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  1. #41

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    Quote Originally Posted by Shawn Dougherty View Post
    john,
    Thank you for that. I have been considering making something like this for some time now.
    happy to help with what might end up being an affliction

    just remember label the wheat/rice paste when you put it in the refrigerator.
    it's easy to mistaken it for food and eat it

    john

  2. #42
    c6h6o3's Avatar
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    My best work is 4x5 contract prints. Does this mean that I'm small-minded? So be it.
    Jim

  3. #43

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    ALFRED STIEGLITZ, Equivalent (Series), 1925-1931
    http://www.phillipscollection.org/re...nt_Series1.htm

  4. #44
    cliveh's Avatar
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    I think there is something about a contact print from whatever negative size that shows pure integrity of reversal. This is enhanced by the fact that there is direct physical contact between the neg and light sensitive material for positive conversion. It’s almost like a painting that remains the same regardless of whether it is in negative or positive.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  5. #45
    NedL's Avatar
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    Quote Originally Posted by cliveh View Post
    I think there is something about a contact print from whatever negative size that shows pure integrity of reversal. This is enhanced by the fact that there is direct physical contact between the neg and light sensitive material for positive conversion. It’s almost like a painting that remains the same regardless of whether it is in negative or positive.
    I find this interesting, but I'm not sure I understand it. I make a lot of paper negatives, and sometimes I like the negative more than my contact print or "inverted scan". This happens especially when there are reflections in water or when there are lots of details in the highlights. Having those details on the dark background in the negative somehow emphasizes them and draws attention to form that is lost after reversing. ( I've speculated that this is similar to how some photographs look better on a white background or a dark one. ) I don't think my non-photographer friends tend to view them like I do though

    But I get the sense you are talking about some kind of artistic or even physical purity. I've noticed people working with calotypes like to post the negatives, and have heard that they display the negatives. So that production of the original in-camera calotype is the goal. I've had thoughts along these lines with my big paper negative pinhole photos... there's something neat about the idea that the light went directly onto this paper and made this image. But I can't really say why that's different from a polaroid....

    Quote Originally Posted by Old Fart View Post
    ALFRED STIEGLITZ, Equivalent (Series), 1925-1931
    http://www.phillipscollection.org/re...nt_Series1.htm
    I love that series. And I like what Minor White wrote about it.

    -Ned

  6. #46
    Thomas Bertilsson's Avatar
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    I have this series of pictures of a dear friend that I'd like to present one of these years... Some of the negs are 4x5 and 5x7, and I've been trying to find ways of enlarging the 5x7 negatives without having to purchase a 5x7 enlarger...
    I might just make all of the pictures smaller, thanks to this thread, and make a consistent look to the prints. Thanks for the inspiration!
    "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

  7. #47
    Newt_on_Swings's Avatar
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    My latest contact prints are 6x9s printed on a cut up long roll of ilford multigrade iv rc. I turned them into stickers by applying outdoor double sided carpet tape to the backs for a really strong bond. It's fun to leave them around or give them away.

  8. #48
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by Newt_on_Swings View Post
    My latest contact prints are 6x9s printed on a cut up long roll of ilford multigrade iv rc. I turned them into stickers by applying outdoor double sided carpet tape to the backs for a really strong bond. It's fun to leave them around or give them away.
    When I enlarge I always like a big white border to surround the image. So I print 6x8 on 8x10 paper, for example. That looks nice, and I mount the prints using simple photo corners, and overmat with something like 1/2 of the white print border showing.
    How do I accomplish that when I contact print? Ruby lith? Black masking? I haven't found a good way.
    "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

  9. #49
    TheFlyingCamera's Avatar
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    Thomas- use an enlarging easel. Mask to the borders of the negative with the blades, then a sheet of heavy glass on top to keep the negative flat.

  10. #50
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by TheFlyingCamera View Post
    Thomas- use an enlarging easel. Mask to the borders of the negative with the blades, then a sheet of heavy glass on top to keep the negative flat.
    Thanks, Scott.

    Does that actually keep the neg in contact with the paper surface? I would think that the glass would only put pressure on the easel blades?

    Anyway, I was hoping for a solution using my contact printing frame.
    "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

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