic or Psychic it is all good to me. Please bring both to the workshop.

    Jim

  9. #19
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    I've been doing some online searching too and have a folder "Carbon Transfer" in my favorites. I was reading about the two types, single and double transfer, it appears that single can be less sharp because the negative has to be placed in contact with the emulsion side out as to have the image correctly orientated. Double transfer eliminates this? The light source, bulb type, has an overall effect on the final print also. Would you suggest a book to read prior to the workshop?

    Curt
    Everytime I find a film or paper that I like, they discontinue it. - Paul Strand - Aperture monograph on Strand

  10. #20

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    Quote Originally Posted by Curt View Post
    I've been doing some online searching too and have a folder "Carbon Transfer" in my favorites. I was reading about the two types, single and double transfer, it appears that single can be less sharp because the negative has to be placed in contact with the emulsion side out as to have the image correctly orientated. Double transfer eliminates this? The light source, bulb type, has an overall effect on the final print also. Would you suggest a book to read prior to the workshop?

    Curt
    Single tranfer is considerably less complicated than double transfer, and relief effect is also a lot more enhanced with single transfer. These days many people print carbon with digital negatives, and we just flip the image file so that the orientation is correct.

    If you have not already seen it let me suggest my article on carbon printing at the alternative photography site.

    http://www.alternativephotography.co...es/art110.html

    Sandy

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