Re: bleaching attn: Tim

["Tim Rudman" <tim.rudman@xxxxxxxxxx>]

----- Original Message -----
From: <Karin2001@xxxxxxx>
To: <infrared@xxxxx>
Sent: 11 July 1999 18:09
Subject: Re: bleaching attn: Tim


> Tim,
> I knew you were the one with the answer,,,thanks for replying.  I made
this
> mural of a beach landscape in the late afternoon.  The sunlight on the
waves
> was remarkable and there was a beautiful cloudy sky.  The mural was
> overexposed while printing so it looks more like a moonlit scene or even
> later in the day than it was.  There is a wonderful sillouette (spelling?)
on
> the right side of the image.  Everyone loves the print but I know the
waves
> (on the left and in the middle) would be even more beautiful if I could
> lighten them up a bit.  There is a wave crashing over a jetty that would
look
> better if it were not so dark.  A couple people told me it would be hard
to
> selectively bleach the waves,,,,but I had you in mind, and I think it can
be
> done.  I am not sure of the strength of the bleach I should use and what I
> should use to apply it---q tips??  Thank you so much for your help.
>
> Karin
>
> << what type of bleaching and for what purpose Karin? >>
> *
> ****
> *******

I think the size of this print may pose you the biggest problem - not the
actual bleaching part which is quite simple after a bit of practice. The
print should be refixed afterwards, or at least the areas worked on, and
then it needs thorough washing after 'hypoclearing'. The logistics of this
with a 40 x 60 inch print could be challenging. But there again, you made
the print in the first place and will have already faced this.

Firstly I would say that it is IMO always better, and usually quicker too,
to correct any printing faults by reprinting. The results are usually better
and if you don't have major errors to undo, the bleach work is less likely
to be apparent to another viewer (you want to see a sometimes substantial
change but don't necessarily want others to see the bleach work for what it
is - just the wonderful 'light' you captured!)

If on the other hand you want it to look like a late afternoon/evening shot
that's fine and you can now add the sunshine or change the direction of the
light (within limits) as you want. I don't see why it should be hard to
selectively bleach the waves at all. Bleaching is a great way of adding the
light that nature denied you at the time and I have done that thousands of
times - especially on water. However I do recall my first attempt when I
nearly gave it up as impossible - I recall the same feeling the first time I
tried to ride a bike too, but these things get easier. What I'm getting to
is don't try it first on your mural. Practice on any old prints or test
strips until you are away,  like the bike it suddenly gets easier. Also
don't be discouraged if you make a pig's ear of your first attempts.

I would use Farmer's Soln for this - pot. ferricyanide in hypo. I normally
use about 25ml of weak hypo in a pot, more or less depending how much I have
to do, and add from an eye dropper bottle between 2 & 6 drops of 10% stock
'ferri' soln. The no. of drops depends on the depth of tone I am working
on - you just have to get a feel for it. The strength of the hypo is not
important. If it is strong the mixture 'goes off' quicker - if it is weaker
you can work with it longer. About 1/4 working strength is OK. Add more
ferri as it gets weaker and the colour fades.

Work on a wet print wiped 'dry' to prevent runs of bleach which will leave
trails on the print. For large areas of wave to be uniformly lightened use a
cotton wool swab. Swab on and wash off quickly before waiting to see an
effect. Wipe dry and repeat - and again etc. I use a tap hose to wash off
the ferri and keep this running gently under the area I am working on - it
will pick up any unintentional runs.

Stop too soon. If you wait until it looks right you may find it looks too
much the next day - your eyes get used to the slow tone change and it is
easy to underestimate it. You can always do a bit more the next day - but
you can't go back.

For small areas and to produce different areas of different degrees of
lightening (looks more natural) use a fine(ish) brush.

I recommend working just on one section first. The adjacent bits will show
you how far you have come. Then bring the next section up to match the
worked area.

Work slow and weak and be patient. The commonest cause of yellow stains is
impatience and working too strong/fast or leaving it on too long (IMO)

Mark your brushes 'ferri' so that you don't later use them for spotting!

Anything else? Let me know how you get on.

Tim

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