From: Christina Z. Anderson (zphoto@montana.net)
Date: 04/06/03-07:34:24 AM Z
Good morning!
I just wanted to say that yesterday I contact printed all 68 of my
enlarged 8x10 and larger negs from my Japan trip to Forte Warmtone paper, to
have a sort of "contact sheet book" of them to refer to when doing my alt
processes. These contact negs are on panchromatic continuous tone film,
orthochromatic continuous tone film, Maco Genius film,Kodak direct dupe
film, and imagesetter film. I did all images at the same exact time (20
secs) at either F/8/11 (a couple at 5.6 and 16) with no filtration,
condenser enlarger, to see how they translated to a #2 filter. All are from
35mm and 120mm negs, Acros and Neopan mostly--400 and 1600.
What shocked me about all this (aside from an immediate indication of
which prints have ANY uneven development whatsoever) are the imagesetter
negs. I took just two of my 35mm negs, not trusting the process, did a
quickie scan at 300dpi output at full size and brought them to a printer in
town. He printed them at 150lpi. $12 an 8x10 (two step film duping costs
$3, direct dupe $6 for same price). There is no way you can tell, by these
contact prints on BW paper, that they are any different than an enlarged
neg. None. I figured they'd be fine for gum printing or cyano, never
thought they would also work for BW paper. Makes me wonder why I have spent
so much time enlarging negs in the darkroom.
I had done Connelly negs like this several years back and they were
horrible printed up in BW--showed dots and yukky tonality. Aren't
imagesetter negs halftones? Or has digital come a long way baby in 3 or 4
years?
Chris
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