Santa brought me… time for Carbon Print process!
Carbon print process is considered as the king of all printing processes ever invented. It has the highest tonality dynamic range and on top of that it’s permanent. It does not require developing or fixing. Just washing away unhardened gelatin. I will not go into details, WIKI is much more reliable source than me. What I will tell you is that at GEH museum I was inspecting carbon from year 1870 and they were still spectacular. Paper yellowed, but the print itself was in perfect condition (link). What I will tell you that most people practice carbon print from a film negative or from a digital negative, but the best medium is a collodion negative. It’s a perfect match.The best way of recording light (tonality and resolution wise) with the best way to print a negative.
As I’ve said only yesterday I’ve started preparing my tissue (a temporary support sheet coated with a layer of gelatin mixed with a pigment) and you must know one thing. Materials vary a lot. Like I couldn’t get sumi ink, so I bought black ink. It says Indian ink in English and under is a german translation: Chinesische Tusche. Chinese or Indian, who knows. The density of pigment in the tissue is very important. As we were warned on the workshop that the quantities written in a manual are just starting point. You have to make tests to see how materials are working in the constellation that happens to be in a darkroom.
So that explained I didn’t had high hopes that I’ll make something good. But in fact I’ve made my best print I ever printed! I’ve done tests and made a print that was not as contrasty as I’ve judged it could be. I had only one more sensitized tissue left, so I’ve looked first negative that was needed 3 minutes of exposure, checked the second redeveloped super contrasty negative and decided that I’ll try it out with 9 minutes. The exposure and the density of the negative were perfect for the tissue I’ve prepared, so here is the result. I’m super proud on it.
Now I have a treasure of knowledge in my hands. Thanks to Miša Keskenović I’ve learn wet plate collodion positive, thanks to Mark Osterman I’ve learned also wet plate collodion negative, salt, albumen and carbon printing and Jeroen de Wijs taught me how to do dry collodion negative. So now I feel like my hands are golden. With the knowledge I can and will move mountains! Ha! Topshit does happen, I tell you!