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243:, it is capable of producing a far more archivally stable (permanent) print than any of the other color processes. Good examples of the color stability of pigments can be found in the paintings of the great masters, the true colors of which, in many cases, have survived all these centuries. A more contemporary example of the color stability of pigments is found in the paints used on automobiles today, which must survive intense daily exposure to very harsh lighting, under extreme conditions. The useful life of many (but not all) pigment formulations has been projected out to be several centuries and beyond (perhaps millennia, if cave paintings of
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185:, is hardened and made insoluble in water when exposed to ultraviolet light. Because of the comparative insensitivity of the material, sunlight or another strong source of UV light is normally used to minimize the required exposure time. To make a full-color print, three negatives photographed through red, green and blue filters are printed on dichromate-sensitized sheets of pigmented gelatin (traditionally called "carbon tissue" regardless of the pigment incorporated) containing, respectively,
87:, hardening the gelatin in proportion to the amount of light reaching it. The tissue is then developed by treatment with warm water, which dissolves the unhardened gelatin. The resulting pigment image is physically transferred to a final support surface, either directly or indirectly. In an important early 20th century variation of the process, known as
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sheets and separations, can prepare, print and process enough material, 60 sheets including the support, to produce about twelve 20" x 24" four-color prints in a 40-hour work week. However, this investment of time and effort can create prints of outstanding visual quality and proven archival permanence.
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paper. Usually, the yellow image is transferred first, then the magenta image is applied on top of it, great care being taken to superimpose it in exact register, and then the cyan image is similarly applied. A fourth black pigment "key" layer is sometimes added, as in mechanical printing processes,
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The process can produce images of very high quality which are exceptionally resistant to fading and other deterioration. It was developed in the mid-19th century in response to concerns about the fading of early types of silver-based black-and-white prints, which was already becoming apparent within
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effect and a variation of texture on its surface, both distinctive characteristics of a carbon print. The process is time-consuming and labor-intensive. Each color carbon print requires three, or four, round trips in the darkroom to create the finished print. An individual, using existing pigmented
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in 1864. Marketing began in 1866. Initially, his ready-made tissues were sold in only three colors: black, sepia and purple-brown. Eventually, a wide array of hues became available. Carbon tissue was a stock item in Europe and the US well into the 20th century, but by the 1950s carbon printing was
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Any combination of layers, in any color, is possible to achieve whatever ends the printer desires. There are two primary techniques used in carbon printing: single transfer and double transfer. This has to do with the negatives (separations) being right- or wrong-reading and the image "flopping"
174:) and, now, digital printing processes. The efficiencies gained through these more modern automated processes relegated carbon printing to the commercial backwaters in the latter half of the 20th century. It is now only found in the darkrooms of the rare enthusiast and a few exotic labs.
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pigments. They are developed in warm water, which dissolves the unhardened gelatin, leaving a colored relief image that is thickest where it received the strongest exposure. The three images are then transferred, one at a time, onto a final support such as a heavy sheet of smooth
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The most recent development in the process was made by the
American photographer Charles Berger in 1993 with the introduction of a non-toxic sensitizer that presented none of the health and safety hazards of the toxic (now EU-restricted) dichromate sensitizer.
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Though carbon printing always has been, and remains, a labor-intensive, time-consuming and technologically demanding process, there are still those that prefer the high aesthetic of its remarkable beauty and longevity over all other processes.
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very rare and supplies for it became an exotic specialty item. Some companies produced small quantities of carbon tissue and transfer papers for monochrome and three-color work until around 1990.
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are relevant examples), often being limited only to the useful life of the particular support used. Additionally, the use of pigment also produces a wider color
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Quadrachrome prints, essentially full-color trichrome prints with an added black K (key) layer to increase density and mask any spurious color in dark areas.
95:, rather than exposure to light, was used to selectively harden the gelatin. A wide variety of colored pigments can be used instead of carbon black.
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The resulting finished print, whether composed of several layers and in full color or having only a single monochrome layer, exhibits a very slight
34:, rather than of silver or other metallic particles suspended in a uniform layer of gelatin, as in typical black-and-white prints, or of
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Duochrome (duotone) prints, an effect many printers are familiar with, using complementary or associated colors to their best effect.
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in 1868. Carbon printing remained commercially popular through the first half of the 20th century. It was replaced over time by the
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to improve edge definition and mask any spurious color cast in the dark areas of the image, but it is not a traditional component.
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Extended gamut printing involving up to 14 negatives, variable contrast emulsions, triple transfer prints with selective gloss.
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Ozobrome process: instead of exposure to light, contact with a silver bromide print selectively hardens the dichromated gelatin
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Unaware of work being done by Louis Ducos du Hauron (see 1862) invents similar methods for photographic color reproduction
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Modification of his process: insolubility of the pigmented gelatin then solubility by exposure through a positive film
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Principle of exposure through the base then transfer from one base to another (see
Laborde) but the image is reversed
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Trichrome prints, traditional full-color prints made by layering YMC (yellow, magenta and cyan) pigment sheets.
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N.P.G. Process: tricolor carbon process distributed in France by La Société Industrielle de
Photographie
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Patents the basic principles of most of the practical color photography processes subsequently developed
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than any of the other color processes, allowing for a greater range and subtlety of color reproduction.
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Color photography by three-color analysis and synthesis, proposed in passing in a paper on color vision
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Monochrome prints, usually black-and-white, but they may be sepia, cyan or any other preferred color.
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TriColor Carbon
Pigment Prints/Materials developed by Charles Berger manufactured by Polaroid
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The carbon process, initially a black-and-white process using lampblack (
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Diazidostilbene (DAS) Carbon transfer printing from pigment to printing
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1254:. Getty Research Institute. London : Hazell, Watson, & Viney.
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Procédé Fresson: sold in USA between 1927 and 1939 by Edward
Alenias.
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Papier charbon Satin then papier Arvel to be processed with chlorine
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Tricolor process prints presented to the Académie des
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First permanent photograph of the image formed by a camera lens
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Solution générale du problème de la photographie des couleurs
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Chromic acid salts are light sensitive, even without silver
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Dichromated gelatin rendered insoluble by exposure to light
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sensitizing solution, dried, then exposed to strong
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Photographic processes dating from the 19th century
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701:Les couleurs en photographie, solution du problème
267:Chronological History of Carbon (Pigment) Printing
123:on a thin paper support sheet, was introduced by
67:In the original version of the printing process,
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561:Photographic color printing by the three-color
38:dyes, as in typical photographic color prints.
850:Carbon velours Ă tons continus de 1893 Ă 1910
99:a relatively few years of their introduction.
75:, from which the name derives) is bathed in a
518:Double transfer to get a non-reversed image
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610:Swan process: uses rubber for the transfer
214:The carbon process can be used to produce:
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177:Carbon printing is based on the fact that
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1282:Carbon process methods and materials
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1300:, a video showing a modern workflow
1287:Description of the charcoal process
1107:, a variation of the carbon process
1082:Diazidostilbene (DAS) Carbon prints
730:1870-1873 printing on metal plates
716:Double transfer with an opal glass
60:1932 Carbro process color print by
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27:print with an image consisting of
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1277:Description of the carbon process
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1146:Peres, Michael R. (29 May 2013).
1224:"DEFINITIONS OF PRINT PROCESSES"
565:proposed in an unpublished paper
181:, when sensitized to light by a
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1047:Artists known for carbon prints
878:Ozotype derived from mariotype
767:Discovers dye sensitization of
1298:Making a Carbon Transfer Print
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1133:"The Carbon Transfer Process"
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404:+ iodine fumes = fixed image
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984:Raylo: three color carbon
820:French Academy of Sciences
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93:silver bromide paper print
1152:. Taylor & Francis.
836:Papiers charbon velours
416:William Henry Fox Talbot
384:+ washing = fixed image
322:Joseph Nicéphore Niépce
300:Louis Nicolas Vauquelin
1059:Julia Margaret Cameron
998:Quadrichromie Fresson
886:Henri Theodore Fresson
307:Influence of light on
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692:Louis Ducos du Hauron
652:Louis Ducos du Hauron
580:Uses sensitized inks
550:Louis Ducos du Hauron
156:Louis Ducos du Hauron
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47:Alfred, Lord Tennyson
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864:Papier gomme-chrome
402:potassium dichromate
382:potassium dichromate
251:and the frescoes of
160:dye-transfer process
77:potassium dichromate
1324:Non-impact printing
527:James Clerk Maxwell
464:James Clerk Maxwell
249:Valley of the Kings
150:), was invented by
1006:Archival Color Co.
603:Joseph Wilson Swan
563:subtractive method
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1099:Oil print process
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1020:UltraStable Color
796:Fredéric Artigues
440:Alphonse Poitevin
357:Sir John Herschel
166:, dye-bleach (or
152:Alphonse Poitevin
51:Elliott & Fry
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1163:. Retrieved
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1053:Calvin Grier
978:H.J.C. Deeks
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285:Nationality
239:instead of
164:chromogenic
135:Joseph Swan
81:ultraviolet
36:chromogenic
1313:Categories
1210:Sandy King
1112:References
1075:Rene Pauli
950:S. Manners
744:Mariotype
710:Jeanrenaud
699:Publishes
680:Publishes
208:bas-relief
183:dichromate
172:Cibachrome
1185:ignored (
1175:cite book
1037:American
956:Ozobrome
128:physicist
118:pigmented
29:pigmented
1087:See also
1023:American
1009:American
981:American
964:Autotype
917:American
830:Artigues
588:Poitevin
531:Scottish
470:Scottish
377:Scottish
237:pigments
198:gelatin-
85:negative
967:English
953:English
936:English
900:Fresson
875:English
607:English
577:English
498:Fargier
422:English
361:English
290:Remarks
253:Pompeii
245:Lascaux
191:magenta
179:gelatin
170:, i.e.
132:chemist
125:British
121:gelatin
32:gelatin
1270:Carbon
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1031:2015-
995:French
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