FDanB@aol.com
Date: 05/26/00-07:59:23 AM Z
You said in your message...
> ... You might want to try duotone / multitone as suggested by
>> Dan. ...
>
>I want to avoid multiple printing, a major concern being that the paper
>changes size when wet processed. Also coating becomes more problematic
>after the paper has been processed.
Jeff (just to clear up the issue for some who may not understand it as
well as you) the beauty of multitone printing (as described in depth with
neat illustrations, etc. in my book, wink, wink) is that you DO NOT
develop your print between the two negative exposures. You simply expose
the first negative, open your printing frame, plop the second negative
down on your (inexpensive) registration pins, and give the second
exposure. THEN you process the print ONE TIME as you would normally. In
the text I contrast this with Irving Penn's methods (I visited his studio
last summer and got a great first-hand look at his whole multi-print
system) in which he bonds the paper to a metal support (with a chemically
non-reactive barrier) that provides the dimensional stability you
correctly mention as a concern when the paper is made wet between the
separate exposures.
Oh, I'm still putting together the package of information that I'll be
sending out to those who requested it (Epson Curves, etc.). Latest news
is that there is a supplier of transparency film IN ROLLS that will allow
us to make 16 X 20 inch negatives for under $9.00. I'll give all the
contact information when I get back in town this weekend. What I'm
getting at is, for those who want to explore multitone (using two or more
negatives of varying contrast to better control the print tonal range or
increase subtlety of tone in a give region of the image), it won't be
that expensive to product the second (or third) negative.
In fact, I show students several platinum prints that printed perfectly
straight (NO burning or dodging). I explain that it isn't because I'm a
great photographer, great printer or great negative maker. It's just
that, with desktop negative and their low cost, I was able to go back and
forth between the darkroom and computer several times changing overall
and local contrast until the negative was perfect. I wouldn't have done
this with imagesetter negatives (more because of the time delay than the
expense) but doing it all in-house with cheap negative material makes it
possible.
Sorry to go on so long. Can you tell I'm excited? I'm still "taking
names" for anyone who'd like the Epson Desktop Curves and printer specs.
Please be sure to send the request to MY EMAIL ADDRESS rather than to
this list!
Dan
Dan Burkholder
P.O. Box 111877
Carrollton, TX 75011-1877
USA
972-242-9819
fax 972-242-9651
danphoto@aol.com
www.danburkholder.com
Author of the book nobody should be without:
"Making Digital Negatives for Contact Printing."
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