My method is very basic, so please don't laugh. I use the old wooden contact printing frames, spring-back type. Remove the glass from the contact printing frame and pop in a mat-board cut to the proper shape. Insert the glass on top of the mat board. Place the negative on the glass in the proper position and tape two opposite corners with small pieces of tape. Insert your paper, insert the spring-back, and enjoy printing with borders.
Originally Posted by Thomas Bertilsson
PS: I'm sure you have figured out that the opening in the mat-board should be slightly smaller than the negative being printed. ;-)
Last edited by DannL; 06-06-2013 at 11:44 PM. Click to view previous post history.
Here are two examples of the stickers that I made.
The one on the top is probably the result your trying to get, I made it as a test with the negative held down without glass using the easel blades. It gives it a white border, and is only sharp as the film was very flat naturally. The bottom version is made with glass and a wide black edge that was trimmed off. It's sharper because of the glass. I wouldn't recommend doing what I did with the first version unless you know your easel blades are in very good condition, and your film is flat. I didn't continue with it as sharpness was lacking. You can drop a loupe onto the bottom one and see the tiniest details, the top one looks a bit soft under the loupe.
I believe Tillman Crane has masks created by a print shop for a clean edge when coating or exposing pt/pd.
For Silver Chloride paper, eg Fomalux & Lodima, I use Rubylith for masking. Just cut out the size you want, then tape the sandwich of neg & mask to underside of contact printing glass.
van Huyck Photo
"Progress is only a direction, and it's often the wrong direction"
That's what I'm thinking about doing. It seems to me that the only way to insure proper 'contact' between paper and negative, while doing 'contact' printing, (to insure sharp prints), is to use a mask of rubylith or maybe even opaque material. (I thought of using the black plastic that printing paper comes in, but am not sure how to get a 100% straight cut since it's so flexible.
Originally Posted by doughowk
My idea is to cut two pieces of Ruby Lith, like an L-shape, and then overlay them to create any size mask I need, rectangular or square, within the limitations of the contact printing frame, which is 12x16".
I'm really picky about print presentation, and absolutely want neat, crisp, straight, and clean edges on the paper, since the edge of the white border and print area is displayed in the overmat window. This is going to be interesting. The enlargements will be easy by comparison...
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I do a lot of contact prints with medium format 6x4.5 and 6x7 frame size negatives. They are charming and attract people closer to it.
I like to frame it for sales because frame makes it more impressive:
It is also more fordable.
Recently I have photographed more macro because I think it suits very well medium format contact prints.
Last edited by marciofs; 10-06-2013 at 05:59 AM. Click to view previous post history.
I love small prints, and since my enlarger only does 135 I only contact print my 120 and 4x5 negatives at the moment. I found that they look great in my photo album, I am especially fond of the four 6x4.5:s. I also use a Brownie Six-20 E and the 6x9 prints are wonderful.
Printing on 92 year old paper ?
Assuming that isn't a typo, how on earth is the paper base still white (i.e. no fogging and no yellowing) ?! Was it stored in a salt mine in an inert gas ? Am I the only person amazed by the ability to get exquisite prints from 92 year old photographic paper ?
Originally Posted by Michael A. Smith
Has anyone done contacts with negs as small as 35mm? That is, a single 35mm frame presented on it's own.
I've been thinking lately that it could be an interesting challenge.
I haven't, but you'd be in very good company - Andre Kertesz did much of his early work making contact prints from very small negatives.
Originally Posted by bdial