I agree with Daniel (below) by dealing with process, clear guidance, images to support audio - the process is made inevitably more accessible. Without Hype, without ego - really quite rare these days. Thanks Tom. Superb
great tutorial !! thank you so much... i was just inverting my image... and really struggling to get good prints, this has completely changed everything !
Thanks for the clear and very practical lessons. I am restarting a cyanotype project that I abandoned (failed at) a few years ago. I do think that my Canon 200 printer with its dye based inks will be ok if I can find the right paper to treat , coat and print on
In the Bostick & Sullivan comments on printing the Kallitype curves they provide there is a recommendation to change the Optical Density Setting of the printer (Epson) to -3. Do you make this printer setting change when you print the Chart Throb test print? Thanks so much for this clear and concise video. I have been attempting to nail down Kallitype printing for about a year now and have had some, but not very consistent, success. I love the process!
Yes, use the B&S printing technique on all your tests and prints. I'm testing some other colors besides yellow and hope to have a new video... sometime.
This is marvelous, Tom. I'm just getting started with platinum/palladium and you saved me many days of frustration. Like you, I'm a numbers guy and like this measurement-based approach. However, there's one thing I don't understand. In your second step you scan the first image (non0ChartThrob) image, then bring it up side-by-side with the digital original. You then apply the curve to that original and tweak the curve to match the imperfect first sample print. I don't get it. If the sample print is too dark in the midtones as compared to the original, for example, doesn't this further darken those midtones for successive prints? I'm sure there some logic or arithmetic I'm just missing here. Thanks!
You can see the dull-looking print (1B) at 10:00. It's not too dark. I concluded I was trying to hold detail in the dark quarter-tones and that was making the contrast too low. Instead of making the dark spot on the left cabbage an almost-black, I moved that density to the center-back area and let the left spot go true black. The midtones become darker but that gives a pleasing contrast to the brightest highlights, which begin to stand out. If you stop the video precisely at 10:12 you'll see 1B and 1C superimposed. Besides darkening the lows, I also pulled the lightest curve point up a bit. Remember that the mids and highs are very sensitive to changes in the curve. For 1D I pulled the highs up even a bit farther (see 10:32). I hope this helps.
Tom, thank you for the great video. Question: For the test strip you make to find the full black, do you need to put this exposure trough all the same process you use to develop the image correct ? (dev time, clearing, toning, fixing, etc) thanks!
Augusto, you should use the same steps and timing except the hypo clear and final wash. Both the toner and the fixer change the Dmax. You don’t care about archival permanence, so the wash steps don’t matter.
Thanks for the very informative video! I use a Canon Pixma printer and find the negatives printed on transparency media to be fairly pale - is this a question of the media used or the Canon inks? Do you think backlight film (used by estate agents for their window displays) might be a viable alternative if one took in to account the added exposure time for the more opaque surface?
Hi Tom ))) Great video, and yes it seem very complicated. But okay, it seems like that I need to build this curve because each printer is different? And if you change printers then you have to make a new curve - is that right? Thank you for the video!
You'll at least have to try the old curve with the new printer, then adjust as necessary. If my technique seems complicated, the main takeaway is that your test print will tell you how to adjust the curve. You mainly need to know what will give a textured white and a textured black (the limits of your ability to show detail).
I love this very factual tutorial. Thank you. I have a question regarding printing the negative. My experience comes from Photopolymer Photogravure work where I am using Folex transparencies and Matte ink on an Epson SureColor printer which I was advised was more UV opaque than photo black. You mention that Matte black smears. Is this because of a reaction with the chemicals (I am planning to do cyanotype). I would appreciate you comment.
Thanks for the comment. My advice to avoid matte ink comes from my experience using it on Pictorico transparency film. If it doesn't smear on Folex, go for it!
Matte paper absorbs more ink than glossy paper, so matte ink is applied more thickly. Plastic films don't absorb ink at all, so the lighter application of glossy ink is better for them.
Hi Tom, I followed the instruction for the chart throb. After I opened it in PS, Do I print the Chart Throb straight through in PS, or I have to use B&S method in order to create a print of Chart Throb for each alternative printing technique?
This video is awesome and I'm studying it carefully. There is one question that comes to my mind, about the transparency film: considering that a good digital negative is long-lasting, and it might be worth a little investment, is it worth to consider buying the Pictorico Pro Ultra Trans Film 184gsm, instead of the "regular" Pictorico Pro OHP Transparency Film 174gsm? Thank you very much!
Hi Gianandrea, I don’t see any advantage to the Ultra film. The manufacturer says “This "Ultra" version differs from standard "Pro Premium" transparency sheets in its excellent compatibility with Epson UltraChrome Photo Black K3 ink, high UV density, and higher capacity for ink absorption.” If you are getting adequate ink density from the less expensive version, there’s no need to change.
hello tom, I appreciate your videos, very instructive; I would like to have a clarification: do you apply the curve before or after the inversion in negative? the results are totally different, how do you do it? Best regards, Gilbert
I apply my curves before inversion. Bostick & Sullivan recommends the opposite (and of course the curve would look totally different) but I don’t know why. Applying to the positive image makes it more intuitive to change the curve if needed (“the highlights are too light, so I’ll darken them” for instance).
Hola, muy interesante la información, permitame hacerle una pregunta ¿Cuál seria el medio para imprimir el negativo digital si quiero realizar una impresión en planino paladio?
Time it to see how many units are in a minute. Say there are 20 units in a minute. I’m not familiar with the NuArc but I’d guess you’ll need something between 3 and 7 minutes. That’s 60-140 units in this hypothetical example. Give your test strip 60 units, then cover part of it. Then give a series of exposures at 10 units, covering more of the strip each time.
Great video. Can someone help clarify something for me? I see you mention the Bostick and Sullivan video which goes over creating a digital negative as well as the printing settings for the negative. Does this chart system replace the digital negative portion of the bostick and sullivan video? It seems like it is just a more refined process but if I am using their chemistry and curves wouldn't I just need to dial in my exposure times and it should be good to go? Thanks in advance.
To be honest, I haven’t tried B&S’s pre-made curve but there are too many variables that change your image. It’d be easy to try B&S’s curve and see what you get. In any case, assess and change as I showed in the video.
ChartThrob expects a scan but it’s worth substituting a picture. You’ll find out soon enough if it works. Alternatively, have a friend scan it for you. You only need the scanner one time.
Enlarging a digital negative is not advisable. You'll be enlarging the printer dots that make up the image. You might make it work if you print the neg at the highest resolution your printer can make, and don't make a very big enlargement. Why not just make a contact print though?
@@tnp651 I can just do that yes. I thought I would just have a master neg that can do all sizes by putting in an enlarger. Was just a though. Any current printer recommendations for up to 16/20
@@davidventura1424 Most alt printers use Epsons. The XP-700 prints 13" wide and the XP-900 prints 17"wide. The XP-900 is 50% more expensive for those few extra inches!
Yes, I just realized the problem. The site downloads a file called ChartThrob.jsx.txt. You need to remove the "(dot) txt" to use it as a script. Let me know if you still have trouble.
Thanks for getting back to me. That’s the first thing I tried to no avail. I must have tried 20 times in different ways but it still wouldn’t install. In the end I downloaded the file on my old PC and it installed straight away in PS 2020. I then copied the file from the PC to a thumb drive and transferred it to the Mac. I dragged the file into the appropriate folder and it works. Removing the .txt doesn’t work as the Mac still sees it as a text file.
Failing to install Chartthrob on a M1 Mac running Big Sur with Ps 2021 or a PC running Windows 10 and PsCS6 but neither open the script. Gives an error 23 at line 134. Have made sure to use the 662kb script file. Any suggestions?
For me, it’s the excitement of learning and exploring an old-time technique. Getting back in the darkroom is nostalgic for me, but I don’t want to lose the image control that digital provides. A hybrid process is the perfect compromise.
ink jet prints sit on top of the paper. these process are kinda burned into the paper chemically and the texture of the paper stands out. It also lasts way longer like those old photos that grandma used to have sitting in her house. That was the size of the negative so that was the size they printed at. Now we use digital to create bigger negatives to do the same printing but at a more modern and desirable size.