Even if the O.P has all the details of Lillian Bassman's techniques equipment and materials ( she is still alive, and lives in New York in the same apartment she has lived in for more than fifty years ) he's wasting his time because the best he can hope to achieve is plagiarism, what he lacks and can't emulate is her vision and talent.
Back on subject, I check the DigitalTruth Massive Dev Chart and they only had Tri-X + Acufine development times up to EI 1600 (1+3, 18.5 minutes, at 21C), but also had EI 1000 (stock, 5 Minutes at 21C). I read the Acufine techical data and it only goes as far as EI 1000. Can anyone verify the EI 1600 dilution and time? Also, what is a good dilution, time, and temperature for pushing Tri-X in Acufine to 3200?A film like Tri-X might have been exposed at an equivalent ASA of 3200 or so, and developed in something like Acufine or FG7/sulfite to keep the grain sharp.
Andrew Jeri company still sells photo maskoid frisket.
Crocein Scarlet can still be purchased at:
http://www.sigmaaldrich.com/catalog...O|BRAND_KEY&N4=C8822|SIGMA&N25=0&QS=ON&F=SPEC
Interesting technique. I guess practice, practice and more practice would be the order of the day to master this technique.
On a purely personal note: don't be afraid to try to reproduce the style of a master; until you learn to do it at least as well, wouldn't it be a bit presumptuous to think that you will somehow do it even better?
A couple of examples of vintage available-light photography, scanned from thirty year old prints, to show the qualitative similarity to the Lillian Bassman images.
usually i would agree, but in this case i'm curious. because many of her images feel like taken very quickly, in a moment. and somewhat using "creative accidents" - like movement blurs and such. (NOT a bad thing - just a description!).not sure it matters what format she used,
she was able to see what she wanted before hand
and work with the print, afterwards to coax what she saw from it.
usually i would agree, but in this case i'm curious. because many of her images feel like taken very quickly, in a moment. and somewhat using "creative accidents" - like movement blurs and such. (NOT a bad thing - just a description!).
this is rather easy to do with 35mm, but (i think) extremely difficult with large format. if she had used large format, she would have to anticipate, compose and direct all those things.
i think what i want to say here is: taking a snapshot is rather easy, but composing and staging a believable snapshot can be extremely difficult.
I believe she used large format film with very large budgets.
Even if the O.P has all the details of Lillian Bassman's techniques equipment and materials ( she is still alive, and lives in New York in the same apartment she has lived in for more than fifty years ) he's wasting his time because the best he can hope to achieve is plagiarism, what he lacks and can't emulate is her vision and talent.
in the description here are some hints:
http://www.staleywise.com/collection/bassman/bassman_exhibition.html
Getting there, huh?
This is Tri-X pushed to EI 1000, developed in ACU-1 1+5 at 70 degrees F, for 14 minutes (that is the times given for the Acufine spec sheets). 2 inversions lasting 5 seconds, every 30 seconds.
I used a #25 filter and assumed 3-stop loss, or basically, I was working with ISO 125. I had to learn lots about studio portrait lighting. There is a main light to the left, a fill light to the right at 2 stop less, and a softbox behind the model. I haven't printed this yet, but I'm thinking split filter.
Also, I've had to learn how to love Potassium ferricyanide, or Farmer's Reducer. The trick I found is to soak the print in sodium thiosulfate fixer, then lay on a flat surface, squeegee, then paint the bleach on top of it. A professor who used to do this stuff suggested combining the Potassium Ferricyanide with some talc or chalk powder so it's not as runny. When done, dunk the print again into the fixer.
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