Originally Posted by Mick Fagan
CP 35-6HB (qty. 25 or 100)
CONTACT PROOFING PRESERVER. Holds six 35mm strips of 6 frames, and one 8-1/2" x 11" contact print.
CP 35-7HB (qty. 25 or 100)
CONTACT PROOFING PRESERVER. Holds seven 35mm strips of 5 frames, and one 8"x10" contact print.
for medium format:
CP 120-3HB (qty. 25 or 100)
CONTACT PROOFING PRESERVER. Holds fifteen frames of 6x4.5cm, twelve frames of 6x6cm, or nine frames of 6x7cm 120 film, and one 8"x10" contact print.
Unfortunately there is nothing like this for sheet film (though it is easy enough to slide precisely cut sheets of paper underneath the negs in individual plastine envelopes).
You are printing through plastic, of course, but the way I see it, they are just proofsheets. How good do they need to be, except on special occasions? They are more than good enough for what I need from a proofsheet, and certainly sharper than anything else I would bother to do under normal circumstances. Usually if I need a *truly* sharp proofsheet, I will go to the local rental darkroom or this one local gallery that does all their printing in the back, and load all the film into an 8x10 glass neg. carrier and make an enlarged proofsheet. A&I, the big pro lab in Los Angeles, can do this for you as well.
Yet another reason I need to get an 8x10 enlarger! I'm getting G.A.S. :D
Originally Posted by 2F/2F
In one of the labs I worked in, the procedure was to file the negatives in a clear plastic page (Print File, I believe), and then to place the page in an 11x14 contact printer, the kind that looks like a picture frame. The contact sheet was made on 11x14 paper, and cut to 8 1/2 x 11 in the finishing room.
Yes, it used more paper, but none had to be redone because of misalignment of paper and negatives, when working under a very dim safelight, or in some of the darkrooms, in total darkness.
(We actually had a customer who demanded that we dodge and burn individual frames in a 35mm contact sheet...but that is a story for another time!)
I just use a piece of glass and position the negs with the aid of one of these: http://www.rhdesigns.co.uk/darkroom/html/safetorch.html
The 'colour safe' version?
Originally Posted by thefizz
That safe torch is a God-send in the darkroom.
I've the red LED model when lith printing with success.
I' have an old proof printing frame that I use to apply pressure to the negs filed in print file, held in contact with the paper to be exposed. I have adapted the frame over the years to include a black foam core insert the size of 8x10 paper that allows the paper to be aligned in the dark. I align the paper by feel against being square to the edge of the print file papge, and then put both of them, while held together into the frame and align it against the edge of the foam core. There are occassional slight mis alognment,s but none that make the contacvt sheet unusable for my reference purposes.
I made a proofer so I could proof 6x7(10 frames per roll of 120) onto 11x14(or 10"x12" cut from 12" roll paper<ebay>). had some scrap plywood, sanded it, got some 1/4" glass cut at my glazier, got some felt-backed foam from the craft store, glued the foam to the board, and made a duct tape hinge to hold the glass. Total cost: about $28, not including time(about 1hr total to put it all together) to get the wood to size. I had the glass cut to 11.5x16, so there's a little bit of overhang. So now I can proof my 36 exposure rolls(6negs x 6 strips), onto the 10x12, same as the 6x7 and 645. thought about using the starfire glass(less green cast, less lead content), but with the extreme price difference, I leaned to standard 1/4" plate. and I can't see a color difference filter pack-wise from proof sheets to final prints.
works for me, you might want to try building one yourself, it can be very rewarding :)
I'm acutally in the process of making some for some of my classmates, albeit, charging $50 for them, nice little side business :).