Nathan Jones' Gallery 1.21.06.b

[Nathan Jones]

Nathan Jones' Gallery 1.21.06.b

Images derived from digital files from scans of in-camera negatives for generating enlarged digital negatives for contact printing on silver chloride paper (Azo?/Amidol, M.S.'s).

---How white the brightest highlights? ---How black the deepest shadows? And how much detail or information should the two extreme areas retain? These are the primary issues for me in printing these images.

Any comments or constructive criticisms are welcome.

Technical Information:

Malla Falls, Rio Bio Bio, Chile: 12 X 19 inches (31.8 X 48.3 cm): Linhof Technika, 180mm Schneider Tele-Xenar, 6X9cm Ilford HP5/D-76.

Cascadas Aqua Azul, Chiapas, Mexico: 18 X 12.5 inches (45.7 X 35.8 cm):
Linhof Technika, 180mm Schneider Tele-Xenar, 6X9cm Tech Pan/Technidol.


Thanks.

[donbga]

Nathan Jones' Gallery 1.21.06.b

Images derived from digital files from scans of in-camera negatives for generating enlarged digital negatives for contact printing on silver chloride paper (Azo?/Amidol, M.S.'s).

---How white the brightest highlights? ---How black the deepest shadows? And how much detail or information should the two extreme areas retain? These are the primary issues for me in printing these images.

Any comments or constructive criticisms are welcome.

Technical Information:

Malla Falls, Rio Bio Bio, Chile: 12 X 19 inches (31.8 X 48.3 cm): Linhof Technika, 180mm Schneider Tele-Xenar, 6X9cm Ilford HP5/D-76.

Cascadas Aqua Azul, Chiapas, Mexico: 18 X 12.5 inches (45.7 X 35.8 cm):
Linhof Technika, 180mm Schneider Tele-Xenar, 6X9cm Tech Pan/Technidol.


Thanks.

Nathan,

How are you generating your digital negatives?

Don Bryant

[Nathan Jones]

Hi Don,

PDN.

I need to update my post "Azo and the Digital Negative", along with corresponding posts in other forums ---which I will do in the next few days. The process has been painful and problematic. First no Amidol. Then, no more Grade 3 Azo and perhaps no more silver chloride contact paper at all. (I have about 45 sheets of 20X24 G3 left and with current uncertainties, I have been hesitant to use it.) At this juncture, I do not believe I can get the quality I am after on Azo using an inkjet negative. I think it'll take a Lambda or equivalent. As you can see, flowing water is very often a primary element in my work. So far, with the inkjet negatives, smooth, high key tones come out "gritty". At the cost of generating lambda negatives, I need some assurance that I will have the paper to utilize those negatives. And I need to feel confident that I have the best possible digital files to work from. It has been a lot of work learning what is effective and what is destructive using Photoshop. One has to be very careful with a paper as sensitive as Azo.

I am hopeful about using the inkjet negative on platinum/palladium. I am attending a workshop with Mark Nelson and Dick Arentz in March to learn that process.

In my pending post update I'll explain in detail the problems I have run into and where I currently am in the process. It may be important information for others headed down this road (hopefully, "this road" will not be forever closed).

Thanks for looking at a few of my images.

Nathan

[Bob Carnie]

Nathan

I am proceeding in making Lambda negatives on site, in fact I just bought a 30x40 flip top metal halide exposing unit to make large alternative prints,

Today I am testing Duraclear to make negatives to try the workflow, I can easily do this as I have duraclear profiles for the Lambda and as well a 30 inch machine to process the clear print.

I am waiting until the Toronto APUG conference to talk with Sandy King and others to sort out exposing continuous tone film in the Lambda for alt process.

I am not looking at the inkjet route as I believe better resolution as well as density range will be afforded with the Lambda. (specifically azo and silver prints)

This will not be a commercial service , until we have worked out the workflow and as well each artist will need to be lab tested at our site , as there will be workflow issues that I do not want to deal with from long distance.

This probably will involve future workshops on site that encompass all the steps until completion. Each photographer will have to be well versed in each step.

I do plan to try the colour carbon process with this technology for my own work as well as cyanotypes and platinum.

A good practical knowlege of sensitometry, Photo Shop , and ultimatley end process techniques will be required to make this work.

[donbga]

Hi Don,

PDN.

At this juncture, I do not believe I can get the quality I am after on Azo using an inkjet negative. I think it'll take a Lambda or equivalent. As you can see, flowing water is very often a primary element in my work. So far, with the inkjet negatives, smooth, high key tones come out "gritty". At the cost of generating lambda negatives, I need some assurance that I will have the paper to utilize those negatives. And I need to feel confident that I have the best possible digital files to work from. It has been a lot of work learning what is effective and what is destructive using Photoshop. One has to be very careful with a paper as sensitive as Azo.

I am hopeful about using the inkjet negative on platinum/palladium. I am attending a workshop with Mark Nelson and Dick Arentz in March to learn that process.

In my pending post update I'll explain in detail the problems I have run into and where I currently am in the process. It may be important information for others headed down this road (hopefully, "this road" will not be forever closed).

Thanks for looking at a few of my images.

Nathan

Nathan,

I can feel your pain. Because of the demise of AZO I've stoped working with inkjet negs for that paper. I am very pessimistic about the future of the new AZO. I just don't see how there is enough demand for that kind of paper world wide to warrant a new manufacturer to commit to the development of that kind of product.

I've had good results using inkjet negatives to make palladium prints and I don't think you will come away from the workshop dissapointed.

I am hoping that Mark will produce a Color Density Range Pallete printed on a Lambda printer for use with silver gelatin prints to eliminate the "grit" that you speak of.

Let us know how your workshop goes. Mark is a fun guy and a good instructor. I've met Dick at APIS '01 and he too was very cordial showing his work.

Don Bryant

[Nathan Jones]

Thanks Bob, for the info. Seems like a few folks are headed down this road (and a few others have already been down it ---and Sandy is certainly one.). ---APUG conference in your home town ---how convenient. Enjoy.

Don, thanks for the note of encouragement. Only, I just hope your are wrong about the Azo replacement. It's hell having just hope... (though I am prepared to make a substantial initial purchase, given the opportunity.)

[Bob Carnie]

Don

Is Mark using a Lambda for producing enlarged film?
If so , how do I get in touch with him.

Bob

[Nathan Jones]

Bob, you can reach Mark Nelson through his website: www.precisiondigitalnegatives.com. My understanding is Mark is primarily a platinum/palladium printer and has developed his system of generating inkjet negatives for traditional processes using UV exposure systems; however, his calibration approach is designed to be applicable across the board, including use of a Lambda.

[roteague]

Great stuff Nathan, I wouldn't mind having either one on my wall. I don't have any answers or solutions for you, but wish you luck either way. I'm willing to bet that either of these would look great as a standard B&W enlargement, but have to confess to having no knowledge of either Azo or Pt/Pd printing.

[Nathan Jones]

Thanks Robert,

I appreciate your approval and your compliments. (It's hell hanging down here in the basement with the other hybrids.) Standard optical enlargements just don't deliver the same in scale. Otherwise, that's what I'd be doing. (---That's what I did for years.)

Keep up the wonderful color work, in colorful Hawaii. Your materials match your subject so well.

Meanwhile, out here in the monochrome West Desert sub-forum...

Kindly,

Nathan