Originally Posted by CMB
I just called, and the exhibit is in their regular shop, and regular business hours. M-F 9-5. Google shows the phone number if you're interested.
Lucky for me I'm working on a job just a couple of hours from Seattle.
Yesterday I got to take my first look at a color carbon print by Tod Gangler; a perk of being in Rochester.
It's a Nickolas Muray portrait of Frida Kahlo.
At the same time, Joe in the viewing room also brought out 2 original carbro prints from the era (by Muray?) and the difference was remarkable.
In the old carbros the tone is somewhat flat, and the colors are dull and lifeless. The print by Gangler is lifelike and gorgeous, with deep rich color, full shadows and sparkling highlights. In the old ones her skin looked "alabaster", whereas the new ones showed that she was tan and had flush cheeks; beautiful skin.
I've never been more attracted to a woman with a unibrow...!
It was shot on 8x10" Kodachrome and the carbon reflected this, dead sharp. On the other hand, 1 of 2 carbros was enlarged and quite unsharp because of it. I realize the old 'bros could've been down and dirty proofs in their day, so I certainly don't fault the carbro process. Charles, can you comment on how Gerard Aniere's prints compare?
The modern print is simply awesome! It's clear that Tod has mastered the process and that modern pigments, workflow and sensitizer can create a beautiful, permanent and accurate photograph; a record of life on Earth!
I'd be interested to know about Tod's interaction with George Eastman House; I understand he came here to see/get access to the original Kodachrome, or in some capacity..? Gaining a fuller understanding of how the print was made would be enlightening to say the least.
Last edited by holmburgers; 10-18-2012 at 09:23 PM. Click to view previous post history.
If you are the big tree, we are the small axe
Isn't that a wonderful print?
Todd's printer's proof was just remarkable, and to think that (at the Northwest Alternative Photography Symposium) he graciously allowed us to hold it and get as close to it as we wanted.
He is remarkably approachable and enthusiastic - I would suggest contacting him directly at Art and Soul.
“Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”
Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2
I just stopped in at Art and Soul.
The exhibit of printers proofs is small and intimate. And it is awesome.
Tod truly is remarkably approachable.
If you are near Seattle I encourage you to stop by. It was worth my time to drive into the city.
At the Symposium Matt referred to Tod showed, I would say, at least 40 of his prints. None were behind glass and we were invited to pass them around. These are large prints. He had the complete set of "Frida" prints there. He also had a set of prints that were made by Atelier Fresson in Paris that were created from his chromes and were what introduced him to color carbon prints. Tod's work is truly amazing. If you have any opportunity to get to Art & Soul gallery while this show is still up, make the time to do it.
Enumclaw WA USA
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If you can't make it to Seattle this month, Tod will be exhibiting and discussing his work at the December 15 meeting of the Historic Photographic Process Forum at the Santa Cruz (CA) Museum of Art & History. Here's the link: http://www.santacruzmah.org/event/hi...esses-forum-2/
Originally Posted by DarkroomDan
I will be discussing the Historic Photo Processes Forum, and Tod Ganglers upcoming presentation, tonight (Tuesday the 11th) from 7-7:30 PST on Bruce Bratton's Universal Grapevine interview program (KZSC, 88.1 FM, streaming live at www.kzsc.org).
Are the CMYK sheets avalable now? If not what is the process of making them?
As far as I know, no one intends to sell commercial CMYK tissue. I suggest you familiarize yourself with the process of making traditional black carbon tissue as discussed on this forum and on the Bostick & Sullivan forum.
Then fully read through this thread and one entitled "Diazo-Sensitized Carbon Transfer" (http://www.apug.org/forums/forum42/9...-transfer.html)
More importantly, IMO, it will help if you go through the process of making traditional dichromate carbon prints first. It will help you understand where the process for making and using pre-sensitized tissues differs
The next step is understanding color separation and multiple-register printing.
what pigments are used to makes these colour tissues also how can one achieve the uniform exposure time.