UltraStable Cyan - Rough & Rowdy, Down & Dirty TEST
Ok, so here is my aforementioned test with a print from a cyan tissue.
It's a comedy of errors, but in my own opinion it has a certain degenerate beauty about it. As you can see, the stain is very apparent, and has been steadily growing since the "time of conception". It was completely non-existent at first.
This negative (which is a bit smaller than 8x10") is from a reversal processed 4x5" positive that I projected onto Agfa Mammography X-ray film. The negative itself is not perfect, and yet the tonality of this print is nonetheless promising.
It's such a thrill to have these materials, and I promise this won't be the last image I make with them! Though it might be some time until I get to 3-color, as I need to commit some more effort towards my dye-transfer process.
Count me in as one who is closely watching the thread- and thanks for posting the alternative sensitizer to chromate, Diazidostilbene Sodium Sulfonate, using chromates is the single greatest source of heartburn I have with the process.
Most of the discussion here has been related to the stability of the print, which will outlast me in any case - does anyone have any comment on the appearance of these prints? (unfortunately there are no color carbon prints in my geographical area that I can locate.)
Post 4 on this thread has these two examples of Tod Gangler's work with UltraStable (purportedly)
2nd picture down is another UltraStable print.. http://ccp.library.arizona.edu/exhib...ide/ofacts.htm
Also, check Davec's post in this thread; #23.
From what I've heard, the colors are not as saturated as some other print methods, due to an inherent lack of transparency in the pigments. I'm not sure to what degree this holds true however.
I wonder if a screen-printer's diazo sensitizer could be a "drop-in replacement" for dichromates..
I asked Michael Ward who printed Sarah Moon's work in the 90's, what he considered the qualities of a finely crafted pigment transfer print were in an article i recently wrote, he said
Originally Posted by totalamateur
‘The lushness and density of colour. The union of that colour with it's surface. In other words, materials complimenting each other. The print being an object, not just a record. This process allows for artistic sensitivity in that application. A good pigment transfer print can be appreciated as much for it's material presence as for it's image. I think it has a more physically tangible quality than the results of some other photographic processes.’
First time i saw them was a visual revelation much like when i saw my first platinum print, when printed well with the right subject matter pigment transfer prints are stunning.
Yes, you are correct regarding the Status D density readings. The spectral impurities characteristic of color pigments limit their saturation values. The UltraStable black layer (a pigment, not a dye) is used primarily to provide additional density and detail in the shadow areas and not for color correction.
Originally Posted by Photo Engineer
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Here's some reading from 1992; an article about UltraStable in the NY Times.
UltraStable Process Instructions
Here's a PDF of the UltraStable Process Instruction (rev:6/96):
Thanks much for posting this. It's remarkably cool that exposure times are equal once you figure out just one.
Any idea if the stain in my posted cyan print is characteristic of improper clearing? Or is it virtue of the mordant in Kodak DT paper?
Emulsion Coating Video
Here's a link to a brief video of Tod Gangler coating a sheet of magenta:
That's a fantastic glimpse at the coating procedure.
That magenta appears to be much thinner & thus more transparent than the US tissue. Is there anything noteworthy about that difference?
I hope to see more on your youtube channel Charles, great stuff!