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  1. #21
    skahde's Avatar
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    Tim Rudman describes a technique vor this exact application in his book "Master printing course". Without rereading it: It employs a transparent sheet which you put over your workprint and where you cover the rocks with an opaque red laquer which was avaliable from Tetenal... back then. I don't remember exactly what follows. Maybe you put that sheet some centimeters above the paper maybe directly on it.

    I recommend Tim's book.

    best

    Stefan

  2. #22

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    I wonder no one has mentioned the SLIMT.
    Has no one made use of the technique? I've
    not yet but am impressed with it's potential.
    More on it at www.unblinkingeye.com BTW
    a chemical way to burn. Dan

  3. #23

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    What's SLIMT and how is it listed? Is it an acronym? I couldn't see anything under the web site which had these letters.

    Thanks

    pentaxuser

  4. #24

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    Quote Originally Posted by pentaxuser View Post
    What's SLIMT and how is it listed? Is it an acronym?
    I couldn't see anything under the web site which had
    these letters.Thanks pentaxuser
    An acronym; Selective Latent Image Manipulation Technique.
    Search this NG for SLIMT; at least a few informative threads.
    I've just now brought forward one of those threads to B&W
    Film Paper and Chemistry. The OP's problem solved?
    For ever no more dodging and burning? Dan

  5. #25
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    Quote Originally Posted by dancqu View Post
    An acronym; Selective Latent Image Manipulation Technique.
    That's SLIMT all right, but it's for minus development of negatives. SLIMT is David Kachel's adaptation of the Sterry Method; a development method using a mild bleach solution prior to development of a print for reducing excessive contrast.

    Murray
    Last edited by MurrayMinchin; 08-20-2007 at 08:30 PM. Click to view previous post history.
    _________________________________________
    Note to self: Turn your negatives into positives.

  6. #26

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    Quote Originally Posted by Roger Hicks View Post
    Rest the card on a thick book (or even two) when you draw the outline before cutting around it. That will compensate for the cone of light that centres on your enlarging lens. If you draw it on the baseboard, it won't natch when you hold it above the paper at the right height for dodging.
    This is what I do. If you burn with your card closer to the lens you'll have a softer outline cast on the paper so it won't be as noticeable. Make sure you move it around alot so you get an average sort of exposure over the transition area. It doesn't hurt, when you are burning, to expose some more of the rocks when you move the card around, in fact it makes the halo much less noticeable and provides a cleaner transition.

  7. #27
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    The problem with burning and dodging is repeatability. The masking method is of course repeatable, but takes time. I will throw one more method out there for you that is repeatable as well. If you have a diffusion enlarger and a glass neg. carrier you can do this. I tape the neg in the carrier then I tape a piece of frosted mylar on top of the carrier. Put it on a light table and with a pencil shade in the areas that you want to hold back. No muss no fuss and it works surprisingly well. Most importantly it is repeatable. Give it a shot.

    Patrick

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