The attached three jpegs are from a series that I am working on.
I use trix film pushed one stop and then solarize print , then high rez flatbed scan to print to lambda cibachrome.
I am approaching gallerys in the new year with this series , right now I have 60 % of the images I like.
Here is my problem.
the jpeg of the lambda ciba represents the tonality , colour and contrast of my vision
the jpeg of the tonedsolarization represents the archivability aspects of a traditional print but does not have the colour or contrast I want from this work.
the jepeg of the bwneg is an unsolarized scan of the original neg and I do not see this series this way.
I have considered a more dramatic toning with Iron Blue for shadows and a deeper colour for the highlights. The reality is that I would only be able to produce three images a day of any one image and matching in Future would be impossible.
Do I keep the edition to three? and price the work high and keep the series in fibre.
Do I move to the ciba version and raise the edition and price the work lower?
I believe the fibre will be more archival but will never match the colour gaumut that could be achieved with Lambda cibas.So you can see I am in a bit of a confused state as to which method to persue.
Any thoughts or comments would be appreciated.
Hi bob. I am sorry that my post is not a direct response to your question. However, you mention flatbed scan to print to lambda cibachrome: may I ask where you have found a service that can print cibachromes from digital files? I am finding this hard to locate - I have found only one supplier based in the UK so far (I am in the UK), but I think they may be subcontracting the work elsewhere anyway.
The attached three jpegs are from a series that I am working on.
I use trix film pushed one stop and then solarize print , then high rez flatbed scan to print to lambda cibachrome.
I am approaching gallerys in the new year with this series , right now I have 60 % of the images I like.
Here is my problem.
the jpeg of the lambda ciba represents the tonality , colour and contrast of my vision
the jpeg of the tonedsolarization represents the archivability aspects of a traditional print but does not have the colour or contrast I want from this work.
the jepeg of the bwneg is an unsolarized scan of the original neg and I do not see this series this way.
I have considered a more dramatic toning with Iron Blue for shadows and a deeper colour for the highlights. The reality is that I would only be able to produce three images a day of any one image and matching in Future would be impossible.
Do I keep the edition to three? and price the work high and keep the series in fibre.
Do I move to the ciba version and raise the edition and price the work lower?
I believe the fibre will be more archival but will never match the colour gaumut that could be achieved with Lambda cibas.So you can see I am in a bit of a confused state as to which method to persue.
Any thoughts or comments would be appreciated.
hi bob
this makes little sense, could you please explain the basic concepts a little more and post larger examples, these are just too small to be of much use
Do I keep the edition to three? and price the work high and keep the series in fibre.
Do I move to the ciba version and raise the edition and price the work lower?
I believe the fibre will be more archival but will never match the colour gaumut that could be achieved with Lambda cibas.So you can see I am in a bit of a confused state as to which method to persue.
Any thoughts or comments would be appreciated.
Bob,
I like the look of the digital cibas myself. I can comment on pricing. I suspect digital cibas are so new and unique too, that there would be interest in seeing them. Plus I love your solarization work, so when you get that show, you must tell us.
However, you mention flatbed scan to print to lambda cibachrome: may I ask where you have found a service that can print cibachromes from digital files?
Bob owns one of only three labs in the world that print digital cibachromes - http://elevatordigital.ca/. The other is in NYC.
This post is basically confusing because I was at a crossroads with a paticular series of images that I have been working on. I will be investing a couple of years to print this project and want to start on the right track.
The nut is this, I am happy with the colour of the prints I have that have been digitally altered *colour shadows and highlights* and printed on colour paper. But I want to keep the project all traditional based on fibre paper for longevity purposes.
Since I posted this thread I have tested the Iron Blue and Sepia toning directly on the fibre paper and am now confident with the look of the prints as well happy with the longevity issues.
The original post was in Nov and today my mind is clearer of my direction of printing my Series .
Originally Posted by Ray Heath
hi bob
this makes little sense, could you please explain the basic concepts a little more and post larger examples, these are just too small to be of much use
I do have a GTX260 and 8200 onboard graphics card. If I install the 180.48 driver it doesnt do it for the 8200.
At first I have to install the driver from CD that came with the mobo and then I can use the 180.48.
Hope that this will also work for you.
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No it is not , it seems to be more of a staining, since I posted this thread a long time ago , I have not done much Iron Blue toning . I really like the look with sepia and gold but it really is a pain getting it washed out to the correct tone.
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Originally Posted by bob carnie 
