![]() You will have some paper residue on the back, but with careful rubbing it will come off. ![]() You may need to dump the water and redo every couple of minutes until it peels apart. The largest mural-size prints are made with the horizontal enlarger, a 24” x 36" copy camera which Clyde converted into an enlarger. Stripping can be done by laying the RC paper in a glass dish, then pouring near boiling water on it and soaking for several minutes. After the print has dried it is stored flat with weights to reduce wrinkles.Ĭlyde’s 2,200 square-foot darkroom houses one horizontal and seven vertical enlargers, including some that are antique. They wrap each end of the image around pool noodles then pass the print back and forth through the chemistry: rolling it and unrolling it again and again through developer, stop, two fixes, hypo-clear with selenium, and an hour wash before it is hung to dry. When developing his mural-size prints, his darkroom assistant, Neal Obendorf, stands on one side of the sink, while Clyde stands on the other. Sizing Paper Size : 8 x 10 inches Mat Inner. This print is processed and matted to the highest archival standards. No scanners or digital equipment are used in the production of the image. It is printed on resin-coated (RC) paper using traditional darkroom processes and is selenium toned. Known for luminosity and depth, Custom Fiber is. The Photogram 'woolyheads (-)' is an original silver gelatin photographic print. ![]() “The first time I did a huge print I had to wash it in a swimming pool," laughs Clyde, "I'm sure the chlorine wasn't too good for it! Eventually, I moved into a space where I built big sinks to handle the large sizes of my prints." His developing trays run down the center of the chemical room and allow him to develop 40” x 60" prints flat in the trays. Optical, archival prints printed in the darkroom on Ilford Multigrade FB silver gelatin fiber-base paper. "But if you want to do it in fiber, in a historical, artistic and archivally correct way, you have to develop techniques just to handle the paper."Ĭlyde began making large prints as early as 1968. "If you were to use resin coated (RC) paper, you could just buy a machine that the enlarging paper runs through and it would be no big deal," comments Clyde. A gelatin silver print is composed of four layers: paper base, baryta, gelatin binder, and a protective. Joachim Falck-Hansen (Norway) Untitled Silver Gelatin print from expired (1982) Kodak Trii X film. With fiber-based paper, there are enormous challenges making mural-size prints that require precise and meticulous procedures to ensure uniform quality and consistency in printing. The Nature of the Fiber-Base Gelatin Silver Print. If I am photographing something small like the Ghost Orchid I use a 4” x 5” view camera," explains Clyde, who most often works with an 8” x 10” view camera, but has a host of smaller and larger format view cameras. So, if I have a huge, broad landscape, I use the 12” x 20" view camera. "I try to use the largest film possible for the particular subject I'm planning to photograph.
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