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  1. #31

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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (lee @ Apr 11 2003, 05:22 AM)</td></tr><tr><td id='QUOTE'> I think Doc is&#092;was talking about copying them with a yellow filter. The theory is that the yellow filter will filter the yellow and photograph it as white then you will have copy negs to print on fiber. If it were me I might not want to spend too much time on this project. Live and learn. BUT, if I were I would use my big camera and make 4x5 negs.


    lee&#092;c </td></tr></table><span class='postcolor'>
    This exactly what my pre-press cameras are for. I can present you a perfect negative up to 24 x 36 inches. Wow&#33; Go for contact. But really an 8 x 10 with a 760mm lens is sweeeeeet. Let me help. Sorry, this wasn&#39;t supposed to be a sales pitch, it really is what these cameras were built for.
    Now another technique for the really ruined is going to a full size negative (allowing for contact reproduction). The benefits are two fold, one being the standard reasons for large contact rather than enlargement, but another is that when yellowing is very bad, a combination of the yellow filter and hard line film and half-tone neg at 133lines or better, usually clears even the worse. And should there be a minor problem after that; a simple round of pointilism with a film marker usually remedies that in a jif. Since you&#39;re already at full size, you know if the half tone is in any way offensive. Usually it is not.

    Now I have to mention I cannot find a supplier of line screens so what I have is all I have, so some limitations might apply. But I&#39;d love to knowif anyone does.
    Embrace **it! **it. . .just another name for fertilizer. . . Grow baby Grow!

  2. #32

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    I guess I better start using word pad to edit because I clicked and poof it was gone.
    Uhm I was going to suggest a way you can duplicate this technique with your labs. Get your hands on something called b&w diapositive film, Agfa and Kodak both sell it. Now it is a clear negative printing film, continuous tone, orthochromatic. What you do is use the concepts of half toning on the continuous print. You will need a yellow flash light (I don&#39;t have the filter number handy but will get that and reply) with a timer. First find your exposure based on what you think a good slide would look like. Now cut that time to 75% or so (testing will be necessary) at the end of exposure flash the negative with the flashlight about 12 to 18 inches away from the negative. Time should be roughly (again test) 10-15% of your original "slide" exposure time. This steps lays down the mask found in normal b&w film and lays in the density for the whites and the yellow pretty much disappears because the shortened exposure usually isn&#39;t long enough to register but the worst of yellows.
    I apologize and ask patience now and forever for my long winded-ness.
    Embrace **it! **it. . .just another name for fertilizer. . . Grow baby Grow!

  3. #33

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    Oh, I forgot to mention the other nice thing about diapositive film; it is processed in normal Dektol or whatever. Your choice of developer will effect the outcome almost exactly as it effects VC paper, the main difference being that the film takes longer to develop, so don&#39;t rush it, or your tests. About twice as long as you usually develop paper should work. It will take a little testing to get it just right but us a exist negative of accepted print as a comparison for your results. And of course test, test, test,. . .record your results for later. Your percentages should level off fairly quickly if you do not alter your lighting. Be sure to record that too and take into account normal reduction issues.
    Embrace **it! **it. . .just another name for fertilizer. . . Grow baby Grow!

  4. #34
    lee
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    What is the Kodak Number of the diapositive film, if I can ask that? What camera are does your shop use? I have been in the pre-press business for 25 years as a tech rep not a user. I don&#39;t remember who makes the 1/2 tone screens but I will call my former employer and ask one of the supply girls if they know and will post here.

    lee&#092;c

  5. #35

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    Jill, If you are looking for a niche that needs to be filled. I suggest looking into providing enlarged negatives for those who want to do any of the alternative processes. You will need to become familiar with reading film densities and probably densities of negatives which have been developed in pyro developers. That will require a densitometer with a UV channel. I have encountered a fair number of people who are looking for a job shop that will handle negative enlarging without going to the expense of creating digitally enlarged negatives for themselves or the bother of enlarging negatives for themselves using conventional darkroom processes. The reason for a thorough familiarity with film densities is that the alternative processes do require densities that are higher then silver densities. There is some information available, if you are interested, on Ed Buffaloes site www.unblinkingeye.com...additionally, a search under platinum printing will bring up a couple of fellows in the New Mexico area that have information on enlarged negatives on their site. The next question, when and how are you going to spend all of the extra money???
    Art is a step from what is obvious and well-known toward what is arcane and concealed.

    Visit my website at http://www.donaldmillerphotography.com

  6. #36

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    There is a guy who does enlargements from ULF negatives, but he only uses RC pearl b&w paper (seems like a silly choice to me to choose this paper) so, if you are willing to deal with some very demanding people, making huge enlargements from 8x10 and bigger negatives would also be another nieche are you might want to explore. I would really want to have a 3 feet by 6 feet enlargement of some of my 12x20 negatives.

  7. #37
    lee
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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (dnmilikan @ May 4 2003, 04:32 PM)</td></tr><tr><td id='QUOTE'> additionally, a search under platinum printing will bring up a couple of fellows in the New Mexico area that have information on enlarged negatives on their site. </td></tr></table><span class='postcolor'>
    IF this is Bostick and Sullivan, I think one of them is the woman. Bostick is definitely a man and Sullivan is a female and his main squeeze. I am not sure if they are married but definitely significant others. =8^).

    lee&#092;c

    congratulations on the camera.

  8. #38

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    Lee,
    I hadn&#39;t thought of Bostick and Sullivan, but I imagine that they would be able to direct one to those making enlarged negatives. The fellows that I was thinking of were David Michael Kennedy and John Rudiak. I think that they are either New Mexico or possibly Arizona based. Their sites mention enlarged negatives and some information on what they do and the materials they use.
    Art is a step from what is obvious and well-known toward what is arcane and concealed.

    Visit my website at http://www.donaldmillerphotography.com

  9. #39

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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (lee @ May 4 2003, 01:57 PM)</td></tr><tr><td id='QUOTE'> What is the Kodak Number of the diapositive film, if I can ask that? What camera are does your shop use? I have been in the pre-press business for 25 years as a tech rep not a user. I don&#39;t remember who makes the 1/2 tone screens but I will call my former employer and ask one of the supply girls if they know and will post here.

    lee&#092;c </td></tr></table><span class='postcolor'>
    Lee- I usually get online at home so my catalogs are at work, but I will get those cat numbers today if possible (sorry I went into a minor disaster this weekend and will be "fighting" with someone for a while.) I have two ACTi cameras out of Ontario, California. I just love them.

    I would absolutely appreciate if the gals still know a supplier of screens. I have always treated mine with respect, but the previous owners were not so careful, not terrible but definitely some damage on some. For 11x14 or smaller there are numerous screens still good and usable but the 24 x 36 or larger only one 133 ls is still usable.

    BTW, nice to meet you.
    Embrace **it! **it. . .just another name for fertilizer. . . Grow baby Grow!

  10. #40

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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (dnmilikan @ May 4 2003, 04:32 PM)</td></tr><tr><td id='QUOTE'> The next question, when and how are you going to spend all of the extra money??? </td></tr></table><span class='postcolor'>
    Thank you, Mr. Milikan, this comment sure makes me chuckle. Looks like this week will be unexpectedly expensive and unrewarding as I have received a roll of film costing about &#036;10,000 I had shot last month of our valley which is grossly over-exposed in my opinion. The shop that flew it has no intention of caring whether my print exposure time has gone from 5 sec to over 50, and the colors won&#39;t settle because everytime I just about get it right, it all goes monotone. ERRRRRRR. Anyway the chuckle was very good for my morning.

    I will check out the site and idea you have mentioned, and as of yesterday, I happen to be on the road to being able to accurately evaluate films.
    Embrace **it! **it. . .just another name for fertilizer. . . Grow baby Grow!

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