Show your large prints from large format negatives

[Mark MacKenzie]

I've heard mentioned using sandpaper on the edges to make them more "seamless."

[Ken Lee]

Here's another one which gives a better sense of scale. It's 24x30 inches from a 5x7 negative and hangs on the inside of the darkroom door, for all the world to see

[Jim Becia]

Here are a couple of large images hanging in my house. The first is a 40x50 mounted on aluminum and the second is a 36x45 on HDF board. Both were taken with 8x10 slide film and I printed them with my Epson 9600. Jim

[ROL]

More specifically, here are some small images of large gelatin silver prints (all printed, mounted, windowed and framed to 36"x48" by me*), all from 5x7 negatives, in the "wild" – complete with reflections ():

30"x40" GSP flanked by two 20"x24" GSP


30"x40" GSP opposite wall of 20"X24" GSP


30"x40" GSP (L), 40"x24" GSP (R)

* just no one else to blame.

[David Lobato]

ROL, the Dogwood commands a beautiful presence.

[Ken Lee]

Overall image size is 24x31 inches. It looks far better than one would expect and contains much detail.

Here are a couple of large images hanging in my house

here are some small images of large gelatin silver prints

- Wow -

[bigdog]

Big printers have to be used more regularly than I would be apt to use it.

(Sigh) My wife just had to get a new printer for that very reason.

She promises to "use it" more ...

[Harold_4074]

Its' called tiling. The technique can be done almost flawlessly using Kens' method where, I presume, the sections were cut with an exacto knife or equivalent so the edges match almost exactly. Usually a faint line appears between the tiles but I've seen a few composites where the butt lines were virtually invisible.


A graphic-arts technique for this is to allow a slight overlap of the images, with no borders. Rubber cement (the kind that comes in a brown bottle with the brush in the cap) is used to cement one section on top of the other, and then a very sharp knife is used to make the cut through both pieces at one time, keeping the cut perpendicular to the surface. After cutting, the pieces are peeled apart and the cement rubbed off.

I used to do this on a sheet of glass, using ferrotyped, glossy single-weight prints---when reassembled, the joint was practically invisible. I should try it again using matte, double-weight paper and a urethane cutting mat instead of glass. I expect that a rolling cutter would work even better than an Xacto knife.

[Drew Wiley]

"Rubber cement" should not only be banned from our working vocabulary, but from any print workroom. It's about as anti-archival and unhealthy as anything gets. Too obsolete even for contemporary glue-sniffers.

[Ken Lee]

Is there something else, better suited ?