New changes

 One of the better notions of gum printing is simply knowing when to stop. The flip side to that has to do with never ending the quest for the best marriage between the  sizing on the paper, and the gum solution mixture. Since I began printing forty years ago I have always mixed my own gum from raw crystals. The days of easy reach of high grade gum crystals seem to be in the past. Now, mostly powdered gum or premix is the primary choice. Although, the crystals can be found, but not the clear crystals of the past. There is a slight amber cast to the gum mixed with crystals from the different gum batches I have.

My gum solutions were historically 50% gum/H20. In the past year I tried out the pre-mixed gum, rated at 14 Baume, and after extensive searching I got something of a conversion to % solution. Turns out to be approximately 35%-37%. I had originally thought that to be a bit thin, believing the thicker gum might aid in light penetration through the many color layers. Turns out, that's not valid. I have been getting very good results with that gum viscosity.

What that change demands is a reciprocal alteration in the paper sizing. The thicker gum remained on the surface of the paper better than thinner gum, using the  same sizing. I used to size in 2 1/2% gelatin, twice. That, using the 50% gum solution. That was slightly overkill though. I have just prepared new sheets of printing paper for the next gum prints, using Fabriano Artistico paper sized with 28.5% gelatin for a full minute at 115 degrees. I am thinking this combination will make a good balance for keeping the image closer to the surface. The Tulip prints go to show how an image can be a full toned image, but sort of 'falling into the paper' softness. For some images I don't mind that. Capt Jack was one such image.

Upcoming print images are "Room into the Sky", an image from the Mission at Tumacacori, Arizona, filmed some years ago. One thing that remains constant, is that ci continue to learn the finer points of technique in making gum prints, with all the years I've spent learning this craft.

"A Tulip Pair" ~ Gum Dichromate Print

 One of the final flower images I will be printing, the third of a series of Tulip Print images. I've enjoyed making these prints, as the printing of them differs somewhat from other subject matter. While the density range of the negatives remain constant, leaving the print times very close, it is the color mixtures, as well as the color order and selection differs, to accommodate a particular flower's color.

The final flower print planned is a Fire Daylili, a rather vivid orange(s) color, with black pistils and stamens. That one will be made up of lamp black, first layer, followed by layers of Quinacridone Burnt Orange, in various mixture ranges, from fairly thick, shortest print time(s), followed by medium mixtures, with medium print times, followed by a shear mix with print time for highlights. The basis for a fuller tonal range in a print.

As with the other two  Tulip prints, Quinacridone Magenta was used. A base of black, in zones 1 & 2, would offer a richer tonal range, I opted to stay with the magenta for the image. And yes, there is a strong urge to reprint an image after seeing its finished form. "I can do better than that!". Well, yeah, after another two or three weeks of work, using all new materials, beginning from scratch, likely including an updated printed negative. The biggest change would be in the density range most likely. The only 'manipulation' I put to any image before printing it on my Epson 1430 [13"x19"] printer is altering the lighting arrangement of the image, using Lightroom 6.

Lightroom has four 'primary' control slides, controlling highlights, shadow, whites and blacks, each altering how the overall, ambient lighting is arranged, for effect. The Pictorial Effect. Not Pictorialism of the Golden Era, that's another affair. The Pictorial Effect has to do with the 'mood' of an image, set by the lighting. There is the clinical lit scene, whereupon each item is lit up for view, through the overall amount of light in the setting. The Pictorial Effect alters the lighting in such a fashion to create a more personalized setting, perhaps moody comes into  play. Think Alfred Hitchcock lighting. Very theatrically moody. The emphasis is on the 'setting' not the objects in the setting. The objects of the setting are 'highlighted' in some way.

Gum Dichromate Print

"A Tulip Pair"

"Face of a Tulip" ~ Gum Dichromate Print

 It's been awhile since the last post with a new gum image. Actually any image. I am slowing down a bit. With twelve full portfolio cases on hand, even being a gallery member in a local gallery  isn't reducing that inventory much at the moment. What little money remains in the hands of most folks precludes spending any of it on Art objects to hang on  one's walls, when one is struggling to have said walls to have, these days. But that's another story.

This print continues the series of Tulip images, planned. The final image printed this week, to be shown next. These prints were made using one color; Quinacridone Magenta. Not all Lilies are purplish, or white. Some, like the next one I'll be printing, and likely  the final flower print, for now, will be the Fire Daylili, upcoming. As always, each gum print is unique.

Gum Dichromate Print

"Face of a Tulip" 11"x14"