This is kind of a re-boot for the group, I guess. It looks like it's been awhile since the last conversation. Hopefully, there are still interested people. In any case, this is probably a good opportunity to introduce, or re-introduce our processes.
I make silver gelatin emulsion (i.e. handmade "liquid emulsion".) I'd like to learn more about digital negatives so that I can use some of my favorite 120 film negatives for contact printing larger prints. Also, I'd like to learn more about what's currently being done with other printing processes.
I have many end process medias- for my commercial and proofing needs I use a Cannon 9400 12 ink set and make inkjet prints, I also use a Lambda 76 to image on all sorts of silver halide emulsions from C print to B W silver separation negs for alt process.
Currently for Colour I am testing tri colour gum over palladium, and four colour intaglio prints , In both cases I am separating the colour images into appropriate negative channels and multiple registering them back by hand onto art paper.
For Black and White I am making enlarger solarizations and silver prints, as well one colour gum over palladium, the palladium provides the warmth and I use a cool pigment mix and add a second negative to deepen the shadows with a cooler colour.
This is in line with the way I tone all my silver gelation prints,, slight sepia for the highlights and selenium and iron blue for the mid to shadows.
I have spent the last 7 years boning up on PS and as well trying out many, different processes to decide on what I prefer and personally I like the combinations above for my work.
I feel embarrassed to post here, but I feel that I have to, as I'm sure that in statistical reality, that I represent the majority of hybrid photographers. By Hybrid, I simply mean .... those of us that like to capture on silver salt emulsions, but print / or share online in digital imagery. Is that so rare? The busy film photography communities on Flickr for example, suggest otherwise.
So as a digital sharer - my process. Capture on film. B/W film developed in Ilford chemistry - ID11 or Microphen at 20C. I like to dilute developer 1:3 with water. C-41 I'm even newer at, but using Rollei Digibase at moment at 38C.
Then I dry. At the moment, I'm anti-squeegee again.
Then I scan on an Epson Perfection V500 using Epson software. If C-41, I use Digital Ice technology.
I save as lowest compression .jpeg.
I then use Open Source Gimp 2.8 software for a little correction of levels, maybe curves, cropping - and dust removal using Heal. Maybe downsize and a little compression.
Nice to meet you. Welcome to APUG.
No need to be embarrassed. You're an honest person. Over the years, I've gotten the impression that there are a LOT of photographers on APUG with your workflow. Maybe even most. They just don't call it hybrid, because someday they'll print the negative in a darkroom. "Someday" is always tomorrow, but that's just human nature (mine included ). Looking forward to seeing your images.
I am just starting out with a hybrid workflow. Most of my work is traditional B&W with a completely analog flow. What I have been trying lately is very similar to TL above:
Shoot chrome film (120 format or 4x5)
Process at home, using Tetanal E-6 kit and Jobo CPP2.
Scan transparancies on an Epson V700 scanner, using Vuescan software.
Manipulate the images with GIMP
Print on an Epson R1900 inkjet
I am struggling with color profiles - but since all of this stuff is new to me, I'm sure that I will work it out once I have some time to apply to the problem.
As with many of us here, I am working towards getting back to using more traditional methods. I have a good roll-film camera so black and white will be my preferred medium. After studying all the alternative photo print types, I've settled on carbon prints contacted from digitally generated negatives. It's a fairly complex, but stable process. The cost of large finished prints is relatively cheap, though labor intensive to produce. They also command a relatively high price in the Fine Art Market and are well respected for their inherent longevity. This assumes you have images worthy of such an effort. Sorry for the ramble... My question is- Anyone on here doing contact carbon prints and willing to share their experiences with it? I was a photo-offset lithographer back before desktop publishing so I'm not intimidated by the somewhat complicated process. Thanks, Bob
I'm new to this forum as I just turned back to film photography.
I gained some experience in my darkroom in the years 1998-2003. After moving to a new house I quit this "anachronistical" workflow and switched to digital photography.
But now I'm back on the analog track. It started by thinking about an efficient way to digitalize my old B&W negatives. I found an easy and low cost solution as follows:
I own an Fuji X-E2 and (among others) a Nikon 50mm F2 Ai-S with an adapter. After purchasing an extension ring an a metal lenshood, I attached a plastic yoghurt pot, which was conneted to the lens hood (fits in perfectly without glueing. A cardboard mask was attached to the open side of the pot. The mask is notched with a 4x3cm hole so that I can put on framed (slide frames) negatives. As a light source I use the overcasted sky, which turned out pretty nicely. (see attached image)
The next (logical) step was to shoot my first roll of film since over 10 years (after borrowing the OM2 of my father in law).
I could find my old developing tank and the first try (Efke 100, which has been rested in the camera for 10 years) turned out pretty well. I used new D76 and 12 year old fixer (which still worked.
I can't wait to develop the next roll.....
I guess am spanning three centuries. Making digital captures (21st), then printing photogravures (19th) with photopolymer plates made digitally (20th & 21st).
Am also making polymer photogravures from some never-before-printed 30+ year old negatives.