Quote Originally Posted by holmburgers View Post
I did my 1st paper neg recently as well, on some of Ron Mowrey's AZO from the workshop.


One of George Eastman's early contributions was a film on paper with a soluble gelatin layer between the well-hardened emulsion and the paper support. This lets you separate the two after exposure and makes for easier printing options at that point. This feat would be trivial for any of the emulsion makers out there.

The above negative is slated for a carbon print, and I'm curious what a honest-to-goodness print from a paper negative is capable of.
hi holmburgers

so, the paper negative rolls that were loaded in his KODAK cameras
were actually printed by sliding the emulsion off the paper, and contact printing them ?
i would have imagined when the roll paper negatives were processed
the emulsion would slide off the support and be lost.
when i taught myself dry plate making, that was my biggest problem
the sub/binding layer ... lots of nice emulsion just slid down the drain.

i was under the impression that they were paper to paper contact prints
which professionals - "poo-poo'd " since the positive prints weren't as sharp as dry plates &c ..
and it was this that led GE to roll film.


good luck with your print