The yellow/magenta thing is what Alan Ross is doing (in addition to the layered contour mapping you mentioned and pencil/dye shading) to essentially get straight prints out of Ansel's negatives (all burning and dodging and multiple contrasts built into the various layers of mylar and inkjet transparencies). For pencil shading and contours he uses Dura-lar, with a sheet of diffusing plexi.
Originally Posted by Bob Carnie
You mentioned Duratrans. This is probably the best diffusing paper I've ever seen in terms of uniformity. I was wondering where you can currently buy this stuff. I bought a few sheets from Lynn Radeka recently because I ran out, but if you have a real source for this I'd be grateful to know. Does Kodak still make actual Duratrans?
I can buy fuji trans in rolls .. just expensive let me know your pain level, I am not sure what widths it comes in but can find out if you are interested.
Originally Posted by Michael R 1974
I think I've got enough for now but will let you know when I run out. Maybe if it comes in huge rolls or is really expensive I can split it with some other APUG-ers interested in masking. It's a great material even to just use for diffusion over the sandwich when making silver masks.
Any serious art store should have diffusion sheet. I prefer 3-mil and 5-mil mylar frosted on both sides. The sheets are about two by three feet or so. After I get them to the lab I inspect them over
a big light box, then cut things down into slightly oversize 4x5 or 8x10 film sizes. Totally blemish-free
pieces are reserved for contact internegs or interpositives, masking textureless areas,etc, and the leftovers for more casual use, including alteration with pencil or spotting pen, creosin dye etc. 5-mil
is a lot tougher than 3-mil and less likely to kink. I'd avoid frosted acetate - it is fragile and has a
bit of a pattern to it which might reproduce in high-contrast work.