I wanted to put in a good mention for Richard Sullivan’s new blog, CarbonWorks. Richard is a brilliant photographer and photo chemist, co-founder of Bostick & Sullivan, the premier source for all things alt-process. I found his blog today and was reading up on some innovations he has discovered and published, including the Athenatype (a silver-based printing technique that yields a near-platinum print look) and a fumed silica treatment for alt process printing that helps boost dmax (maximum black density) a common shortcoming of many antique processes. Richard has been honored as a Fellow of the Royal Photographic Society for his work in reviving alternative/antique photographic processes and for inventing new variations on the same, specifically the Ziatype, a printing-out process variant on Platinum/Palladium. He is a master carbon printer (thus the blog title). He also teaches non-silver processes at Santa Fe Community College. Give the blog a read, and follow it if you’re interested in anything antique photo process related!
I don’t think it is obvious from these pictures, but one of the most striking qualities of carbon prints is the high relief surface. They look as much like etchings or engravings as they do photographs. This is caused by the hardening of the gelatin during exposure. Gelatin areas hardened retain their pigment and maintain density. Areas unexposed dissolve during development, leaving a void in the surface.
This past weekend I went up to Rocky Hill, Connecticut (just outside Hartford) to attend a two-day, three evening seminar and get-together, sponsored by the New England Large Format Photography Collective (NELFPC). The main theme of the weekend was to learn about digital negative making and carbon printing. The side benefit was most people brought examples of their current work to share and show after hours. What a terrific weekend! Our instructor for the weekend was Sandy King, an elder statesman for the chemical wet darkroom. A specialist in carbon printing, he is also the inventor of Pyrocat-HD (and its variants), a film developer with special benefit for people working in antique and historic photo processes.
Day one began with displays of some of Sandy’s carbon prints, and a discussion of digital negative making. Sandy does still use ultra-large format cameras from time to time (he has a 20×24 with 12×20 and 10×24 reducing backs), but he mostly travels with medium format gear and then scans his film to enlarge it digitally. He demonstrated the Precision Digital Negatives system for making digitally enlarged negatives, and discussed the benefits and flaws. He then discussed the QTR (Quad Tone RIP) method which has significant advantages over the PDN system, but is far more user-unfriendly to configure. We then scanned some film and made digital negatives to print from the next day.
After all the computer wonkery was finished for the day, dinner was served and the prints to show came out. I showed my two bodies of work, the platinum/palladium travel shots and the male nudes in gum and platinum I’ve been working on. Both series drew a lot of comments and praise, which was very nice. I was especially tickled when certain individuals who I hold in very high esteem made a point of complimenting me in private.
The next day we got down to the business of printing. Carbon is water-activated, like gum bichromate, and uses the same dichromate as a sensitizer. To make a carbon print, you first coat a gelatin and pigment (india ink mixed to taste with other pigment(s) to adjust the tone warmer or cooler) layer on a thin, flexible but non-absorbent medium (mylar or other similar material). This is your donor tissue. You then sensitize it with an ammonium dichromate and alcohol mix, dry it in a cool, dark place, then sandwich it with your negative, emulsion to emulsion, then expose to UV light. After exposing, you put your receiver paper (it can be anything from art papers to fixed-out silver gelatin paper) in a water bath, allow it to swell. After a minute, put the exposed carbon tissue in the water and sandwich it to the receiver paper. continue for another minute and a half or so, then take it out of the water. GENTLY separate the two, then place the receiver in another bath of warm water. You’ll see the image come up in the water bath. You can use a clearing bath as well, but it is not required. The clearing bath will greatly reduce washing time though, so it is a good idea.
To me, while learning carbon printing from a master printer was an awesome reason to travel 400 miles, the bonus that made it worth the effort was meeting the people who attended. Steve Sherman (the beyond generous host – we used his gigantic and brilliantly designed darkroom for the printing sessions and his living room for the show-and-tell sessions, general hanging out, and consuming all the amazing food), Gene LaFord, Dave Matuszek, Jack Holowitz, Glenn and Marie Curtis, Sandy King, Jim Shanesy and Diwan Bhathal (fellow Washingtonians and my travel pals for the trek up and back), Alex Wei, Armando Vergara, Robert Seto, Tim Jones, Paul Paletti just to name a few all made the weekend a really enjoyable experience and I am dying for the next one!
In the group photo, the one on the right, Sandy King is the one with the rolleiflex in his lap – which happens to be my rolleiflex. When I can get the negatives from the trip scanned, I’ll post some shots here.