These
are complicated prints. They are 24 x 30 inches cut from rolls of 42
inch by 100 foot fiber paper printed just a bit dark because the toning
works better that way. To begin I select ten straight prints made days
or weeks before, and tear the edges off.
I set up three gallons each of of Kodak Sepia Toner A and B, in 30 x 40 inch trays. I reuse both part A, the bleach, and Part B, the toner, because that not only slows down the reactions but is one of the factors that give me the color that I am trying for. The timing, temperature, concentration, freshness and method of application are all factors that can be manipulated.
I
begin by floating a print on the bleach bath and spraying concentrated
bleach around the edges of the print with an old Windex bottle. After
a minute or so, when I can begin to see the effect its having I push
the edges of the print under the surface and watch puddles and pools
form. Then I spray some more and after a couple of minutes flip the print
and immerse it in the bleach bath for about a minute or two, and then
move it to the rinse tray to stop the bleaching.
Then
it goes into the toning bath for quite a while. It usually looks terrible
for the first maybe 5 minutes and it is tempting to think that the process
is not working today or that I did it wrong. It is not uncommon for half
the prints from one of these sessions to go into the trash either immediately
or weeks later when I decide that I don’t like the results.
Then
I begin a 2nd print. The timing changes depending on what I think about
the first print. The longer the print stays completely immersed the more
even the toning will be. I prefer the effect be more pronounced around
edges edges so limit the time under the bleach to a minute or two, and
I try to create effects with the toning that looks right for the particular
print, even though there is no way to predict how to do that. There is
a lot of good fortune involved.
I sometimes dribble bleach around the edges or spray specific areas that I want to highlight and I sometimes sprinkle dry bleach crystals around the edge of the print.
After
all of the ten prints are through the toner and into the wash tray I
squeegee them one at a time and return them to the bleach tray and spray
the edges again, and sprinkle the dry crystals on the black edges and
watch carefully. I want to break up shadows and the black edge to create
effects that were not there originally. When the print comes out of the
bleach tray for the 2nd time I rinse it and it goes into the wash tray,
skipping the toning bath. If I don’t like the result it could go
back to the bleach tray again and sometimes into the toner also. I can
usually increase the effect, but not reverse it if it has gone too far.
The
toning session usually lasts about 5 hours and requires constant attention.
I am handling large sheets of wet paper and risk damaging them every
time they are moved. I have to live with the decisions made even though
there are no guides other than the way I feel about the print as I am
working with it. Inspiration is in high gear and a successful print is
the result of concentration and courage.
Editions
are limited to 25 prints, but each print is at least slightly different.
I usually tone two or three of the same image in a single session, so
when I finish later prints I have to try to recreate the same technique,
or at least invent another method to achieve a similar effect. The earlier
prints tend to be simpler than the later ones. I am increasing the vocabulary,
adding more effects, and perhaps more control, as i continue working.
When I am finished with all ten prints I wash them in fresh water, squeegee them and dry them on screens overnight.
