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  1. #11

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    I have been using an 8x10 for the last 10 years and exclusively contact printing for the last year. I would like to have the option to have bigger pictures for those scenes that feel special. I prefer to maximise my time outdoors and to minimise my time indoors - contact printing allows me this. From what I gather, it also seems cheaper to get a 12x20 camera and associated peripherals, at least in the short to medium term.
    Francesco

  2. #12

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    Quote Originally Posted by L Gebhardt
    Sandy, I know the white film does not work. I was not clear enough in my question I guess. What I want to know is do you see a "texture" on OHP, or am I doing something wrong when printing on OHP with my Epson 2200. I don't see how the negatives I am getting would be acceptable compared to a film negative.
    Sorry, I mean to address this issue in my previous message but for some reason only half of my response went through.

    Yes, I can see a dithering pattern on the OHP itself when I look at it through a 5-10X loupe. However, this pattern does not reproduce on the print in palladium when using art or drawing paper. I suspect that it would be visible with a process where the final image is on a very smooth paper surface, as would be true with silver gelatin printing, including AZO.

    One of the keys to making good prints with the Epson printers on OHP material is to fool the printer into using the highest resolution possible. You do thi by selecting glossy or semi-lustre paper as your media. This willl enable maximum resolution and turn off high speed printing. If you select OHP the printer will use a maximum resolution of 360dpi and high speed printing, both of which will degrade resolution.

    Sandy

  3. #13

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    Sep 2002
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    My recommendation is to go the traditional way.

    More time in the field. Less at a computer screen.

    Cost: once you have traditional stuff, you have it forever. With digital, it is a virtually endless spiral of purchases and upgrades.

    I do not understand the digital thing. Huge learning curve, expensive. Printing on Azo is so easy, why complicate it?

  4. #14

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    I have to add that AZO contact printing can be expensive too. It is so addicting, easy (and fun!) that I end up emptying a box in no time at all. By the way, how does one get 12x20 AZO (assuming no light tight room available)?
    Francesco

  5. #15

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    50 or 100$ for an imagesetter negative is not cheap.. and it is easy for you or the imagesetter operator to screw it up. I would recommend Dan Burkholder's book on digital negatives, it will give you a good overview of what it takes to do this.

    I went through the same mental gymnastics myself and decided that the traditional approach would be easier for me.
    If you are really into computers and manipulating images the digital way would probably suite you better. I use computers for a living and I would rather stick a pin in my eye than go home and spend more time on one.

    You can get 12x20 azo by cutting 20x24 in half.

  6. #16

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    Sep 2002
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    And you can cut the Azo under a safelight.

  7. #17

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    Oct 2003
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    Aina Haina, Hawaii
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    I say stick with the traditional, the digital route is like 'Hotel California', "...you can check in any time you like but can never leave...". Michael is right, with all the endless upgrades (hardware, inks, media, software)and their respective learning curves who has time to master but one? . In fairness though, I have never had the know-how to output anything from my 2200 that resembled even a mediocre b&w print, so I am still struggling to imagine a contact print from a negative version of this output. Perhaps it all just a little too clever for me. Does one lose as much in translation up-sizing a negative digitally as one does projecting an analog(non-11001010001110...) version? Today,only $50,000- DCS players can rival vinyl, and this has taken over 20 years.
    I do admire Mr. Focos' work a great deal, his images are sublime, he has made good use of available technology but I wonder how aaccessibleto his results are and at what cost. Its like comparing apples to Apple macs.
    I do ,however value the limitations of only being able to have 4-6 exposures available to me when I set out with my camera. As far as transportability goes any argument here bebetweenx5 and 20x24 would surely invite amused bewilderment from the MF forum next door.

  8. #18
    lee
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    Kitewgn,

    here is a link to Mr. Fokos's new gallery in San Diego. I has his latest show on line there.

    www.no4gallery.com

    As you have said, he has made good use of the available technology. I don't understand your comment about how "accessible his results are and at what cost".

    lee\c

  9. #19

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    Oct 2003
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    I do not know if he is flat bed or drum scanning or how he is output-ing
    I do not know what the various costs of these steps would be, locally or in some place like N.Y. or L.A.. I had the pleasure of viewing his work at the Paul Kopeikin Gallery in Los Angeles. Like I said before I liked what I saw, however the images appeared digitally groomed but also appeared to be printed on 'real' photographic paper. I have no idea if this indeed was the case.
    I also do not know what the cost to the craft of traditional printmaking would be in terms artisanal skills in the long run. Part of the pleasure I derive from printmaking comes directly from the intimacy with the processes, the materials themselves and their idiosyncrasies. I enjoy the alchemy of the darkroom as I enjoy the alchemy of the kitchen.

  10. #20
    lee
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    Ok, I just did not understand. Let me help you as best I can understand his process as I understand it. I have had the pleasure of having dinner with him several times and we are on a list together called the zoners. He starts with an analog (8x10) black and white image and scans that into his mac via a Howetec drum scanner. He uses a ND filter to make the water that smooth and sometimes he records the amount of traffic that wanders thru the scene while he is making the 30 minute exposure. I know he was trying to sell the scanner a while back and don't know if he still uses it or got another scanner but that was how he used to do it. He combines a lot of images (sometimes) and generally cleans up the image or file. The image is then taken to a commerical printer or output house and output on to Fuji Chrystal via a Lightjet. That process is where he is able to create the tone of the print and of course the size. He was a platinum printer for many years before he got off on this methodology.

    lee\c

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