RE: NEGS FOR PT/PD

["Leyba, Matt" <MLeyba@Denverpost.com>]

What does "flagellating a moribund equine quadruped" mean? Something about a
gassy horse?

My personal experience with sensitometry involved a number of 2 a.m.
darkroom sessions with a densitometer, potato chips and Wynton Kelly. My
negs and prints improved some. Then I got rid of the densitometer, went out
and shot a lot of photos, switched to pretzels and Robert Cray. My negs and
prints improved a lot. I don't know for sure if the experience with the
densitometer is what got me where I am or not. I guess what I came away with
was that when I approached the subject in simple terms my pd/pt prints
shined. When I obsessed they sucked. I know many people like to study curves
and such, that's cool, but I would rather spend any and all extra time
hauling around my axe. Maybe someday I'll switch and do the opposite. Just
not now :).

I don't know if this is appropriate for this list, but does anyone have any
11x14 holders for sale?


Mateo Leyba
Golden, Colorado
mleyba@denverpost.com

> ----------
> From: 	Sandy King
> Reply To: 	alt-photo-process-l@skyway.usask.ca
> Sent: 	Friday, May 17, 2002 7:53 AM
> To: 	alt-photo-process-l@skyway.usask.ca
> Subject: 	Re: NEGS FOR PT/PD
> 
> 
> 
> Bob Kiss wrote:
> 
> 
> >
> >     If you have a negative with decent shadow detail and open (not
> blocked)
> >highlights that prints well on your favorite silver-gelatin paper, with
> some
> >testing, you should have no problem expanding the density range during
> the
> >interpos-to-enlarged neg process (or, if you are feeling bold, with
> direct
> >copy film) to yield a density range for any alt process you want.  One
> needs
> >to know a bit of sensitometry  but sometimes we, on this list, persist in
> flagellating a moribund equine quadruped.
> 
> 
> In making an enlarged negative either directly by reversal (as per 
> the Lawless method presented in a past edition of Post-Factory 
> Photography) or by the interpositive route the most important 
> consideration is good shadow detail, i.e. you should start with a 
> well-exposed, or even slighly over-exposed negative. You can work 
> with a negative that gives blocked highlights on the silver print 
> perhaps this most likely indicates over-development for silver 
> printing that may be just fine for one of the alternative processes 
> that requires a negative with a high DR.  I have personally had more 
> success with the Lawless reversal method than with the interpositive 
> route. However, the interpostive method offers more control.
> 
> BTW, there is an article in the current issue of View Camera Magazine 
> on making enlarged negatives with interpositives using the Freestyhle 
> APH(S) film. In the article the author writes that Freestyle actually 
> sells two stocks of this film, one made in the US and the other in 
> Japan. He recommends that you ask for the Japanese stock since it 
> contains more silver and is better for making enlarged negatives.
> 
> I am still trying to figure out what Bob means by sensitometry and 
> "flagellating a moribund equine quadruped". Sensitometry is really 
> fairly simple to learn, and very easy to apply once learned. Some 
> people avoid sensitometry and point out that one does not need to 
> know anything about it to make good prints, which is of course true. 
> However, in its place we see a lot of personal systems for exposure 
> and development control that appear to me to be a lot more 
> complicated than the sensitometry that these people are trying to 
> avoid.
> 
> Sandy King
> 
> 
> -- 
> 
>