Old 12-18-2013   #121
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Here's something a bit different. Last night I got a hankering to try making waxed, laser-printed paper negatives from digital files, to be contact printed onto Ilford RC MG WT paper.

After much experimentation I arrived at a tonal curve that looks pretty good when printed.

This print is from a very clean Lumix G1 file, tonal curve applied in PS, then inverted to a negative and printed onto regular printer paper via B/W laser, then coated with bee's wax to make it translucent. Once the wax cooled I went out to the darkroom and contact printed it.

The granularity of the print is mainly from the laser printer. In person this print looks somewhat like an enlargement of a Tri-X negative developed in Rodinal with a bit too much agitation. But I like the effect, and it's a fun and easy way to get digital files to silver paper.

~Joe

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Old 12-18-2013   #122
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My first 8x10. Kentmere RC MG paper. #2 Ilford filter.
Vivitar E-34 enlarger and Vivitar 75mm lens.


Untitled by Ko.Fe., on Flickr
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Old 12-18-2013   #123
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Quote:
Originally Posted by JoeV View Post
Here's something a bit different. Last night I got a hankering to try making waxed, laser-printed paper negatives from digital files, to be contact printed onto Ilford RC MG WT paper.

After much experimentation I arrived at a tonal curve that looks pretty good when printed.

This print is from a very clean Lumix G1 file, tonal curve applied in PS, then inverted to a negative and printed onto regular printer paper via B/W laser, then coated with bee's wax to make it translucent. Once the wax cooled I went out to the darkroom and contact printed it.

The granularity of the print is mainly from the laser printer. In person this print looks somewhat like an enlargement of a Tri-X negative developed in Rodinal with a bit too much agitation. But I like the effect, and it's a fun and easy way to get digital files to silver paper.

~Joe


Great stuff, Joe! I've read about this but not actually seen the result. It looks good to me, a bit like a contact print from an in-camera paper negative. Have you tried doing an inkjet print onto good, glossy paper and contact printing that onto silver gelatine? I'm wondering how that might work.
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Old 12-18-2013   #124
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Thanks for the feedback. I have not tried doing this with an inkjet printed image because I don't own an inkjet printer. For printing monochrome text documents I much prefer the quality, longevity and low cost of a B/W laser printer. However, for this application, I think an inkjet printed paper negative would be much finer in detail with less artifacts from the printing process.

What I should try doing is finding a better quality paper to print laser upon. There is a heavier gauge (90+ bond weight) laser paper, but I suspect it being thicker would give even more mottling from the internal paper fiber's texture. Or maybe not.

I've done lots of paper negative printing from grade 2 RC paper negatives, and I get a very even quality of print, with very little paper texture showing through, so I know it's possible.

~Joe
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Old 12-18-2013   #125
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This sounds like a serious amount of work . Well done!

Quote:
Originally Posted by JoeV View Post
Here's something a bit different. Last night I got a hankering to try making waxed, laser-printed paper negatives from digital files, to be contact printed onto Ilford RC MG WT paper.

After much experimentation I arrived at a tonal curve that looks pretty good when printed.

This print is from a very clean Lumix G1 file, tonal curve applied in PS, then inverted to a negative and printed onto regular printer paper via B/W laser, then coated with bee's wax to make it translucent. Once the wax cooled I went out to the darkroom and contact printed it.

The granularity of the print is mainly from the laser printer. In person this print looks somewhat like an enlargement of a Tri-X negative developed in Rodinal with a bit too much agitation. But I like the effect, and it's a fun and easy way to get digital files to silver paper.

~Joe
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Old 12-18-2013   #126
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Quote:
Originally Posted by Ko.Fe. View Post
My first 8x10. Kentmere RC MG paper. #2 Ilford filter.
Vivitar E-34 enlarger and Vivitar 75mm lens.


Untitled by Ko.Fe., on Flickr
I use Kentmere, find it can be forgiving on some negs,
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Old 12-21-2013   #127
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Quote:
Originally Posted by JoeV View Post
Thanks for the feedback. I have not tried doing this with an inkjet printed image because I don't own an inkjet printer. For printing monochrome text documents I much prefer the quality, longevity and low cost of a B/W laser printer. However, for this application, I think an inkjet printed paper negative would be much finer in detail with less artifacts from the printing process.

What I should try doing is finding a better quality paper to print laser upon. There is a heavier gauge (90+ bond weight) laser paper, but I suspect it being thicker would give even more mottling from the internal paper fiber's texture. Or maybe not.
Joe, this is very interesting, I would not have thought of using a laser printer because I'm afraid of banding or other repeated pattern artifacts.

I think if you can get a Canon Pro 100 and print a digital negative on an inkjet transparency, you'd get a smoother result when contact printing it.

Quote:
Originally Posted by JoeV View Post
I've done lots of paper negative printing from grade 2 RC paper negatives, and I get a very even quality of print, with very little paper texture showing through, so I know it's possible.

~Joe
Could you show us some results from this process? And how it's done?
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Old 12-31-2013   #128
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First print on a new paper, Bergger fb warmtone. I must admit it took me two waste sheets to dial in with the developer I use. The first print was too light, the second too dark and not contrasty enough, the third, the one before your eyes, was to my liking. Praise the Heiland!

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Old 01-03-2014   #129
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Finally got some printing done tonight!

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Old 01-04-2014   #130
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WAITIN' FOR THAT TRAIN,
TO TAKE ME FROM THIS LONESOME TOWN



And an available bulb shot; man heavily clinging to his family:

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Old 01-04-2014   #131
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Lith print on Slavich Unibrom
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Nice
Old 01-04-2014   #132
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Nice

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Lith print on Slavich Unibrom
I really like that, it has a similar feel to a woodcut print.

db
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Old 01-06-2014   #133
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Impressive vision in the shot where many others would have discarded it, you have gone against conventional wisdom and went for the kill. Well done!
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Lith print on Slavich Unibrom
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Old 01-13-2014   #134
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Hi,
I've printed several copies of the same subject taken at various apertures (Helligkeit or H as called by Rodenstock) of my Imagon to study its characteristics.
Unfortunately I've only registered the data on my App Photo Tool Pro. It would have been better I included a cartel with the data in every shot (more simple and "analogic"). Now I don't know the correlation from data and the negatives (I can only imagine from the softness) 😬😩.
Anyway here are the photok I took with my only digital camera, my iPhone.
One of them is a strip test done in an exponential way following the excellent book "Way beyond monochrome" by Lambrecht and Woodhouse and usin an App I suggest you (Darkroom), that gives the values of the strip in exponential manner (I'chosen increments of 1/3 EV).
Any comment, question or suggestion?
Thanks,
Antonio

image-2113987346.jpg



image-1719118969.jpg
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Old 01-19-2014   #135
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Straight scan from an 8x10 shot with a Chinon CM-3 and an Industar 61 l/z

And they call this a trail !!! Peter
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Old 01-20-2014   #136
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One of the pictures from my latest darkrrom session (in December):


Qutb Minar - Pillared Cloisters of Quwwat-ul-Islam Masjid (8x10 Print) by nbg90455, on Flickr
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Old 01-20-2014   #137
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Here is one of my darkroom prints and the last step in my process, framing, matting, and glazing, ready to hang on the wall. I decided if I'm going to print then I want to do it all, not handing it off to someone at the last step.

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Old 01-20-2014   #138
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Very impressive mounting Richard. I really like the margin for the signature and of course the print is excellent.
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Old 01-20-2014   #140
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lovely job, Richard - that looks very nice
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Old 01-21-2014   #141
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StevenJohn, benji77, and lynnb, thank you your comments about the photo and the framing. My intent in posting this was to see what response the framing would get, I'm new to framing and your opinions were helpful toward developing a standard that would work well if an opportunity for an exhibition were to emerge. It is satisfying to own the whole process.
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Old 01-21-2014   #142
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Semrich, In your print, you must have had close to 1 inch off the borders else you would not have been able to 'stick' the print onto the matt that nicely right? Not to mention the spacing for your signature.
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Old 01-23-2014   #143
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Benjamin, when I started printing not to long ago, I got the Book "Way Beyond Monochrome" it had a section on presentation including matting and mounting photos, I also knew about fiber paper and keeping it flat, so I used 2cm on the sides and top. I also learned about non-permanent mounting, and leaving a 5mm edge of the print paper showing and 1.5cm at the bottom to sign the print. Now that I've matted and framed one using a "T" mount of self adhesive linen tape, only on the top of the print to tape the print to the back board I will reduce the sides to 1.5cm, it should still keep the print flat.

Here's another one using a black core mat, not perfect yet, I'm getting better at it. This is an iPhone photo, the mat is white, the phone didn't handle the WB well.



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Old 01-23-2014   #144
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Quote:
Originally Posted by mbisc View Post
One of the pictures from my latest darkrrom session (in December):


Qutb Minar - Pillared Cloisters of Quwwat-ul-Islam Masjid (8x10 Print) by nbg90455, on Flickr
Mike, that's a lovely print with a lot of details.
I like it.
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Old 01-23-2014   #145
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What a cool photo!
Not to mention the framing.
Heck, I even like your signature
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Old 01-23-2014   #146
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Quote:
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Mike, that's a lovely print with a lot of details.
I like it.
Thank you very much!
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Old 01-23-2014   #147
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Quote:
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Benjamin, when I started printing not to long ago, I got the Book "Way Beyond Monochrome" it had a section on presentation including matting and mounting photos, I also knew about fiber paper and keeping it flat, so I used 2cm on the sides and top. I also learned about non-permanent mounting, and leaving a 5mm edge of the print paper showing and 1.5cm at the bottom to sign the print. Now that I've matted and framed one using a "T" mount of self adhesive linen tape, only on the top of the print to tape the print to the back board I will reduce the sides to 1.5cm, it should still keep the print flat.

Here's another one using a black core mat, not perfect yet, I'm getting better at it. This is an iPhone photo, the mat is white, the phone didn't handle the WB well.
Sh**. This is good stuff. Are these 8 x 10 prints? I'm really bad at getting consistent borders, especially when I want to get the entire composition of the film, but at the same time want to 'fill the paper'.
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Old 01-27-2014   #148
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Exellent work above - always adored hand-coloring.

You guys made me horny as well and yesterday I decided to go back to the darkroom. Running Moersch chemistry with me own recipe mixtures and used Foma Fomatone 132 MG baryta paper for the first time and really impressed with it so far.

Some work drying using a new-to-me taping method (shot with a crappy digital p&s):












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Old 01-27-2014   #149
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Well ... after a 8 month break I gave it a try again in my make-shift darkroom / bathroom combination. Initially, the biggest problem was focusing onto the grain using a grain magnifier. It took me about one hour to "see" the grain (and only after the trick to make a scratch with some sharp knife into the emulsion of a black frame and use that scratch as focusing aid came to my mind again). Next problem was light, I had only one (portable) safe-light that I change between a place closer to the enlarger and closer to the trays to control developing. While developing the first print the safety-light slipped and the bulb broke, no spare at home....
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Old 01-27-2014   #150
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Will, thank you for your comment, considering the signature is at the end of the process and easy enough to ruin a print if you are to slow or fast doing it.
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Old 01-27-2014   #151
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Exellent work above - always adored hand-coloring.

...
Thanks Margus! It's been about 15 years or so since I painted prints. Surprisingly, the bottle of PM solution (linseed oil and solvent?) was intact! I will have to give your tape drying/flattening method as well. Multigrade fiber prints seem to take months to self flatten!
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Old 01-28-2014   #152
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Lovely prints ,Richard.
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Old 01-30-2014   #153
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Michael, thank you. There is a lot to be said about framed prints hanging on the wall compared to viewing on a monitor.
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Old 01-31-2014   #154
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Quote:
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Well ... after a 8 month break I gave it a try again in my make-shift darkroom / bathroom combination. Initially, the biggest problem was focusing onto the grain using a grain magnifier. It took me about one hour to "see" the grain (and only after the trick to make a scratch with some sharp knife into the emulsion of a black frame and use that scratch as focusing aid came to my mind again). Next problem was light, I had only one (portable) safe-light that I change between a place closer to the enlarger and closer to the trays to control developing. While developing the first print the safety-light slipped and the bulb broke, no spare at home.... That is the result: Now I only wonder abut the reason for the bright stripe in the middle of the print.
Hi Maddoc,
I don't know the reason for the bright strip. Try to print it again, if the negative doesn't have any gray-black strip. May be the problem disappear without finding the cause. Who cares. The image is very good and original. Next time I'll be in a bus here in Italy I'll shot a similar one (with your permission&#128521.
Thanks
Antonio
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Old 01-31-2014   #155
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Now I only wonder abut the reason for the bright stripe in the middle of the print.
I usually got those when the ambient temperature is cold (and therefore developer too) and then I hesitated when I put the paper in the tray, so it is unevenly submerged for a short period of time.

Print it again.
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Old 02-02-2014   #156
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I bought Meopta Opemus 6 (Condenser) few months ago, and colour head for lated RA-4 Prints (Once I'm Comfortable with B&W). Set up my Bathroom darkroom and run first tries.
One RC and one Fiber (RC Adox, FB Ilford)


Darkroom prints by Mohammed Basamh, on Flickr

will scan them later.
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Old 02-04-2014   #158
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Another Darkroom Print! by Mohammed Basamh, on Flickr
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Old 02-07-2014   #159
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Scan_07FEB'14_1_2 by Mohammed Basamh, on Flickr
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Old 02-08-2014   #160
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Margus, tell us more about your taping the prints down to dry, the method, how did it work out, and would you recommend it?
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