BobHartung wrote:
The title says it all. Just checking to see if there would be any interest.
I’m curious about polymer photogravure. My son has been doing lithopanes on his 3-D printer, which are fascinating, but he is using solid filament, and I’m interested in seeing liquid polymers at work.
With the increased growth of liquid resin and hotmelt 3-d printers in the market I think this would be a growing medium once some software was available for driving the process.
If it was as simple ( and fast) as pressing ‘print’ on an inkjet or laser printer I think many more people would be doing it on their 3-D printers.
The possibilities for using tinted UV-curing resin for color images seems to offer great potential. I was doing some experimenting with such resin in a woodworking project just before Christmas.
On the other hand:
I don’t really see much connection between that process and gold/palladium/platinum processes. Perhaps this would be a separate area? Is there not an area for alternate photo processes?
The last time I did something like that was around 1981, and it was horrendously expensive back then. Probably ten times the cost these days.
Glorious monochrome images with archival life, but I’d save it for only my best images; and none of them are on 11x14 film! You need the larger negatives for contact printing on these slow emulsions.
20 years ago Kodak made internegative films and a direct positive film for making enlarged negatives. I don’t think Ilford, or anyone else, still makes similar products. I’ve heard of digital-based negatives made with laser or inkjet processes, but those seem to lack the tonal range of a silver image—which kinda defeats the purpose of using a process that can offer an extended tonal range.
Nonetheless, if such an area opened up, I’d sign up just to stay in the loop.
I’m sure someone put there is toying with a way to modify a laser printer to expose a non-silver emulsion to give long tonal range without using huge negatives. I’d like to know how they do it.