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  1. #1
    Mainecoonmaniac's Avatar
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    Is this cheating?

    This is just a thought now. I'm wondering if it would be useful to use an image printed on OHP film to make contrast masks for enlarging. The the old days, it was very labor intensive. I imagine the work flow would be scanning the negative doing some adjustments in Photoshop, blurring the image then print in OHP. Does this thread belong in the Hybrid photo forum? Be nice to me if this post is a faux pas
    "Photography, like surfing, is an infinite process, a constantly evolving exploration of life."
    Aaron Chang

  2. #2

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    Alan Ross is a proponent of this as an extension of his "selective masking" (purely analog) techniques. Alan prints all the authorized reproductions from Ansel Adams's negatives. As such he needed to find ways of reducing the manual labour involved in each print, as well as maximizing consistency from print to print.

    Making inkjet masks is a potentially powerful tool. It works like traditional silver masking, except you can go a step further and even print yellows and magentas on the mask to combine the effects of manual dodging/burning with multiple contrast grades.

    Indeed going to inkjet scanning to make masks is what I would call a hybrid approach, so not really analog. But if you are interested in the technique, Alan's Selective Masking articles/kits include detailed instructions (with example) on how to do inkjet masks.

  3. #3
    Mainecoonmaniac's Avatar
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    Wow Alan Ross uses this technique? He's quite a printer. Seen his prints at the Ansel Adams gallery in Yosemite. Never though of using magentas and yellows. Genius. Split grade printing and masking all in one!
    "Photography, like surfing, is an infinite process, a constantly evolving exploration of life."
    Aaron Chang

  4. #4
    Rick A's Avatar
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    Utilizing the tools you have at hand is not (technically)cheating, merely finding a workflow that allows you to accomplish what you need.If the internegative films were still readily available, you would probably still want to use a computer scan and print out a mask, far more convenient.
    Rick Allen
    Argentum aevum

  5. #5
    Bob Carnie's Avatar
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    This hybrid approach has never been appreciated here, not to mention many other methods of imaging to wet prints that involve a computer.
    I will be interested to see how this thread goes.

  6. #6
    Rick A's Avatar
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    As opposed as I am to digitalizing, I must weigh in toward being practical. The expense and labor involved in making internegs and masking the way we used to do it, was daunting to say the least. If you can do it with modern technology, have at it. The end result is what matters here, a wet print that reaches out and leaves ya gobsmacked.
    Rick Allen
    Argentum aevum

  7. #7
    Thomas Bertilsson's Avatar
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    If you don't mind doing it, it's kind of silly not to take advantage of technology.

    It's too bad that I dislike sitting in front of a computer so much.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  8. #8
    Mainecoonmaniac's Avatar
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    I don't feel so bad now. It's good to hear that APUGers are really pragmatic. Thanks Mustafa, Thomas and Rick. I hate sitting in front of a computer for prolong periods too. It already my day job.
    "Photography, like surfing, is an infinite process, a constantly evolving exploration of life."
    Aaron Chang

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    you can do it all you want, but i wouldn't post images in the gallery made from this technique
    you'll have people rallying with pitchforks and torches ...

  10. #10

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    As an analog practitioner it is not something I would do. I have no interest in sitting at a computer to do any of my photographic work. I do silver and selective masking when required, but it's all analog.

    I brought up Alan Ross because he's got to make thousands (literally) of identical silver gelatin prints of Adams's negatives for sale and other uses. So any tool whatsoever that can improve efficiency and/or lessen drudgery is on the table. In several cases he's combined many layers of non-digital selective burning/dodging masks into one set so that he can essentially make each print in one exposure with all the burning/dodging incorporated into the mask layers. In this way not only is there less labour, but every print is identical.

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