jeffbuck@swcp.com
Date: 07/30/02-01:33:28 PM Z
Sandy: What about enlarging negatives by traditional positive/negative litho
film techniques vs. making enlarged negatives by digital means? (I don't even
know what the latter IS, except that I think such a thing exists). I mean for
use in pt/pd contact printing? I'm going to be doing some enlarging of
negatives soon for pt/pd, and it seems to me the technique is pretty doable.
On the other hand, it seems certain firms (Chi. Albumen Works?) will enlarge
your negative using some sort of digital technology, and the price doesn't
appear that awful when compared to the time and (very minor) expense involved
in traditional negative enlargement.... -JB
Sandy King <sanking@clemson.edu> said:
> Bob,
>
> My remark about silver gelatin prints and slaving away in the
> darkroom was not entirely tongue-in-cheek. In fact I dislike working
> in the dark, as in film processing, and tend to avoid it entirely by
> developing in tubes and drums. I can abide printing with a safe-light
> but if truth be known that is not one of my favorite experiences
> either. This is one of the reasons I have printed primarily with
> alternative processes since the early 1980s.
>
> As for comparison of the archival qualities of silver and Epson
> pigment ink prints, the best information suggests they are about
> equal, though I am inclined to believe that a print made with a
> pigment ink like carbon black will in fact be more stable than a
> silver print. However, since archival qualities are in the 200+ range
> for both type of prints I don't think we should be overly concerned
> about this issue.
>
> However, assuming the above is correct, ie. silver gelatin and
> pigment ink prints have about the same archival qualities, one must
> admit that the range of corrections and enhancements possible with
> digital prints makes them hard to beat. I have made a few digital
> prints of 13X19" size from high quality scans of 5X7 original
> negatives (with corrections and enhancements in PhotoShop) and
> compared them to silver prints made from the same negative. I have to
> be frank about this. The digital prints have it all over the silver
> prints in terms of apparent sharpness and control of tones. I suspect
> that as master silver printer could apply unsharp and contrast
> control masking and come close to the quality of the digital print,
> but it would take a lot of work.
>
>
> Sandy
>
>
>
> >Sandy,
> >
> >You are right about color. I use a Mac G4 and an Epson 2000P and I
> >love it! But I assume that remark about silver/gel B&W prints and
> >slaving away in the darkroom was tounge-in-cheek but I will respond
> >as if it were not. ;-)
> >
> >Digital images are great. I do them and love the look, but I also do
> >a lot of alternative process including daguerreotypes simply for the
> >look one gets with these processes that cannot be duplicated using
> >digital methods ( my geeky digital art friends would debate this
> >statement).
> >This, of course, is the same reason I do silver-gelatin prints. But
> >also, I love working in the darkroom. Spending several hours in a
> >very dark, humid room, sloshing around in trays of toxic chemicals
> >and breathing I don't know what (although I do have a good
> >ventilator) is
> >my idea of a good time especially if I emerge with some great prints.
> >
> >An archivally processed fiber base, silver print that has been
> >selenium or gold toned should have a lifetime of 100-300 years. My
> >Epson 2000P
> >color prints are supposed to have a lifetime of 100-200 years.
> >
> >I always tell people who buy my prints that if they (the prints)
> >fade any time in the next 200 years, they can bring them back and I
> >will make them new prints.
> >
> >Bob Schramm
> >
> >>From: Sandy King <sanking@clemson.edu>
> >>Reply-To: alt-photo-process-l@sask.usask.ca
> >>To: alt-photo-process-l@sask.usask.ca
> >>Subject: Re: Another one bites the dust.
> >>Date: Mon, 29 Jul 2002 22:52:05 -0400
> >>
> >>Bob Schramm wrote:
> >>
> >>>Just learned today that Olympus is discontinuing the OM series of
cameras.
> >>>
> >>> My question, how will profs. teach real photograpy if there are no
> >>>more manual cameras?
> >>
> >>Probably with digital cameras. But, exactly what is real photography?
> >>
> >>> Second question. Is silver-gelatin about to become an alternative
process?
> >>
> >>
> >>Yes, and probably not a very popular one. After all, why would anyone
> >>want to slave away in the dark to make monochrome silver prints that
> >>are less archival than digital ink-jet prints? As for color, the
> >>Epson pigment printers are already vastly superior to all wet
> >>processed color prints in terms of stability.
> >>
> >>
> >>Sandy King
> >>
> >>
> >>>
> >>>Bob Schramm
> >>>
> >>>Check out my web page at:
> >>>
> >>> http://www.SchrammStudio.com
> >>>
> >>>also look at:
> >>>
> >>> http://www.wlsc.wvnet.edu/www/pubrel/photo.html
> >>>
> >>>_________________________________________________________________
> >>>Join the world’s largest e-mail service with MSN Hotmail.
> >>>http://www.hotmail.com
> >>
> >>
> >>--
> >
> >
> >Check out my web page at:
> >
> > http://www.SchrammStudio.com
> >
> >also look at:
> >
> > http://www.wlsc.wvnet.edu/www/pubrel/photo.html
> >
> >_________________________________________________________________
> >Join the world’s largest e-mail service with MSN Hotmail.
> >http://www.hotmail.com
>
>
> --
>
>
--
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