Hi Glen,
I have asked a similar question some time ago - way of producing
traditional fibre prints from digital files.
There are three options:
digital enlarger (made by Durst) - just like your top-of-line Durst
with super high resolution digital imaging unit instead of film
carrier. First results were exceptional, from what I heard. Is a
pricey beast, and still not even many pro labs have them. Depends on
your location, or you could FTP the files and recieve prints by post.
This would have the benefit of the lab's own skilled darkroom printer
operating the machine and making the prints.
digital negative - there are film writers capable of high resolution
continuous tone output from digital files to normal 4x5, 120 or 35mm
film. Is a bit more difficult, because you would have to find a bureau
or some guy with the writer, and experiment with preparing the file to
proper gamma curve, as these writers are more used for pre-press work.
Try asking advertising or architecture pros around you, a friend in
the that field just told me he considered using one to output
digitally retouched files to chromes for clients wanting good old
chromes. When the lab screws your chromes, everything's better than
having to do a reshoot...
and also there is an option of printing B&W inkjet for contact
printing (even platinum!) on a wide choice of transparent inkjet
foils. Look arond platinum printing sites, there should be links and
reports. Also, Fuji's older digital print system (Pictograph?) offered
printing up to A3 sized sheets of transparent foil. Obviously the
printer you use must have large enough paper size for contact printing
at your desired print size, and you need copy frames and a good
consistent light source for this (if you indeed want to print to
normal B&W paper, unlike platinotype where the Sun is the cheap and
consistent light source <g>).
Personally, I like option 1 the best, followed by option two. Option
two is best if you have your own darkroom and are good at it, IMHO.
Good light!
fra
