The book of carbon and carbro
The Book of Carbon and Carbro « Books « dupeliculas.comA working guide to making carbon and carbro prints, including detailed instructions on making carbon tissue and final support papers. Carbon is in the opinion of many the most beautiful of all photographic print-making processes and the author of this manual is one of the leading authorities on carbon printing in the world. Doing business with Alternative Photography was a pleasure and I look forward to future dealings. It was purchased through a system that worked well and it has arrived here in southern Australia only a few weeks after purchase. Extensive notes on film originating in inkjet printers would be very useful.
Carbon Printing - Sizing Art Paper
Sandy is a carbon printer from South Carolina whose work has been featured in numerous print and web publications. He is also the author of a self-published book on carbon printing, The Book of Carbon and Carbro. He has worked with color carbon and in monochrome with both the single transfer and double transfer methods. He now prints primarily with digital negatives, though much of his work in the past was done with LF and ULF in-camera negatives. His printing procedures, as outlined below, are traditional, though he often aims for a much higher relief than is seen in most historical work. E-mail Webmaster.
One for Sandy possibly. Having seen some images posted on an alt. Any pointers would be appreciated.
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A carbon print is a photographic print with an image consisting of pigmented gelatin , rather than of silver or other metallic particles suspended in a uniform layer of gelatin, as in typical black-and-white prints, or of chromogenic dyes, as in typical photographic color prints. In the original version of the printing process, carbon tissue a temporary support sheet coated with a layer of gelatin mixed with a pigment—originally carbon black , from which the name derives is bathed in a potassium dichromate sensitizing solution, dried, then exposed to strong ultraviolet light through a photographic negative , hardening the gelatin in proportion to the amount of light reaching it. The tissue is then developed by treatment with warm water, which dissolves the unhardened gelatin. The resulting pigment image is physically transferred to a final support surface, either directly or indirectly. In an important early 20th century variation of the process, known as carbro carbon-bromide printing, contact with a conventional silver bromide paper print , rather than exposure to light, was used to selectively harden the gelatin.