Didn't think of separating the emulsion then, but those days I just
placed some B&W paper into 4x5 film holders, and used in a Sinar with
75mm lens, outside in daylight, then made contact prints of any
interesting results - not so many, but then it's not the process but the
photographer. Tricky part was establishing a proper ISO for the
different papers under daylight.
I wonder what is possible with 6x7-sized negative prints on acetate...
but those experiments will have to wait for my next divorce OR a better
apartment with space to build a B&W lab... don't know wich would cost
more. Maybe someday.
Post us some results, ok?
LF
John Sessoms escreveu:
From: Luiz Felipe
Used paper negatives once or twice in large format days, and it's
really interesting. Didn't try the acetate idea, but that's
interesting. I printed dive tables in acetate to be kept in the BC
pockets at all times, just in case I needed to change the profile in
the middle of the dive - way cheaper than imported dive tables on
fancy plastic sheets :-)
I did my paper negative experiments in photographic paper, then. Some
inquisitive mind could post other results, one of these days...
Resin coated papers have a very thin plastic layer between the paper
backing and the emulsion. If you are very careful, you can soak the
paper and separate the emulsion. I have done that to make "paper" negatives
The "Print on acetate" idea might work.
I don't know that I'm going to do anything as yet. Mostly I've just got
thought experiments.
It started when someone brought an old, old, OLD faded, degraded print
of his grandfather into the lab yesterday to make copies for his own
grandkids.
I tweaked the scan I get from the kiosk as best I could. The results
weren't all that great to my eye, but he was quite pleased.
Got me started thinking about photo restorations. Most just end up with
a digital file or ink-jet print, but I got to wondering how hard it
would be to take it to the darkroom and make silver/gelatin prints of
the restored images.
I thought of replacing the enlarger head with some kind of projector
because of the ease with which you can control the final print size
using an enlarger, and the work-flow to produce a really good quality
print in the B&W darkroom is one I'm pretty comfortable with.
Seems like a traditional print of restored photos might be a high
quality, value added product.
I can always send the digital file over to the local pro-lab, but it's
more fun to get my own hands wet.
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Luiz Felipe
luiz.felipe at techmit.com.br
http://techmit.com.br/luizfelipe/
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