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  1. #91
    Vaughn's Avatar
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    I pour thick tissues at about 1.2 ml of glop per square inch. If I do not have a fan (no heat) on the tissue during the drying stage, I risk mold forming on the surface of the tissue. I have had mold growing on a tissue that was just out of reach of the air being pushed by the fan.

    Once mixed (no preservative), my glop can sit in a water bath at 110F for up to 10 hours -- no trouble there...yet. I have tried to refrigerate the glop (again, no preservative) but ended up with the classic science experiment.

    I can imagine a workflow that a safe preservative would be useful...make a lot of glop, then store it in the fridge. As needed, remelt and pour. I have made up to 2.5 liters of glop at a time -- that is all I can pour in one session and have enough room for the tissues to dry.

    Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  2. #92

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    Ok...I'll admit I may have been a little "me-focused" in my previous response. I don't store my glop, I pretty much pour everything I make.

    I'd be curious to know how many practicioners make large batches of glop and store it for extended (> 48 hours?) periods of time.

    --Greg

  3. #93
    Philippe Berger's Avatar
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    If 2.5 gr of pigment PBK7
    What is the value with ? ml of sumi ink

    2.5 gr pigment black PBK7 = ? ml od sumi ink black ?

    Thank you for your idea (+/-)

  4. #94

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    Met with CMB yesterday

    Had the distinct pleasure of meeting with Charles Berger yesterday. I was very impressed by his willingness to share his knowledge of carbon & carbro and he's a really nice guy to boot. BUT he brought with a portfolio of ultrastable and color carbro prints that were just outstanding and I'm still trying to pull my jaw off the floor.

    Here's my best attempt to describe the ultrastable prints. They had a physical presence and tactile quality that certainly made them so much more than a print. The depth and richness of the colors were pure eye candy. The reds and purples were hypnotic and I could hardly pull my gaze from them. The sharpness and detail were perfection and these were large, mostly 16 x 20 or bigger. He had prints on heavy water color papers, smooth papers and melenex and all of them were quite extraordinary.

    So if you get the opportunity to see some ultrastable prints I would encourage you to do so. They are truly objects of great beauty.

  5. #95
    CMB
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    Tod Gangler Exhibit

    Color Carbon prints made by Tod Gangler are now on exhibit at Art and Soul Photo in Seattle (www.colorcarbonprint.com). Opening reception is Saturday, Nov 12, 6-9PM. This is a rare opportunity to view some of the finest color carbon prints ever made.

  6. #96
    Bob Carnie's Avatar
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    Charles

    I took a ultra stable course in the 90's at Maine Photo Workshop for a week, Who was the instructor? do you remember ? for the life of me I cannot remember his name.
    His work was like Todd's water ocean series, I do not think Todd taught this course but I remember his work as being very good, he did not transfer his work to watercolour paper, but did all on melimex.

    thanks

    Bob

    Quote Originally Posted by CMB View Post
    Color Carbon prints made by Tod Gangler are now on exhibit at Art and Soul Photo in Seattle (www.colorcarbonprint.com). Opening reception is Saturday, Nov 12, 6-9PM. This is a rare opportunity to view some of the finest color carbon prints ever made.

  7. #97
    CMB
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    Dave Schrader, who was an instructor in color photography at the Brooks Institute, taught the UltraStable process at the Maine Photographic Workshops. His beautiful work with water and tide pools was featured in the August 1991 issue of Camera and Darkroom. His website DavidMSchrader.com seems to be "in transition" but he can (?) be reached at davidmschrader@verizon.net.

  8. #98
    Bob Carnie's Avatar
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    Thats the guy ,, thanks, is he still making prints with permanent pigments?
    Quote Originally Posted by CMB View Post
    Dave Schrader, who was an instructor in color photography at the Brooks Institute, taught the UltraStable process at the Maine Photographic Workshops. His beautiful work with water and tide pools was featured in the August 1991 issue of Camera and Darkroom. His website DavidMSchrader.com seems to be "in transition" but he can (?) be reached at davidmschrader@verizon.net.

  9. #99

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    Carbon printing and Yupo Polypropylene paper

    Hello! As I am new to Carbon printing, I was wondering, does any version of Yupo paper fit as support sheet for Gelatin coating ? I read somewherehere in the post, that it was yupo paper mr. Gangler was using.

    Currently there is no Yupo available in my country (Finland), and I would like to be sure before i order it from abroad.

    Thank you for your kind help in advance!

    -Vesa

  10. #100
    holmburgers's Avatar
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    Yupo is fantastic as a tissue support (not for final support) and it's completely reusable.

    I have the 104 lb. and it works nicely. I've heard others say that the lighter weight (74 lb.) works better as it allows the heat to transfer more quickly during the hot-water bath.

    I'm referring to plain Yupo watercolor paper.



 

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