The UltraStable pigment films were coated on Kimdura, a synthetic paper (white, multilayer, biaxially oriented polypropylene film) manufactured by Kimberly-Clark that Tod continues to wash and reuse. Designed for use as packaging labels, it is available internationally from Neenah Paper Inc: http://www.neenah.com/technical/prod...=10&prod_id=24
Originally Posted by VesaL
Thank you all for your kind help! I Will have to take a look for this medium. Couple of days ago I coated my first successfull Gelatin layers to Inkjet paper. First I rubbed off the ink intake layer with hot water. Under that soluble layer, reveals nice smooth layer of "plasticied" coating. Much faster to prepare than using Resin coated silver gelatin paper and fiddling with fixer & long wash times.
Professionals make it look easy when thay coat the support sheet, it took me 3 nights to get the coating succesffull testing various methods :0)
I was wondering if quitting the use of Dichromate as a sensitizer, what concentration the Diazo should be mixed in relation to the gelatin, lets say that you would make 200ml of coating solution?
Anyone have ideas?
I can't give you an answer, but take a gander at this thread...
UltraStable in Finland
I'm posting this note I received from Stig Gustafsson for 2 reasons:
1. Perhaps someone can help him with his subscription problem...
2. The use of half-tone or stochastic screens with Epson (ink-jet) produced separations warrants discussion. Any one doing this?
But first, Stig's note:
Can You please help me,I am trying to subscribe to APUG but there is something wrong with the subscr.page and I can not find the admin to send a mail.
The Subscr. page is supposed to show a picture but there is only an empty frame!
I still have some UltraStable and if I understood correctly from the APUG site it should still work?
If making a digital negative with Epson do I have problems with highlights.I had problems when using cont tone negs with light even sky's, stochastic separations worked ok and so did line separation negs.
I remember makin 3 US prints during the night (autochrome originals)for next day exhibition and my guest from Sweden Hans&Chia Nohlberg? told me at the breakfast that they heard the noise during the night when the print slashed against the try walls!
They where very impressed of how fast you could make Ultra Stable prints.
The sound was naturally very familiar for them.
I hope You can help me regarding APUG.
Stig Gustafsson <email@example.com>
Sponsored Ad. (Subscribers to APUG have the option to remove this ad.)
Its not necessary to use Yupo as a tissue support, you can use almost anything that will hold up in the warm water developing bath. I got my yupo from a print trade paper supply firm, it should not be expensive to buy 100 very large sheets and it should be available nearly everywhere. Photopaper can be used and so can wall paper.
I have looked in to making half tone seperations, since I do not have photoshop, it can be done with the seperate+ plug in for Gimp and the newsprint action. I have decided that with modern profiling software there is probably very little advantage in doing it that way. Of course, I could be very wrong.
The iso Lab specifications for CMYK printing on a coated white substrate are easily googled. By printing a test chart with reasonably linear negatives, to the iso spec for CMYK, the process can be profiled in the same way as an inkjet printer is profiled. Also it is possible to use soft proofing to see what your colours will be like. I am shure it is possible to do theese things with half tone seperations too, but I am not shure if there is any advantage.
Due to the loss of highlight detail in the carbon process, it is necessary to use high-resolution (300-400 lpi) halft-tone or stochastic screens with con-tone negatives.
Originally Posted by mdm
And it is necessary to use a dimensionally stable support (such as Kimdura) in order to register the multiple color layers.
Originally Posted by holmburgers
Wow, there is some serious exprerimentation going on.. Thanks for the Info.!
That may be true but I am not prepared to take it as gospel without trying it myself first. There are people making very nice highlights with QTR digital negatives and a double transfer too, and others with film. My highlights suck at the moment, however I think a large part of the highlight problem with carbon is due to its straight line characteristic curve, as a result the highlights tend to be percieved as high contrast. If you linearise your negatives for L instaed of density, 50% grey is printed much paler to match human sight and the highlights are printed with much less contrast. Check out this by Gary Baker http://www.fotosavant.com/Contest/Ga...ilkweedPod.htm
Originally Posted by CMB
Highlight Loss in Carbon Printing
The loss of highlight detail (i.e. densities less than .20) in con-tone carbon printing is a physical process problem and is not ameliorated by the use of any variations in curve shape, gamma, density. QTR, etc. Charles Lighton first described this in detail in the September 1927 Photographic Journal (pgs 418-419) and other photographic researchers have reported similar findings.
Unlike chemically hardened layers of gelatin which have sharply defined boundaries, light hardened gelatin has a soft and diffuse border between the hardened and unhardened portions that is uneven, variable and easily washed away. Many carbon workers resort to "fogging" (chemical or light ) or multiple-printings to artificially place density in these areas. While this can produce highlight density, it does not provide highlight detail. This can be seen in the milkweed print where the quarter-tone highlights are "mushy" and without definition. Similarly, the fine details of a brides white-on-white wedding gown will be lost in a carbon print made from a con-tone negative.
Sightings of highlight detail in con-tone carbon prints are a lot like sightings of Bigfoot and the Loch Ness Monster - many have claimed to see them but none have been able to offer any (photographic) proof.