I have also included several salt paper images, to demonstrate differences with density ranges in the negative. I have not attempted that before, being the standard trade book format used by POD platforms, use standard uncoated printing paper with black ink printing. That takes out the normal print 'color', reducing all images to a pretty true 'black and white'. What will remain visually useful is the contrast range of the image, along with the textural detail expected from a salt paper print, when printed correctly. Now, the tough work begins, bringing everything together so as to make for understandable reading and easy application of the principles learned.
I have been posting gum prints made in the past year, after more than a thirty year hiatus from printing any hand coated process. The early gum prints, like most single negative gum prints, lacked much in the way of tonal separation or any textural detail. That takes time to learn. This medium is technically a photographic watercolor, and I can tell you watercolors aren't easy to get a hold of being there is no real way to corral watercolor technique into some standard style. The primary variables being translucency of pigments used, the selected colors used in combination & order of stacking, paper, sizing, negative density range, print time, float time and a few other more subtle variables.
During the learning curve of gum printing, all these variables pretty much take up the fuller attention while printing. Sort of like the golf swing in its many parts, each part has to conform to the other parts to end up with a full, smooth swing, from back to front. Beginners try to think about all those movement & posture parts during the swing. No need to mention outcomes, until after the ten thousand swings become one smooth motion, without thinking about it, just letting the body do its work. Gum printing has the many variables as moving parts towards the print's outcome, with the printer focusing on each part, instead of the point of focus that makes the print sing. Printing to the light. Without that, there are only colors stacked upon each other.
At the time of this printing I was beginning to learn about primary CYMK colors being stacked in order to arrive at a multicolored image. Before I learned the importance of translucence watercolor pigments. The results are very similar to the very early gum prints made at the turn of the 20th century, notably by Edward Steichen. Color and form, but not yet tonal separation with textural detail. Apparently, no one at the time got into this medium passionately enough to work it out. There are three basic approaches to gum dichromate printing. Color separated negatives, including RGB and CYMK color separated negatives, and, single black&white negative multi layer printing.
The color separated negatives now days are accomplished using software, choosing either an RGB or CYMK format for the color image, then using the 'channels' application, separate the image into the three, or four channels, respectively, then printing those channels into three, or four negatives, respective of the channels. Hence using the CYMK format as I do, there would be four negatives for printing; Cyan, Yellow, Magenta & Black, and each negative would be used in successive printing color layers of the same color, leaving a four color image that, when done correctly, will look like a Polaroid color image of brilliant color. For a visual reference of this technique, and ability, Google Stephen Livick.
For whatever reason, I have never been drawn to the color separated gum technique. The finished images pretty much replicate what would be seen in everyday life, in soft pastel colors, with exception to Mr Livick, who has made brilliant full colored prints, in 16"x20" format. Took my breath away when I saw that. As I have noted more than once I am almost color blind to red/green, and thereby missing a good deal of color information just looking at the real world before me. Replicating what I see of it would be drearily boring even to me. I prefer creating an image that would not, could not be seen by anyone other than through the print image I create.
A closing note on gum printing; when the first gum prints were being made, beginning in Antebellum America, they were called gum bichromate prints, being the sensitizer used was a bichromate, perhaps bichromate of potash or a ammonium based form of bichromate, it has long been replaced with the Dichromate form, which comes in two base forms; Ammonium dichromate and potassium dichromate. I use the latter. The ammonium form ends up being a bit faster, with some of that deriving from a more potent mixture, nearing twice the dilution of the potassium form, which becomes a saturated solution at 13%, whereas the ammonium form can be mixed to around 25%, hence more light sensitive.
Also keep in mind the first true "Carbon" print was made by Alphonse Poitevin in 1855 by adding carbon black to a colloid. In 1858 he used colored pigments mixed with gum Arabic creating the first color gum images. Gum printing has a long, storied history. The choices we have today in buying tubes of high quality watercolor pigments is amazing. This allows an equally amazing potential for gum printing. The images derive from a digital photo copy of the actual print.
Gum Dichromate Print
"Red Forest Sunset" ~ 5x7 ~ Unique
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