[pure-silver] Re: handpainting: which paper?
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Wed, 12 Dec 2007 07:58:20 -0800
----- Original Message -----
From: "Shannon Stoney" <shannonstoney@xxxxxxxxxxxxxxx>
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Wednesday, December 12, 2007 6:15 AM
Subject: [pure-silver] Re: handpainting: which paper?
paper is capable of. Rough textures and matte surfaces
tend to lower overall contrast but lower especially the
shadow and highlight contrast.
That's why I like glossy paper.
RC glossy or ferrotyped fiber glossy has the longest
brightness range of all surfaces.
My tests also show that HP5+ has a real ISO the same as
Ilford says: 400. But Delta 3200 for me really has an
ISO of 600.
Both Delta 3200 and Kodak T-Max P3200 measure around
EI-800 using the strict ISO method. The box speeds are push
processing speeds as is implyed by the P in the T-Max name.
The emulsions are designed to have a curve shape which
allows a lot of pushing before the overall contrast becomes
too great to print easily.
As far as hand coloring is concerned, any paper can be
colored if you use a medium on it. Marshalls makes such
a medium. It may even make coloring of textured surfaces
easier.
Yes, Marshall's has a spray that you use on glossy paper
before painting, but it's out of stock right now
everywhere I've looked.
I think you can make this stuff. I will look in some old
publications for formulas.
high contrast and great detail in the color. Most hand
colored work looks at best like badly colorized movies.
Right, that's kind of the look I'm going for. I love the
sort of "bad" look. It reminds me of these postcards of
landscapes that we used to get in the sixties in NC,
where the mountains were this weird blue color and the
sky looked post-apocalyptic.
This look is often found in advertising in 1930's
through 1950's magazines. Either the black and white photos
are simply colored by a screen (ben-day screen) using
perhaps two colors or they are two color half-tones. Two
color work was cheaper than three color work and often found
on inside page advertising. The two colors were usually
chosen to reproduce caucasion skin reasonably well.
Actually, the early Technicolor system was two-color plus,
probably a black key. The two colors are a sort of cyan and
a sort of orange. These two color systems have a limited
gamut. For instance, when the colors mentioned above are
used they can not reproduce blues (they come out blue-green)
or reds (reproduced as orange or brown). Objects requiring
colors outside the gamut were simply avoided. Technicolor
also lowered the saturation of the color to make the
inaccuracy less obvious although the overall contrast of the
prints was high. Magazine illustration also tended to have
low saturation but that was perhaps also due to the paper
being used.
In any case, its possible to get very much this look
from hand coloring. The paints and dyes are transparent so
that, for the most part, the gray scale of the image is that
of the underlying B&W print. More intense and more accurate
color can be had if desired but requires a lot more work and
probably different kinds of colors.
---
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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