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  1. #21

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    Quote Originally Posted by bsdunek View Post
    My Dad did something like that in the late 80's. He had been taking photos since the late 20's. He did 3 1/2 X 5 prints and put them in albums, identified so he could go back to the negatives. Sort of a filing system. Took him a few years. At least now, if I want to print one of his negatives, I can go back and find it.
    How do you like his photography? Must be something to look at, after all the years have passed.

  2. #22

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    Quote Originally Posted by Maris View Post
    That's similar to the pact I made with myself years ago except I really meant every exposure on every roll and every sheet would be taken through the full process to the best gelatin-silver positive I could make. The sequence of photographs, mistakes, bloopers, and "masterpieces", is the work itself. And everything is archivally processed, stamped, dated, titled, and signed.

    Perhaps the most valuable consequence of such a personal pact is the moment of pause it prompts before I commit to an exposure: Do I really want this particular image badly enough to spend the dollars on materials and do the darkroom hours? A lot of the time the right answer is no.
    Now that's impressive!

    In my case, printing all this stuff has slowed my shooting down a little bit so I'm slowly catching up. I still got some 5 years of insane darkroom work before I'll have fully catched up.
    I realized that 20 rolls of film are enough to keep me printing for a year: different sizes, different processes, different takes, different papers. It's a disease, but a nice one. And the results are what's driving us...

  3. #23

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    Quote Originally Posted by piu58 View Post
    The first important step seems to have very good contact sheets of all the films. With a powerful loupe (around 5x) you get good impression how the real image would look like.
    Now this is one area I'm lacking. Contact sheets are very important but I have the bad habit of looking at the negs directly. I believe it's not all that bad since it helps me see and interpret a print differently.

  4. #24

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    Quote Originally Posted by Bob Carnie View Post
    I am very impressed.. make sure you put these prints away with care, and sign and number them all..
    I'm keeping them in the original boxes, as simple as that.
    Do you recommend something better? Are the original boxes (Ilford...) too acidic?
    Numbering the prints? Geez, now one more thing I have to do. It never ends

  5. #25

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    Quote Originally Posted by PKM-25 View Post
    Agreed, mine lives in a small bag ( A&A Oskar's One Day ) that used to be for my two body, 4 lens Leica set that I mostly sold off. Now it shares that bag with a lone M3 and 50/2, ten rolls of Tri-X and a tiny Gossen Digisix meter. The prints are to die for!
    Yes!

    My best prints are from the Xpan. Probably because it's a medium format, thus the tonality is great while the format is sexy.

  6. #26

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    Quote Originally Posted by Bob Carnie View Post
    I do not think he is.

    I am doing the exact thing you are doing except I have started this project a bit different.
    Over the last three years I have made high resolution scans of all my negatives. I did eliminate some.
    I just finished last month and now my wife is starting to do the same thing.
    Next is to pick the process for final printing of each series .. some I plan to make enlarger prints, even though I have the scan, others I want to make small platinums and carbons.
    The colour work is all slated for a mixture of gum and carbon for both my wife and my colour negs and slides.

    The moment we feel that Silver Paper is going to be either crazy expensive or hard to get we buy the big walk in freezer with a few of our friends and bring in enough for 10 years of printing.
    What is quite amazing is that you are doing this at a younger age, I am nearing 60 and wish I had done what you are doing now.
    For me it will be fun to print everyday for myself and not worry about whether the client will like the print as I will be the client.

    I plan to keep the edition numbers small on my general work and when I print I will print the edition.
    My solarizations are a bit bigger edition so editing to what I think is my very best work is the hardest part.

    Back up your storage in a couple of ways... trust me on this one.
    Bob,
    I've been following your very interesting posts for a while now. You're an inspiration that's for sure.

  7. #27

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    Quote Originally Posted by artonpaper View Post
    Oh no, Dude, I am totally serious. I have close to 50 years of negatives, mostly unprinted. I wish I had you determination. I agree about the digital part. It can be mind numbing.
    Start as soon as you can. Go 5x7 and you'll go through them in a breeze. The only problem with starting small is that soon wnough you'll start planing to go bigger for your favorites and then you'll want them all big.
    But sometimes small is best.

  8. #28

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    Quote Originally Posted by Bob Carnie View Post
    Where are you located.
    I would like to see some of these prints someday.
    Yes, I'll post some pictures soon for the fun of it.
    I'd also like to show you real prints in person. I'm in Montreal... Not really far from you.

  9. #29

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    Quote Originally Posted by Dinesh View Post
    Don't tell Bob where you live!


    Trust me.

    FWIW, I as well, admire you for undertaking this task.


  10. #30

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    Quote Originally Posted by padraigm View Post
    Yes I am very impressed well done. I am doing something slightly similar. I am only posting printed material for a least a year. If its worth showing it's worth printing.
    That's the spirit.

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