"Lady in Light" ~ Gum over Palladium Print

I have filled the portfolio case with thirteen palladium prints of the  Civil War Reenactments, and now working with gum over palladium printing. One of the images I have been holding for just this time is the first gum print I have begun working with a technique I have long desired to try out. Until now, I haven't had the right image to try out this technique. What I was after, was adding brush strokes of color, applying layer over layer of each color brush strokes, different colors, creating something akin to Impressionism.

Turns out, the densities of this image were stark, with at least a five-stop difference between the subject's face in the shade of the hat, and the background, which was pretty much off the charts. Once I was several color layers into the printing, getting the subject printed in correctly, I began on the background. Turns  out, the densities were so high, I abandoned printing them in my UV printer, instead, placed the print frame on a stand and faced it into the sun. The print time was 10-minutes. Facing the sun. Even then, the brush strokes of color didn't hold their original shape, but reduces mostly in the edges, leaving much softer points of color.

I've decided to keep the print, for now. May flatten the image and re-print again. The exercise of this technique has just begun, with expected changes and variations upon the theme are to come. Which points to a very important factor when making gum prints. There are no real boundaries, no 'correct' way of printing, beyond, the practical process guide. That is, the basic procedure needed for a workable gum, things like pre-shrinking the paper, sizing when needed, [and their are various ways and levels of doing that], mixing the colors [dry/wet, how much, % solution of gum used,  negative setup [contrast and density range], printing time and water temperature among some of the procedural steps. Water temperature is a primary part of the printing procedure. It' can be a big deal.

This print has twelve print layers using that many print mixtures, some combinations. There is a downside to making many print layers, especially when the contrast is high. Each new print layer of color, darkens the image, even slightly, with the most affect of darkening being in in Zone 1 thru Zone 3, mostly in blacks, then darker areas of shadows, as those areas absorb/hold the pigment the most, and are fully printed in, so no color reduction, at all. Eventually, when they become 'too dark', tiny cracks begin to form, and those areas feel a bit 'crusty, dry'. Care must be taken when possible, when coating.

Something I have to deal with has to do with my being nearly color blind to red/green, leaves me printing theoretically. Using subtractive color theory, I know how colors are 'supposed' to work when overlapped, using shear mixtures. There seem to be 'empty spaces' in areas that likely have a red layer or shade therein.

Gum over Palladium Print

"Lady in Light" ~ 8"x10"

"Confederate Encampment" ~ Palladium toned Kallitype

 This print may be the final print of the printed portfolio. There are twenty images in the original portfolio of scanned images from the original negatives. There are three more 'encampment' images and other in-camp images as well that can be printed later. When this portfolio is finished, I will begin printing the portfolio of images I captured at the Grand Canyon last year. Those will all be gum over palladium prints.

Palladium toned Kallitype

"Confederate Encampment" 8"x10"

Salem, Oregon 1990

"In the Fight" ~ Palladium toned Kallitype

 This image is one that I almost didn't include in the portfolio, as there is movement in the scene. These shots were taken hand held, sometimes zoomed in, on an ongoing dynamic battle. Reenactors were constantly moving, fast. It was the scene setting that made me want to print this image, as it represents a moment during a battle that the reenactments were all about.

Same processing treatment, same paper, developer and toning. Some of the reenactors will be recognized from other images during other battles. 

Palladium toned Kallitype

"In the Fight"

Salem, Oregon 1990

"Forming the Confederate Line" ~ Palladium toned Kallitype

 The task, when I was photographing these Civil War scenes, was capturing the essence of the reenactment scenes;  as a photojournalist. The idea being to capture in a number of images, the fuller story of what was being seen. The images I am printing are samples of Civil War life in bivouac, and battle. I spent the full seven day week with the reenactors, in the bivouac area, mostly the Union bivouac area. I tried to be even handed in selecting the images, showing both sides of the reenactments.

There was a "Forming the Union Line", thus this "Forming the Confederate Line. Again, these scenes were in very bright sunlight, leaving very contrasty scenes, which needed to be tamed, for printing well. My efforts with preparing these images, and printing them, was leaving the brilliant sunlight affect on the scene. It's all bout the light.

Palladium Toned Kallitype

"Forming the Confederate Line" 8"x10"

Salem, Oregon 1990

"Forming the Union Line" ~ Palladium toned Kallitype

 This print, as the next one, just printed today, are the forming of the Union and Confederate line; respectively. Treated the same during printing, developing and toning. Both of these images were very high contrast, needing some careful leveling in the editing software. What was important for me was the light, as always. This case being very bright sunshine, bouncing off the battlement wood like a mirror in some parts, with the wood reflecting sunlight off the flat portions.

Palladium toned Kallitype

"Forming the Union Line" 8"x10"

Salem, Oregon 1990

"Sharing the Field" ~ Palladium toned Kallitype

 The next print of the portfolio is another image of troops on the field. Both Union and Confederate troops are lined up. Rare, that. This print was developed in the warm toned sodium citrate developer, then toned in palladium. These field images were photographed mostly in midday sun. Very bright out. I have worked to retain that brilliant sunshine in the print image.

Palladium toned Kallitype

"Sharing the Field" 8"x10"

Salem, Oregon 1990