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Re: [OM] Finally, some darkroom time (couple of OM B&W prints)

Subject: Re: [OM] Finally, some darkroom time (couple of OM B&W prints)
From: Ken Norton <ken@xxxxxxxxxxx>
Date: Wed, 20 Oct 2010 16:44:15 -0500
> I'm afraid I just don't get this "digital contact negative" thing.  Why
> isn't a B&W digital image projected by light onto conventional B&W paper
> just as good... nay, better because there's no intervening process to
> muddy the translation?


For those not following what a "digital contact negative" is, let me explain.

You may have taken a photograph with a digital camera or possibly
scanned a slide or negative and digitized the image for editing
purposes. Regardless of the source, you have this fancy image file
that you want a B&W print of. You have several options:

1. Inkjet print (pigment preferred) on some gloriously expensive new
paper. Cost per print is horrid (especially when you have large
percentages of black coverage in the picture). This technology is
constantly improving and each new printer is better than the last. The
problem which most purists note, is the image tends to sit on top of
the paper, not in the paper. Regardless, this is a great option if you
are so inclined and have the budget for it.

2. Digital output to a Noritsu printer which is loaded with Harman
(Ilford) B&W paper. Quality labs, such as Millers, use this setup.
Output is fantastic, but the paper options are restricted to Resin
Coated papers, not fiber.

3. Digital Contact Negative allowing for "contact printing" on the
medium of your choice. This can be fiber papers, resin papers, even
home-brew options like alternative-process coatings. Advantage to this
method is no enlarger is needed, once the process is calibrated, it's
highly repeatable, and you only need space big enough to handle the
trays for processing.

A digital contact negative is made by taking your lovely picture in
your photo editor, reversing it (making it a negative), applying some
special sauce to the color and curves and then printing with a common
inkjet printer onto "Overhead Transparency Film". You then take this
printed negative, and in a darkroom place it on top of the unexposed
printing paper. Place a clear sheet of glass on to to tightly sandwich
it together and expose. Lightsource can be an enlarger or a lightbulb
hanging from the ceiling. Expose for whatever time your system is
calibrated for (say 20 seconds) and then take your exposed paper and
process it in the standard "Develop-Stop-Fix-Wash" steps.

The end result is a print that has all the lovely characteristics of
an analog print (the image sits in the paper, tooth, reflectance,
texture)... Of course, if you know what you are doing and follow
procedures correctly, the archival properties are exceptional.

AG
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