Although accurate color is achievable with Gum prints, there are two primary factors that determine the final outcome: the workflow for making the negatives and the workflow for making the prints. The two images pictured below show the original digital file from the camera (top) and the Gum print made from the same file (bottom). I have found that how the photograph looks once you apply “Multichannel” to the image is how it will appear in the final print. Therefore, I have developed a workflow (details to follow in my next post) that adjusts the image prior to “Multichannel” and before creating the negative.
Published by gumbichromatejournal
Tony Gonzalez is an artist currently living in New York City. He received his BFA from the Cooper Union School of Art and his MFA from Yale University. In addition to working as a fine art photographer, Gonzalez has taught photography for 30 years including at The Cooper Union, Pratt Institute and New York University. Since 2002, Gonzalez has been teaching full-time at Queens College, CUNY and is currently a Tenured Professor and Deputy Chair of the Photography & Imaging program. Gonzalez is a contributing author for The Book of Alternative Photographic Processes, Second Edition and Third Edition by Christopher James and is featured most recently in the news book Gum Printing, A Step-by-Step Manual Highlighting Artists and Their Creative Practice by Christina Z. Anderson and Alternate Processes in Photography by Brian Arnold. View all posts by gumbichromatejournal