@Piotr Lesniak - you can use any final and tissue supports combination: hardened by UV light gelatin in tissue will stick only if heavy overexposed (so it became hardened all way deep to it support)
Cool! do you size Yupo final support with gelatin? I use microporous inkjet paper as a final and Yupo for tissue. If both - temporary and final are of Yupo is there any danger that a pigmented gelatin will rather stay stuck to tissue instead being transferred to final? After matting and warm development? Do you harden the transferred layer with before transferring next color?
Thank you Sergey for you kindness. Another question. 1 Do you develop each color layer directly to the final support? According to the video, you build up the YMCK layer one by one on the final support from yhe tissues and no temporary support was used, right? 2 Do you give ach color layer same exposure time? I used to do gum print and it took different exposure time for each color. I am really curious of the color carbin and you are giving me great inspiration. Thank you again.
dustytemple 1 Yes, I mostly use continuous transfer of layers on top of each over on same support. This is simplest way, but if you have experience with double transfer, you can print each layer on it's own support, then transfer them to final support (where is another color carbon video on youtuble - search for "ultrastable color" - in this video Tod Gangler shows multiple transfer technique). 2 No, you need to find correct exposure times to match CMY densities for each layer. Basically you need to print scale tables for each color, scan them, convert to CMYK is PS, measure density in corresponding channel and this gives you exposure times. www.flickr.com/photos/greywind/9202155301
I would like to know more about color separation negatives. My experience is with three color carbon, making separation negatives from red, green and blue to get the cyan, magenta and yellow respective negatives. How do you make them: separating the four channels of a CMYK file and then inverting each of them, or making like me and adding a fourth black negative with a relative lower density?
I first do calibration for each colored tissue (CMYK) to get calibration curves. When I make CMYK separation in Photoshop using neutral profile (not the default one) and apply calibration curves to each channel. www.flickr.com/photos/greywind/9202155301/in/photolist-f2asb2-f2as3B-f2pJf1
Thank you, @@sergeylemeshencko1765. It is a quick, short and clear answer, even documented with photographs!, very helpful , thank you again. I will let you know if I get any success.
Amazing and very informative video! You didn't do double tranfer and did just single transfer. Does the gelatin of each previous layers have any harm? As I understand, the gelatin is weak to water and would absorb water even after it is dried. So if the magenta layer is exposed and mated with the yellow layer, I am afraid the yellow layer would swell and peel off from the support. As as monochrome-only printer, I want to hear your experience about this.
park jongin Nothing stops you from transferring all 4 layers to new support - it will work in same way as with single layer. Don't forget, that gelatin become insoluble after treating with bichromate - so it will absorb less water, than soluble gelatin in exposed tissue. So no correction time for cold water transfer is needed. Btw, I sometimes make multiple transfers of same color - in case if I need more density or to hide some defects. Multilayer carbon printing offers huge possibilities - you can easy double relief or intensify shadows without affecting highlights with making double print frome same negative.
Basically, Carbon printing is based on the fact that the sensitized gelatin is less soluble when exposed to light. At the correct temperature, the unexposed emulsion will dissolve leaving the exposed portion behind. I’d suggest doing monochrome prints first, to get the technique down.
Great info, thank you very much! I wonder who can dislike this type of tutorials?!
@Piotr Lesniak - you can use any final and tissue supports combination: hardened by UV light gelatin in tissue will stick only if heavy overexposed (so it became hardened all way deep to it support)
Cool!
do you size Yupo final support with gelatin? I use microporous inkjet paper as a final and Yupo for tissue. If both - temporary and final are of Yupo is there any danger that a pigmented gelatin will rather stay stuck to tissue instead being transferred to final? After matting and warm development? Do you harden the transferred layer with before transferring next color?
Great video! What pigments do you use for the CMY layers? Thanks!
Bravo! Looks amazing!
Thank you Sergey for you kindness.
Another question.
1 Do you develop each color layer directly to the final support? According to the video, you build up the YMCK layer one by one on the final support from yhe tissues and no temporary support was used, right?
2 Do you give ach color layer same exposure time? I used to do gum print and it took different exposure time for each color.
I am really curious of the color carbin and you are giving me great inspiration.
Thank you again.
dustytemple
1
Yes, I mostly use continuous transfer of layers on top of each over on same support. This is simplest way, but if you have experience with double transfer, you can print each layer on it's own support, then transfer them to final support (where is another color carbon video on youtuble - search for "ultrastable color" - in this video Tod Gangler shows multiple transfer technique).
2
No, you need to find correct exposure times to match CMY densities for each layer. Basically you need to print scale tables for each color, scan them, convert to CMYK is PS, measure density in corresponding channel and this gives you exposure times. www.flickr.com/photos/greywind/9202155301
Sergey Lemeshencko Thank you so much, Sergey. It was you, Greywind in the forum! Amazing worker!with respectJongin
park jongin yep, greywind is my user name on APUG and bostic&sullivan
@@sergeylemeshencko1765
I would like to know more about color separation negatives. My experience is with three color carbon, making separation negatives from red, green and blue to get the cyan, magenta and yellow respective negatives. How do you make them: separating the four channels of a CMYK file and then inverting each of them, or making like me and adding a fourth black negative with a relative lower density?
I first do calibration for each colored tissue (CMYK) to get calibration curves. When I make CMYK separation in Photoshop using neutral profile (not the default one) and apply calibration curves to each channel. www.flickr.com/photos/greywind/9202155301/in/photolist-f2asb2-f2as3B-f2pJf1
Thank you, @@sergeylemeshencko1765. It is a quick, short and clear answer, even documented with photographs!, very helpful , thank you again. I will let you know if I get any success.
Thanks for sharing. Suggestion; I cant read that fast so please leave graphics on longer.
Amazing and very informative video! You didn't do double tranfer and did just single transfer. Does the gelatin of each previous layers have any harm? As I understand, the gelatin is weak to water and would absorb water even after it is dried. So if the magenta layer is exposed and mated with the yellow layer, I am afraid the yellow layer would swell and peel off from the support. As as monochrome-only printer, I want to hear your experience about this.
park jongin Nothing stops you from transferring all 4 layers to new support - it will work in same way as with single layer. Don't forget, that gelatin become insoluble after treating with bichromate - so it will absorb less water, than soluble gelatin in exposed tissue. So no correction time for cold water transfer is needed.
Btw, I sometimes make multiple transfers of same color - in case if I need more density or to hide some defects. Multilayer carbon printing offers huge possibilities - you can easy double relief or intensify shadows without affecting highlights with making double print frome same negative.
Congrat!!!! Exelent!!!!
Fantastic
i don't understand this shyt at all. but everyone makes it look so easy
Basically, Carbon printing is based on the fact that the sensitized gelatin is less soluble when exposed to light. At the correct temperature, the unexposed emulsion will dissolve leaving the exposed portion behind. I’d suggest doing monochrome prints first, to get the technique down.