Jonathon Russell wrote:
>It occurs to me that there may be as many ways to make enlarged
>negatives as there are photographers trying to make them. Is it
>possible for the group to list the many ways AND access the pros and
>cons of each?
using RS's structure:-
Shoot big to begin with.
By far and away the best using FP4 which has the right grain structure for
pushing and pulling the film for adjustments in the density range.
Direct Dupe film
I never use it. FP4 contact inter-positives enable you to make contact
inter-negatives of different density ranges depending on the process.
Neg-Pos-Neg
See above. The best two films for this purpose for large negs beyond FP4 size
are Kodak Sep Neg 2 and Gravure Positive in that order developed in amidol or PQ
Universal in that order.
Reversal of std neg film
Neg-pos-neg gives greater flexibility.
Make silver print and copy with large format copy camera
It is easier to contact the silver print onto film or onto paper. In terms of
transmission densities there is little to choose between film and paper in most
cases. In fact the longer exposures with paper negatives give better results
than film with some processes.
"All of these have been done with some degree of success. I'd personally rate
Dupe film at the bottom of the list with "shoot big" at the top as far as
quality goes. From Pt prints I've seen, I'd rate reversal in no 2 position
with Copy neg and Neg-Pos_neg vieing for the middle. "
My own order would be 1, shoot big, 2 neg pos neg using continuous tone films,
3, paper neg, 4 using hammers to drive home screws.
"I think $600.00+ for a box for 25 16 x 20 sheets of Kodak Dupe is silly. "
Even 20 x 24 Sep Neg 2 is less than that.
I think that if one is going to invest in platinum one might as well go for the
best. Many modern platinum prints earn the process a bad name as they are made
using the wrong film which will not give the subtleties and tone of which the
process is capable.
Terry King