I need to clarify. When I contact print I put only 6 negs (three per sleeve on a full page clear neg protector.) I use glass over the top just like ole. What I do differently is I place a piece of heavy plastic that B&H sells to block out light on the portion of the neg sleeve under the glass that has no negatives in it. What do I do with that resulting white blank space? I use that area to write notes on about where I shot it, what lens, etc the trival stuff we keep records of. I also note which numbered (my system of numbering, the work print that corespondes to it. On the back of that now 8x10 RC sheet, I also write date.
I do use a #2 filter when making the contact sheet.I don't worry about being able to get all 10 images on one page since I split it all up anyway. The way I record info on the sheet it becomes mote that I split it up since I can refer to the notes. I never sweat the small stuff like if the sheet will hold 10 images, I prefer to worry about taking the images.
Once I have the proof sheet I can see which images are as I want them. Some times even what we preceive in our mind as the best shot doesn't look as good once shot. From the ones I look at through a loupe, I make work sheets, again with a #2 filter. I evaluate these work prints (on Cheap RC paper) to see what works, what it needs have done to it, do I need to crop to just a portion, or any other things I can see flaws or good with.
At this point if I have a difficult work print, but I love the scene, I will scan the print in, not the negative. I work in photoshop to see what I can do with doging and buring. This is just an aide I use so I can go into the darkroom to work from what I did on the computer. Scanning the print we all know does not come out the same on the screen as what we have in the print. We all have to do tweaking to make it look the same. That same thing would hold true for negs scanned. Only problem is when you scan a neg, you have no reference with a print in hand what the actual neg would look like when printed. As for scanning the print, remember this is only done to those really difficult prints I sometimes have.
As a result I have proof sheets with info to look at all negatives. I have work prints that are numbered and cross refeneced to proof sheet and vise versa. I mark up work prints since that is exactly what they are with things I want to do to them in the darkroom. I never worry if my camera is capable of making negatives that will fit an 8x10 contact sheet, I never work with that confining thought, I make the contact sheets fit the way I work, and use the best camera I can to get the image.
Excellent thread. I was "searching" for something else and tripped upon this gem. Some great insights into scanning vs contact proofing, still holds water two and a half years later.
I'm right there, just about ready to start contact proofing my 120s. Last month I bought a Peterson contact printer, I just finish setting up my light source (my enlarger), and I was looking for suggestion on what paper to use.
APUG is perhaps the best place on Earth now to consult about anything photographic - and I am very happy to be here. Good luck!
I've been proofing two up on 5x7. No cropping. The
Originally Posted by eumenius
full frame image makes evaluation easy. A Speed
Easel makes it quick. First 5x7 exposure is by
experience and may be scraped. Dan
As 35 and 6x6 contact sheet is pretty easy and straightforward, just put stripes into contact printer(s), nothing to tell about that.
But 6x7 is another story. As I get 10 frames of 6x7 on one 120 film, I cut film on 5 strips of 2 frames. That go into every possibile 120 film sleeves. For contact sheet I use Paterson contact printer for 24x30cm paper. Filling is somehow tricky. Because there are no sheet containing 5 strips with 2 frames of sleeves for 120 film, all are made as 4 sleeves for 3 frames of 6x6 (or 2 frames of 6x7), or other types as 4 sleeves for 3 frames of 6x7 (and two frames of 6x8 or 6x9), I put strips of film in continuity, just write same marks on every strip from same film, and put same marks on contact sheet. That mark is usually in form: dd/mm/yyyy of exposing (film number).
On back of contact sheet I write all other informations I need (location/subject/camera/lenses/film/paper type and size for every particulat frame I print/processing of film info/processing of paper info including enlarger/lens/fhead/iltration, etc...)
Bosnia... You don't have to be crazy to live here, but it helps...
No things in life should be left unfinis
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I make contact prints on cheap RC paper and store the negatives and contact print together. Sometimes months can go by before I get a chance to print, so it's nice to have the contact prints to look through. Scanning takes too much time, and I'm always worried about scratching the negatives or picking up dust - I'd rather keep them in the printfile until I'm ready to make a print.
Yep. That's what I do..
Originally Posted by dianna
Lots of cobwebs in here!
I contact proof my 120 also. It is quicker and easier than scanning the negs.
Anáil nathrach, ortha bháis is beatha, do chéal déanaimh.
I contact print as well, because it saves me the hassle of printing
Seriously, though, it's a big helper to get a sense of a photo's tone and composition, and it gives basic indications on printing time when your setup is relatively standardized.
Using film since before it was hip.
"One of the most singular characters of the hyposulphites, is the property their solutions possess of dissolving muriate of silver and retaining it in considerable quantity in permanent solution" — Sir John Frederick William Herschel, "On the Hyposulphurous Acid and its Compounds." The Edinburgh Philosophical Journal
, Vol. 1 (8 Jan. 1819): 8-29. p. 11
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Originally Posted by Andy K
I am amazed at the stuff I'm finding in APUG's dusty attic.