The Colour Carbon by Ellie Young

The works featured in Ellie Young’s latest exhibition are four-colour carbon photographs. There is a depth that is an integral of carbon printing that is enhanced by each layer of colour you lay down on the “final support”. The raised surfaces create a feeling the image is three-dimensional. Running one’s hand across the surface, it’s possible to feel the relief. Even though the same three colours and black are used (CMYK), endless colour palettes can be created from rich vibrant to subtle pastel shades, and these are evident on the wing structures. Young says that her love of photomacography and colour carbon printing join forces in this body of work, and that she is totally lost to the processes. 

Some technical aspects of Four Carbon

Carbon is a challenging and slow process – each print can take up to three days to make, not including the hand-making of the gelatin pigmented layers know as carbon tissues. Young’s original images were captured on 4 x 5 Fuji Velvia 100 film or a specials digital camera with bellows, and either macro or enlarger lenses. This approach allows for capture from 2 to 15 times life size. Regardless of image capture, they are transformed into CMYK files and printed on film to allow a pin registration method to be used. There are 24 steps for each of the four colours. Each layer must dry before the next layer is applied. This process is the most stable of all hand printed photographs with endless controls and variables. 

Rob Love describes Young’s work as woven tapestries and fragile church windows, “her images are a blur between the realms of reality and fantasy”. The carbon process Young employed is built on discoveries by Alphonse Poitevin over 160 years ago. The surface relief of the images makes the wing structures appear sculptural.

• Organised by: Gold Street Studios
• Contact name: Ellie Young