I have been following this thread for the past day or so, and almost replied to comments several times.
Thank God for the Delete button.
I agree with my friend Michael Kadillak. The road to respect for your thoughts, opinions and work is to respect the thoughts, opinions and work of others. And if you find it impossible to do that, shut up. Life is really that simple.
Last edited by sanking; 04-23-2009 at 12:12 AM. Click to view previous post history.
It always helps when those thoughts are shared with a sense of mutual respect.
Originally Posted by sanking
(Above comment not directed towards you, Sandy).
Last edited by MurrayMinchin; 04-23-2009 at 12:42 AM. Click to view previous post history.
Note to self: Turn your negatives into positives.
Just my two penny worth (and seeing as it's sterling it aint worth anything)... I've tried some of the initial run and I like it. I'm glad to hear it is now deemed to be G3 and that a G2 will be made. I will be ordering some for 8x10 and 7x17. I like it, I want to use it. The other thing is that I will use it with Neutol WA as that's what I use and the results were really good.
Never seen any of Michael or Paula's prints except for those on the web. Some look interesting, most don't. That's just me. I'm am however very happy that they have expended a lot of time and effort getting this paper made. If you like it, buy and use it. If you don't.... don't.
Finally, a level-headed voice!
I wholeheartedly agree with what Sandy said....
The ad hominem attacks on this thread, which were not started by the OP, are totally unwarranted. For one member to directly attack the photographs of another is beyond the most egregious behavior I have seen here.
Gentlemen, please agree to disagree, and keep the personal attacks out of the difference in opinion about processes.
Last edited by PVia; 04-23-2009 at 03:33 AM. Click to view previous post history.
Good heavens this thread has become more entertaining then a TV soap.
I do hope it gets the rights for a Film
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It was at Michael Smith's suggestion that I see the Irving Penn platinum show at the National Gallery. He said that it contained some of the finest prints he had ever seen. It was at Paula Chamlee's suggestion that I get to know the work of Cy DeCosse for the same reason.
Originally Posted by scootermm
Paul Strand I stumbled onto all by myself.
The link takes one to some fabulous work! Thanks for supplying the information. Really, I don't believe that I have ever seen Platinum/Palladium prints of such depth and to have achieved such an "ethereal" quality. The prints must have been magnitudes better when seen in "real time". Some of the prints are redolent of the work of Robert Kipness, a well known artist of a few years back. Once again, I thank you for directing us to such great prints.
Interesting that they do not use aluminum, I am wondering how they get around the inevitable stretch , shrinkage that happens when paper is wet, It is possible that the multiple hits are accents*skelatin films as you suggests, One hit for detail which basically is what happens in the L channel if you work with LAB and a slight blur for the other mask much like one does to the A & B channels in LAB for colour work.
getting these separations*or as I would describe as detail and then accent films would be quite easy on a Image Setter or Light Jet.
The order of the hits I would believe would also be important.
I was just turned onto Kodak Kodagraph Mapping film which may be the product they are using, I am actually trying right now the Rollie Ortho film in large rolls.
Large strosser punch system with a flip top vacumn easal would be the ticket for exposure and a large enough sink for the processes you want with good humidity as I learned from Sandy King and Mark Nelson.
LVT is a image setter which comes in different sizes, 8x10 and 16x20 I believe . They will record digital files onto Tmax film... Larry G here has one I believe he could give a better description than I .
Lambda , is a RGB laser enlarger , up to 30 inch which I use for all types of end processes, not excluding final film for Alt processes , Black and White and Colour, I am working on the Black and White films as we speak .
LAB is a colour space that some printers, myself included that allows one to work in different ways than traditional RGB workflow.
It is like making using a sledge hammer to put in a finishing nail if not treated correctly , but for sharpening and contrast control there is not a better channel to use than the L of LAB.
Basically there are 10 channels available to work from and as well the inverse of them, RGB, LAB , CMYK which would then total 20 channels for potential accent usages.
By being able to harness these channels one can create masks that would be very valuable for Salto's work. I would imagine his lab is using these channels.
For colour separation work you only have to google Todd Gangler or John Bentley and you will find there is a contemporary history of multiple register full colour printing onto carbon tissues in the USA and Canada.
I have seen both their work and it is spectacular, basically a improvement of the Ultra Stable Process which I played around with in the mid 90's myself, but did not persue as my silver printing business was vibrant and the image setters and scanners required , at the time were way beyond my financial reach.
Today I have scanners and a monster image setter, and am very interested to make film and prints for my friends in the industry. I am not sure of the marketability of this thinking but since the 80's I have dreamed of such an posssibility.
If you want to see how these films work on your Lodima Paper you can contact me privately and I will try to make a film for your process. I am currently doing this with others for there particular process and it would be interesting to see how your paper responds. Unfortunately I have no experience in your paper as I am a Silver and Colour printer and currently am in love with mural silver prints off an enlarger .
The permanent colour prints will be for me and I have a couple of world class mentor's talking me through the jungle of 4 colour separation films on real film , making of the tissues and as well the process of these tissues, and I would probably only offer this service for those photographers willing to invest $$ into what I believe will be a costly process and of course my mentors who would have axcess to my Lab at any time.
I do apologize to the OP and the membership of APUG for this digital diversion, but the mixing of technology's that is happening today is and will be the way of the future for photographic fine prints. It is ongoing behind the scenes and my 2 cents is that being aware of the possibilities for the different process we use is important .
I have seen most end processes from Azo to Platinum, Silver to Lith, done by current top end printer/photographers and historical printer/photographers. I love them all and from my eyes cannot say one is better than the other.
A topic for a different thread , If I was deserted on an island what refreshment, what music and what photograph would I want ,
Cold Beer, Willy Nelson and a August Sander worker print.
Originally Posted by Michael A. Smith
Bob, if I could take a year off from work, I'd apply to be your lab slave!
Oh...and Single Malt, an entire Bach Well Tempered Clavier array (any of several pianists or harpsichordists), and a Kurita platinum print on gampi paper.
I WILL take a year off from work and be your lab slave...!