Color Carbro Printing by Gerard Anière

[holmburgers]

Indeed, they look like incredible prints of high technical quality. Here are some more of Keith's (and notice whose commenting on these!)

http://www.flickr.com/photos/keithtaylor/3273401190/in/photostream
http://www.flickr.com/photos/keithtaylor/3272581313/in/photostream
http://www.flickr.com/photos/keithtaylor/3273400350/in/photostream
http://www.flickr.com/photos/keithtaylor/3273399830/in/photostream

But what's any of this got to do with carbro printing?

 

[CMB]

Carbro Workflow

I for one would be interested in a step by step guideline
Bob

Here's my favorite:

 

[Bob Carnie]

Kind of sounds like my day, wake-up do the three s's . walk a block to work, turn on Lambda, read APUG, put paper on machine, read Large Format, expose three files, answer emails, take off machine and process in trays, wash prints, have a tea.

Here's my favorite:

 

[holmburgers]

That's quite funny, but also a nice reminder that you've got free time where you make time for it.

It's hard as an amateur to find chunks of time that will allow you to carry out 1 phase of a process, without being wasteful & inefficient. All the more that you're an amateur and what takes a pro an hour & a half before breakfast might take me all day!

I wonder where Keith takes the train?

 

[holmburgers]

A nice piece on Mac McCowan's work with the carbro process. Not a technically great article, He's one of a handful of photographers that still use the hand-processed carbro gelatin method to create high-contrast prints.... huh? But anyways, hope you enjoy the read.

http://www.mydesert.com/article/201...-finish?odyssey=mod|newswell|text|Frontpage|p

I've been to his website before, carbromac.com, but didn't snoop around too much. Apparently he does commercial carbro printing. I wonder what he's using for bromide paper...

 

[ciocc]

I just came across this post. Thanks for posting the article. It was a good read. I'm becoming competent with monochrome. Ultimately I will "graduate" to 3-color carbon. I don't want to deal with production of non-supercoated bromide paper. The print will be very small, which eliminates the need for pin registration. Small prints can be registered visually. 3-color, as I will use contone separations. They're capable of producing a good black without the need for a 4th black printer. The process is time consuming enough with plenty of places to fail with 3 colors as it is. Also, with contone separations and the double transfer process as Nadeau calls it (actually a triple transfer process) - you get the amazing three dimensional print. Nadeau told me he has not seen a 4-color print from screened negatives that have the 3 dimensional look - physical relief, where the blacks are raised above the print surface. Nadeau did tell me to get moving now while the film suitable for separations is still available! If you're ever at the Center for Creative Photography, ask to see Luis Nadeau's 3-color carbons. You'll be blown away: richness, saturation and physical relief. Best of all, the prints won't be behind glass. They show you the naked prints up close. No touching.

 

[Philippe Berger]

Hi,
I would like to make cyan, magenta and yellow carbon.
I have a cyan acetate, magenta acetate and yellow acetate acetate.
I would like to be the double transfer of each separate color on the final watercolor paper.
t there are a precise technique for identifying covered by each of the images on each other.
Thank you for your advice and your help

 

[CMB]

On Double Transfer


A "temporary support paper" is used to combine the three separate color layers . This is a thin, high wet strength paper that has been coated with unhardened gelatin. First, the temporary support paper and the cyan layer are soaked in cold water and combined. When dry, the plastic support will peel off the paper leaving the cyan pigment image on the temporary support. Next, the temporary support is re-soaked along with the magenta layer and combined in register (this is the difficult part). When dried, the temporary support paper, which now contains the cyan and magenta image layers, is soaked again along with the Yellow layer and combined, registered and dried as before.


A sheet of "Final Support Paper", coated with a thick, hardened layer of gelatin, is then soaked in hot water and combined with the temporary support paper (which has once more been soaked in cold water). Allowed to dry for 10-30 minutes, the sandwich is then placed in warm water and the temporary support is peeled away leaving a beautiful multi-color carbon pigment print.


All this can be found in many books, but it will be necessary to modify the details of time, temperature and technique to reflect the unique characteristics of the materials being used.

 

[Philippe Berger]

Thank you very mutch for the information on the double transfer