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The transformation of one thing into another thing. I’m enchanted by the alchemist’s dream of turning lead into gold. The ability to transform a photograph into something unique. A method by which a photographic image formed in bichromated. There’s more than enough of those in the world for my taste. A process for toning photographic images containing silver that. Gum prints are not photographs made at the push of a button. Critics said that there was too much of the artist’s hand.įor me that’s one of the features of gum printing. They charged that gum printing more resembled drawing or painting than photography. Some wondered if gum prints could even be considered photography.
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Gum prints made their world debut at the Première Exposition d’Art Photographique (First Exhibition of Pictorial Photography). But the inherent flexibility of the gum process and liberation from predefined outcomes allowed gummists to veer farthest from the acceptable canon of the time. Take your printing or customization business to the next level with sublimation products from JPPlus. We have everything you need to make vibrant prints for indoor and outdoor use.
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#Photograv gold method full
Photography has claimed its place there ever since. Print beautiful, full color sublimation graphics with the wide range of materials and supplies at JPPlus. Those alternative processes were among the first to break the glass ceiling that had hung over photography since its birth – admittance and acceptance within the world of art. Alternative processes like gum, platinum, photogravure, and cyanotype offered an opportunity to extend the photographic moment beyond a faithful rendering taken in the camera to a uniquely layered hand-made print. The Pictorialist Period in photography’s history (1886-1920) featured many different printing processes other than the silver gelatin print that we think of as black and white photography. Those influences are more than evident in early gum history. Post-Impressionism and the Symbolists were having their day in the world of art as well. mass-produced items for a couple of decades. The process came of age in the 1880s, a photographic response to the Arts and Crafts Movement that had been preaching the value of hand-crafted vs. Gum renders photographs a haunting beauty as well as depth of surface character that is uncommon in the world of photography. But for all that, gum printing offers a highly expressive, personal medium for reproducing photographic moments into one-of-a-kind works of art. Where photography excels at capturing moments, a gum print of that photograph can take weeks to complete. There are a few options when it comes to overprinting, I planned to test both ink-jet and a more traditional printing process - the photogravure.Robert Demachy, Struggle, gum print, 1904 I thought perhaps I could print the black shadow areas, over the top of the cyanotype colour field, to achieve both the colour, contrast and detail I was aiming for. Layering the washes to give it a more 'colour field' or watercolour wash effect. for diverse printing methods as silkscreen, photogravure, flexor, letterpress, etc. I'm not even going to include it here as it just looked rubbish.īut I didn't want to give up on the cyanotype blue completely, so I coated some paper with different washes of the mixed chemicals. In this series, genuine gold is deposited on the flake glasses. Without the contrast of the black shadows and dirt in the ice the whole image appeared very flat. What subject could possibly suit the cyan colour more than this?! But the results were too blue, and too abstract. The first photographic printing process that sprung to mind for me was Cyanotype. And that is one possibility that I could come back to for sure, but right now that feels too easy, and I'm not learning anything that feels new with that process. I suppose the most obvious question is - why not just create the look you're after in lightroom or photoshop and hit print. To the rest of the universe atomically." and this confusion between the macro and the micro, between biological and geological just adds to the layers of meaning that might be extracted from this series. But I really feel like the blue is an important marker for the work and ties it back to where it was made. My concerns were confirmed by others who questioned if they were looking at microscopic images of plants or cells - glacial ice certainly didn't spring to mind! Now you could take a Neil DeGrasse Tyson view on this - "We are all connected To each other, biologically. But I felt like something was lost with the removal of the blue completely, it no longer had that connection to the glacier. The first solution was to remove the colour and allow the higher contrast of black and white to highlight the texture of the ice and its inclusions.
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I wanted to focus instead on what is trapped in the ice: the sediment, the dirt, and the holes and tunnels created by the melting of the glacier. The (un)natural blue is overwhelmingly 'other', both distracting and enticing.