Re: My book -- finally!

Thanks for the information. (One of) my motto(s) is: "Don't touch it
if it works." Good to know what should I do if I encounter problems
with Yupo later (I hope I won't) -> for the moment I'm immune of them
and yes, every negative I make is absolutely and definitely perfect;
because I use digital negatives ;)

Regards,
Loris.

Quoting Richard Sullivan <richsul@earthlink.net>:

> Loris,
>
> Why treat Yupo? What you say is true for most cases, Yupo works well.
> However... if you have had students who bring negatives that are blown
> out in the highlights, you'll see that by the time the highlights come
> in the blacks are toasted and will shed from the Yupo. I like you make
> absolutley perfect negatives everytime.<grin> And as you point out, the
> edges sometimes loosen and tear a bit. Most of my large work is on
> Yupo, 16 x 20 and 20 x 24 and I have had only a few problems, mostly
> slight tears along the edges which can be spotted out. Also last summer
> we were working in 90+ temperature conditions, (we are installing
> aircon soon!) and having to put trays of ice water on a mated pair. The
> heat in the print room also lowers the stickum factor. Some of the
> early books say you can't print in the summer, I think Sandy noted this
> once. Also students ( and me too) have a tendency to jiggle the prints
> too much in the development tray in order to speed things up and this
> can cause edge tear. What I would like is a bigger safety margin for
> students with not-so-good negs and less then optimal working
> conditions. We sell regularly to outposts of the world. We have
> shipped platinum kits to the Antarctica and stuff to Saudi Arabia,
> though I dare say the Saudis have air conditioning! I taught a carbon
> workshop at Julio Galindo's place in Mexico City in an apartment
> rooftop laundry room with an 800 watt hotplate for hot water, the water
> heater long defunct. So, as a commercial enterprise we try to make
> these processes as easy and successful as possible.
>
> Cheers.
>
> --Dick
>
>
>
> Loris Medici wrote:
>> Hi Richard,
>>
>> Why do you need to treat yupo? I both used / made tissue on Yupo +
>> used it as final support - without any special treatment. And I
>> haven't had any problems. Actually I had some shedding at the
>> borders (non-image area) but I attribute this to uneven sensitizing
>> in the borders of the tissue - because I had to tape the tissue
>> since it was very curly and won't stay flat by just pinning the
>> corners down...
>>
>> I like Yupo very much because:
>>
>> - it's a pretty stable support, much durable than paper
>> - it's easy to use - especially as final support; you don't need to
>> pre-coat it with gelatine as with watercolor papers or you don't
>> have to fix it before transferring as with s/g papers
>> - it's very very cheap compared to artist quality watercolor paper
>> (at least here in Istanbul)
>> - it's very white + not too much glossy = better apparent sharpness
>> / contrast in the finished print
>>
>> Regards,
>> Loris.
>>
>> Quoting Richard Sullivan <richsul@earthlink.net>:
>>
>>> ...
>>> We are also going to try my failed waxing solution to treat YUPO. YUPO
>>> is a bit sensitive to shedding and anything that helps hold the image
>>> will be good. We are also looking at using YUPO as a temporary support
>>> by waxing it. We are looking at various ways to improve and speed up
>>> the process. At some point we may have time to run a test like you
>>> asked about.
>>>
>>> From our experience here YUPO is the favorite support. Canvas is coming
>>> in second but I think mostly for the novelty effect. Gordon wants to do
>>> a big one on glass, like 30x40. We got the trays but the sink ain't big
>>> enough so he's going to build a support outrigger to hold it. We'll see!
>>> ...
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Received on Sat Mar 24 08:15:13 2007