Carbon Transfer Printing

Truly One of a Kind

A perfectly crafted carbon transfer print is perhaps the pinnacle of photographic printmaking. Perfecting the process of carbon transfer printmaking takes years to master and, as such, has limited the printmakers of this craft to only a mere handful worldwide. Because of the lack of demand for carbon printmaking materials, I have to make all the materials myself in my studio and darkroom. Each sheet of watercolor paper has to be gelatin sized, I have to mix and pour every photographic emulsion and, as such, every single print has its own characteristics, depth, and soul.

Archival Stability

Unlike other digital inkjet and dye-based photographic techniques of today, carbon transfer prints are extremely lightfast and will resist fading under UV light for many hundreds or thousands of years. This is due to the pigments I have chosen for both my color and monochromatic images. In most of my editions, synthetic cyan, magenta, yellow, and orange are used, each of which have Lightfastness values of Excellent+ and Blue Wool values of 8, ensuring there will be no fading for many generations, even when exposed to direct, intense UV light. I also only use the highest quality, thick, pH neutral watercolor papers to ensure the longevity for the final support of the print.

Exclusivity

Being that there are a handful of carbon transfer printmakers worldwide, and even fewer color carbon printmakers, purchasing one of my carbon prints guarantees uniqueness amongst other photographs available. Even more so than other alternative processes such as my collection of platinum palladium prints, carbon transfer prints are enormously challenging and expensive to make.

A Work of Art

Today, a photograph can be replicated time and time again at the press of a button with an inkjet printer. A carbon transfer print is not just a photograph - it’s a work of art. Each one of my prints takes weeks or months to create. Every image you see in my collection is a film exposure that I develop, drum scan, post process, proof, and print. My hand is involved in every single step, and because it is a handmade process, every print will have its own unique soul and character that is unlike any other photographic print on earth.

Carbon Printing Service

Due to the difficulty and time to produce materials, I will be opening my services a few times a year for short periods of time. Please sign up using the form below to be updated on upcoming group orders and information. If you have a large project in mind and would like more immediate attention, please contact me for more information.

Options and Surface Finishes

Carbon prints can be customized to just about any surface finish and aesthetic the artist wishes to achieve. Here are a few “standard” options available:

Matte

This is the most natural finish of a carbon print, where the characteristics of the pigments are most prominent. The color pigments are quite matte, while the blacks have a slight gloss to them, giving them a bit of definition and depth.

Flat Matte

This option looks most like a platinum print. A matting agent or a specific pigment can be used to achieve this look.

Luster

This finish is the natural appearance of a double transfer print, where all relief and gloss differential is eliminated. This looks similar to a silver print on a baryta or semi-gloss paper.

Glossy

More gloss can be added to a double transfer print, giving it a higher gloss.

Super Glossy

This can be achieved by treating the gelatin a bit differently than a standard double transfer print. This looks most like a high-gloss silver print or a glossy inkjet print.

Matte with Glossy Blacks

Unpigmented targeted gloss can be added to some images, producing more physical relief and adding depth to the final print. This is a truly stunning and unique option, but doesn’t work with all images.

Gilded Surface

Gold, silver, platinum, or copper leaf can be added to the surface of the final support, where the carbon image is then transferred on top of the gilded area.

The Printmaking Process

Creating Emulsions

Traditionally known as carbon “tissue,” these photographic emulsions are only sensitive to ultraviolet light. Rather than working in pure darkness or under red light, as you would see in a traditional gelatin silver darkroom, I work under dim amber light. Each emulsion is a mixture of gelatin, sugar, and pigment, which has to be heated and carefully poured onto a sheet of synthetic paper and dried before it can be exposed and developed. To ensure color replication from my film transparencies, I work in a five-color system, versus the traditional four colors. By adding a layer of orange to my prints, I can extend the amount of replicable color tenfold and ensure the accuracy of the final print.

Making Temporary and Final Supports

Watercolor paper off the shelf doesn’t have the ability to support the carbon print on its own. Because of that, I have to use varying recipes of gelatin, matting agents, acrylic, and albumen to prepare the supports for the carbon print. Each sheet of watercolor is individually selected for its weight, whiteness, and texture to support the image. Too much texture or too smooth of a texture can make or break the final image. For most prints, I use hot pressed 300lb Fabriano Artistico, Arches Aquarelle, Saunders Waterford, or Lanaquarelle paper for their unique and individual characteristics.