Ink Jet Negative Development
Okay, so now we've got our experiment here that we're gonna pull out. And basically the print now you can't see much more detail in it. And the amount of exposure's gonna be a little bit different because it's going over the ink. So it may have needed longer time. It kinda depends on each image. But we'll go on ahead now. And what that should hopefully do is as it prints, it's gonna allow a little of the color to still come through, but the blacks will come through from the platinum process. So we'll go ahead, and the same process. We pour over the top and now we end up pulling in some of that detail. And I'll let this process for about a minute and then we'll go on ahead and then turn the lights on and see how much of that color got preserved. So with this process, one of the things that you can do, too, is you can come back in and start to really look at how to manipulate the color in that color file and figure out where is the color gonna show through and not show through. And then ...
you can use mask in PhotoShop to paint in and emphasize or de-emphasize certain elements of the color. On the negative, because it's a negative, remember what's black on the negative is gonna block up more of the color and what's white on the negative is gonna let through more color, 'cause it's clear, so it's gonna let more of the light through. So more of the platinum will develop. So you'll have that piece to look at. I was smidge bit off. There's a really black line here on the edge. So smidge bit off on the registration there. But it's a wheat field of moving grass and moving clouds on a long exposure, so it's a good one if you're gonna miss the registration a little bit. I'm not saying that I intentionally picked that one to demo, it was just blind luck. So okay, that'll come out here in just a second. It's then gonna go through the same process. So even though it had that ink underlay I'm still gonna run it through the exact same process. I'm gonna run it through the exact same steps. So we'll go ahead and pull that out of the developer here. And we can go ahead and flip the lights. Everybody in here is gonna blink rapidly for about 30 seconds. All right, so what I end up with now is you can see some of the platinum come through the image. I've got kinda a deeper color in the blue. So I can lay those side by side, there we go. So you can see this is the inkjet print, exact copy of the inkjet print, and then there's what the platinum did as it developed in. So now I ended up with kind of a really nice cool, those blacks really brought out and accentuated some of the color. I got back some of the pop in my yellow because the black is what creates contrast. And so basically what's happened is I've reinserted all the contrast back into the image, but I've been able to use that beautiful, beautiful rich deep black. It's also because I talked about how it pulls the fiber and pulls the chemistry in, it's created additional depth to the print that wasn't there before. So I've got that as kind of a cool little fun technique that I'm not gonna lie to you, I am very glad actually showed up. When you say to yourself, "Oh, I've got this great idea, I'm gonna try this thing." "Have you ever tried it before?" "No, but it's gonna go great."
Bonus Materials with Purchase
Alternative Processing Handout.pdf
Grayscale Percentage to RGB Values.pdf
MSDS Saftey Datasheets.zip
Bostick Discount Code.pdf
Matt Cutting Cheat Sheet.xlsx
Step Wedge Creation Spreadsheet.xlsx
Alternative Process Actions.zip