View Full Version : Contact Printing
One of my goals for this year is to start contact printing. Mostly this will be with 8x10 and 5x7 film (FP4+). I don't have a dark room but use an interior bathroom. I'm looking at a very simple set up, like a 7w bare bulb and a contact printing frame, such as a Patterson. I have a Patterson red light but don't have a yellow light. I already have the trays etc. for processing 8x10 film. eventually I want to try contact printing wet plate negs but that's not my initial goal.
So, what paper should I be looking at? I've never made silver prints before. I'd like something cheap but easy to learn on, and later transition to something more "arty." I've been looking at youtube videos. Is there one that's really good?
Kent in SD
Hi, Kent. I would keep it simple and use an RC paper. Perhaps not the Glossy surface, but someone will probably will chime in with recent experience on what's available. RC paper will fix and wash much faster (using less water), and can take a tougher handling -- both in processing and as dry prints. The info on the photo paper will recommend a safe light filter for their product.
Bare bulbs are quite traditional -- but can be tough on the eyes going between safelight to white light and then back again. I would suggest getting an incadenscent enlarger bulb, and stay away from any that might not stop emitting light quickly once turned off...or perhaps be slow to build up to full power. Enlarger bulbs tend to be a little more robust than household bulbs.
I'll add that I do have a big black Gra Lab timer. I've been using it for processing film.
Kent in SD
Exposure times are very short on fast RC, and lamp is close to paper, so buying an enlarger timer that will expose on 10's of a second will be needed... Plenty of them floating around cheap...
Diffused vs point source light produces different quality/sharpness on print so you can test different sources to see what you like... You will only need the lowest wattage lamps you can find, as your times will be short... You can also bounce light off white ceiling over printing area for softer effect, and if you have a light holder that can take a MG filter, you can cut contrast and produce a long scale effect... ;)
Steve K
I have the older version of this timer, so I think it will do the job. I'm also used to taking exposure tests in strips for wet plate. Looks like prints are slightly different than film to process but use the same chemicals, and I've been developing my own b&w film for a couple of years now. Would I be better off buying something like the Patterson contact easel or a regular wooden contact printer with folding back? Or, doesn't really matter? I'm guessing I should use single grade paper rather than multigrade to start since I'm not using a lens on an enlarger, and want to keep it simple?
https://www.bhphotovideo.com/c/product/20992-REG/GraLab_GR300_Model_300_Electro_Mechanical_Darkroom.html/?cnxclid=16468022535108672526010090301008005
Kent in SD
Adox Lupex contact printing paper is a good choice. Not cheap - but why not use a very good product made for the specific type of printing you want to do right from the start?
Might check with Paula Chamlee at http://www.michaelandpaula.com to see if Lodima is still available. Older boxes of Kodak Azo is still around. On Paulas website try reading some of the Azo articles. They are still relevant.
Using papers made for contact printing will get you on the right track.
I have a Patterson red light but don't have a yellow light.
You don't need a yellow light; red is just fine.
I have the older version of this timer, so I think it will do the job.
Might be OK for the dedicated contact printing paper @Willie mentions (Lupex, Lodima, Azo), but on regular printing paper (variable contrast or graded) even with a small 7W bulb at considerable distance you might find the exposure times too short to reliably time with your Gralab. You might have to add a neutral density filter of some kind; basically anything that blocks a decent amount of light will do. Other than that, any kind of enlarging paper can be used just fine for contact printing. Resin-coated papers are nice because they lie very flat so you could even use a sheet of picture glass instead of a contact printing frame. Fiber based paper has more of a curl to it usually, so you need to use a printing frame or at least some clamps to sandwich everything together firmly. What you use in terms of a printing frame etc. doesn't really matter as long as you maintain good contact between the negative and the paper.
I would personally consider using variable contrast paper instead of anything graded because it's just nice to be able to adjust the contrast to the negatives you may already have. Especially papers like Lupex etc. require tailored negatives that fit with the long tonal scale of the paper and if you already have some negatives, they may not be up to this paper, whereas they will print fine on VC paper. @LabRat suggested fashioning a filter holder so you can use multigrade filters; that's a very good idea indeed. Alternatively you could use a blue & green (or even RGB) led bulb instead of a plain old incandescent bulb. There's cheap ones out there that come with a remote control with which you can set the color (and thereby contrast on VC paper). But multigrade filters may be more intuitive if you're not familiar with modern led lighting systems & associated gizmos.
There's plenty of ways to skin this cat, so you'll get lots of different views on how to do it 'right'. Truth is that many approaches will work just fine, so just give it a go with the materials your instinct tells you to use and take it from there. It's a pretty simple endeavor so usually pretty easy to figure out an effective workflow.
RC Variable contrast can be fine. But if using VC, you need to set up a way to use filters, or you are stuck with grade 2.5. Tim Layton has a free article about this on his blog in a post from 2020. You can find it with a Google search of "Tim Layton portable contact printing"
It's basically an art board box with a 7w bulb that allows you to use vc filters.
Good luck.
Exposure times are very short on fast RC, and lamp is close to paper, so buying an enlarger timer that will expose on 10's of a second will be needed... Plenty of them floating around cheap...
Diffused vs point source light produces different quality/sharpness on print so you can test different sources to see what you like... You will only need the lowest wattage lamps you can find, as your times will be short... You can also bounce light off white ceiling over printing area for softer effect, and if you have a light holder that can take a MG filter, you can cut contrast and produce a long scale effect... ;)
Steve K
Steve K is right.
if your negatives are on the thin side your exposures will be pretty fast. if you discover your exposure times to be too fast and you can't raise your bulb high enough &c you might consider using a rheostat to go between your light source and plug. aristo (the cold light people) used to sell them specifically for their bright D2HI cold light heads (im not sure how available they are on the 2nd hand market ). not really sure if they were built any differently than a dimmer switch and something you fashion yourself from the hardware store but it might be something to think about. if you decide you want to do the enlarger route and can't find a dedicated economical (read: cheap ) portable enlarger you can use an inexpensive LED panels for light sources. you can insert one behind the ground glass of your favorite camera and convert it to an enlarger ( like the olde "graflarger back" ). It will give you the ability to use a lens' F-stop.
I have used enlargers without a lens raised as high as possible
I reduced the light with a few sheets of paper
I checked my print surface with a spot meter and found a couple stops loss at edges
Made a paper center filter with a pencil, darker at center tapering outward
These work well
https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2047675.m570.l1313&_nkw=film+contact+printer&_sacat=0
Mostly this will be with 8x10 and 5x7... So, what paper should I be looking at? I've never made silver prints before. I'd like something cheap but easy to learn on, and later transition to something more "arty." I've been looking at youtube videos. Is there one that's really good?
I would start with Ilford Multigrade because it and Ilford Multigrade developer are readily available and cost-effective. Between test strips and experimenting, figure on a fair amount of paper winding up in the bin. With all due deference to those who think otherwise, I think that it's a mistake to start with papers like Lodima (what's left of it) and Adox Lupex for cost, finickiness and availability reasons. B&H got Lupex in stock about two weeks ago after it being out of stock for a long time. At US$2.80 per 8x10 sheet, it makes for expensive test strips and learning experiments and errors. As far as I can tell, neither B&H nor Freestyle even have 5x7 Lupex. If that's correct, you're probably looking at shipping it in from Europe.
When I decided to get re-involved with contact printing, I wasn't impressed with the contact printing frames that I looked at. Bought some sheet glass instead. Works perfectly well. To start, at least, so does a 7W bulb in a Home Depot reflector. Figure on wasting some paper figuring out how high, and where in your bathroom, to place the bulb. Another reason to stay away from expensive paper.
I bought 10mm 20X36" Tempered glass made in Texas shipped on eBay for less than imports
It will be used for X-Ray 14X36" contact prints
I add this as the thread is now active
Jim Noel
9-Mar-2022, 08:23
There is no such thing as "cheap" silver papers. Lupex is the only currently made contact paper I know of. Azo, Velox and other formerly made contact papers papers bring a premium price.
Enlarging papers are far too fast for contact printing and have to be used with a very small lamp, 5 watt or smaller. A 5 watt bulb 3-4 feet away, and wrapped with a few sheets of toilet tissue is probably your best choice. If on a timer, they will be easier to manage. You need to get printing times in excess of 10 seconds in order to have decent control.
Cyanotype and van dyke brown are both good contact printing processes, cheap and easy to make.
Enlarging papers are far too fast for contact printing and have to be used with a very small lamp, 5 watt or smaller. A 5 watt bulb 3-4 feet away, and wrapped with a few sheets of toilet tissue is probably your best choice.
The point of putting the bulb in a fixture is that the fixture's rim can serve as a base for material to diffuse the light and for filters. As a matter of curiosity, have you tried wrapping an incandescent lightbulb in tissue paper? I don't think that there's any magic in 5W or 7W, it's an inverse square law matter that affects distance from the subject.
@Two23, if you can fit a 35mm enlarger in the bathroom, which you can probably purchase cheap second-hand, it's worth considering just to use the head as a light source. This is not something that I've tried, but I saw it suggested recently and I think that it's an interesting idea.
https://www.bhphotovideo.com/c/product/209108-REG/Photographers_Formulary_07_2000_8x10_Contact_Print_Frame.html
would be a step up for a printing frame. It will hold the paper nice and tight with the negative at all times. Some of the negative proofing frames are for convenient proofs not finished products.
If it's a soft photo, I'd recommend the Ilford art300 paper. For other photos, Ilford and Foma make great papers. multigrade RC will be most useful. If you like a really creamy warm tone, foma makes some warm tone paper where the paper is warmish tone unlike most warm tones where the image is warm toned. If money is not an issue, you can sometimes get azo paper such as lodima in certain grades.
Daniel Unkefer
9-Mar-2022, 10:27
https://live.staticflickr.com/65535/49497411482_1f5123a533_b.jpg (https://flic.kr/p/2ipVaYf)VC Contact Printing Source (https://flic.kr/p/2ipVaYf) by Nokton48 (https://www.flickr.com/photos/18134483@N04/), on Flickr
I saw that Tim Layton built this unit, so followed his lead and I had fun building this. The ulility light was $10 at Home Depot, I removed the clamp mechanism. The box is made from foam core board and masking tape. I put my Multigrade 6x6" #00 & #5 variable contrast filters in cardboard frames, so I can change the filtering out by touch, under the dark safelights. I tried a 7.5W bulb, amazingly way too bright for RC VC paper. So I ordered ROSCO ND sheets from B&H, in .6 and .3 densities. About a thirty second or longer time is what I am looking for, so I have time for burning and dodging. The four suspension wires keeps the box level and keeps it from swinging around in the dark.
https://www.homedepot.com/p/HDX-75-Watt-PVC-Clamp-Light-1102/205504032 Ilford HP5 (not +) PMK+ 90mm Super Angulon Sinar Norma 4x5
https://live.staticflickr.com/65535/49494974031_c184321104_b.jpg (https://flic.kr/p/2ipGFpe)Garden of the Gods 1 (https://flic.kr/p/2ipGFpe) by Nokton48 (https://www.flickr.com/photos/18134483@N04/), on Flickr
Voila! Results from the above. Arista Matte VC 8x10 in Multigrade dev.
I saw that Tim Layton built this unit, so followed his lead and I had fun building this.
Great ideas. It might be possible to adapt at least some of this to a small/bathroom space. A question... Where are you mounting the Rosco ND and printing filters? I would think that the ND would be mounted on the fixture's rim, but in your photo there's what appears to be a white disc there (see arrow in the attached copy of your photo). What's the white disc? Diffusion of some kind?
Copy of Daniel's photo:
225429
mike rosenlof
9-Mar-2022, 11:10
since I have an enlarger, I use it as my light source when contact printing (also 5x7 and 8x10 mostly). it lets me use multigrade filtration, and the exposure times are long enough for dodging and burning. I even put a lens on the enlarger and an empty neg carrier. This gets me into "normal" enlarging printing times more or less with Ilford MG paper.
I'm not sure if the OP mentioned having an enlarger or not, but if he does, this is one way to get light on the paper.
bmikiten
9-Mar-2022, 11:17
I may have purchased the remaining stock from Paula last year and would like to know if she is going to re-order in the future. When we spoke, it didn't seem like that was in the plans.
Brian
Daniel Unkefer
9-Mar-2022, 11:36
Great ideas. It might be possible to adapt at least some of this to a small/bathroom space. A question... Where are you mounting the Rosco ND and printing filters? I would think that the ND would be mounted on the fixture's rim, but in your photo there's what appears to be a white disc there (see arrow in the attached copy of your photo). What's the white disc? Diffusion of some kind?
Copy of Daniel's photo:
225429
The front of the reflector is cut eliptically. So it's just the curve of lamp front rippling it's way around. Notice I taped four corners
ND Roscos cut to size, use whatever combos are cool with your setup. I cut the Roscos into tight fitting sheets and installed them first so they are on the bottom. The Multigrade I put into cardboard frames so I can slide them in and out of the box easily in the darkness
I use an EPOI darkroom timer with foot pedal.
Basically you step off a test sheet varying exposure in five second increments. Then pick the best and make a note of the time. Next, expose an -entire- sheet as a full sheet low contrast exposure. Then switch to the contrasty filter, and lay a second test sheet exposure onto the paper. Then you have the high and low contrast times and it's nailed with no issues. Finally expose third sheet, using the correct low and high contrast times. Voila! Perfecto. Now burn and dodge!
Good quality contact printing frames are a relative pleasure to use, and all tend to be a PITA to use relative to a pieces of heavy glass and a soft surface. Two more surfaces that can gather dust, most require some level on handling of sheets of glass in a dark/dimroom, and they take time to load and unload. Plan on (eventually) printing your 8x10 negatives on 11x14 paper. It is a disease. It happened to me.
I like split-back frames, even though I do not expose by checking the printing-out image formed by some alt processes (one of split-backs' best attributes). I find it easier to position and hold the neg, etc on the glass and lock it down with one half of the back, then close and lock down the second half. If one exposes in a different room, contact printing frames are easy to carry back and forth. Working in a tight space, requirements change -- go for it and have fun!
Daniel Unkefer
9-Mar-2022, 14:31
A question... Where are you mounting the Rosco ND and printing filters?
r.e. ,
The Rosco goes in first so it's on the bottom. The Multigrade s go in so I can read the #00 and #5 designations when I look up. to avoid mistakes
https://live.staticflickr.com/65535/51927732447_b511e9c178_b.jpg (https://flic.kr/p/2n7FcHR)Multigrade Filters for Contact Printer (https://flic.kr/p/2n7FcHR) by Nokton48 (https://www.flickr.com/photos/18134483@N04/), on Flickr
r.e. ,
The Rosco goes in first so it's on the bottom. The Multigrade s go in so I can read the #00 and #5 designations when I look up. to avoid mistakes
Thanks very much.
since I have an enlarger, I use it as my light source when contact printing (also 5x7 and 8x10 mostly). it lets me use multigrade filtration, and the exposure times are long enough for dodging and burning. I even put a lens on the enlarger and an empty neg carrier. This gets me into "normal" enlarging printing times more or less with Ilford MG paper.
I'm not sure if the OP mentioned having an enlarger or not, but if he does, this is one way to get light on the paper.
No, I don't have an enlarger. I'm trying to avoid that at this time.
Kent in SD
tomwilliams
9-Mar-2022, 16:28
No, I don't have an enlarger. I'm trying to avoid that at this time.
Kent in SD
Kent, I'm attaching a photo that I made of a rube goldberg contact printing construction, made of cardboard and a bit of construction adhesive. It looks very funky (it is very funky), but it was cost free and has been working well for a couple of years, maybe three years. I blended ideas that I took from Tim Layton's DIY printing frame, and from Daniel Unkefer on this site.
You can see that it's just cardboard, though the cardboard shelf, top and bottom are 3/4" thick corrugated cardboard. The sides,back and front flaps are from typical moving-grade cardboard. The shelves are glued in with liquid nails construction adhesive. The shelf just below the light will hold 6x6 contrast filters, registered against thick 2-sided tape (with the exposed side of the tape covered). The drop light on top is also registered using the same tape - it's a bit over 1/8" thick, and two layers makes for unambiguous registration. The whole package is 48" high, and about 16" wide. The two flaps that could close the front if desired work well as stabilizers also. Weight, about 7 lbs, max (I haven't actually weighted it). I use a 6 watt incandescent bulb in the drop light, so the drop light socket needs an adaptor. Plug the drop light into a darkroom timer, and bob's yer uncle.
On the bottom shelf is a DIY contact printing frame, sized to accept 4 4x5 negatives with very little wiggle room.
The printing construction is a snap to build, no tools are required beyond a box knife. The contact printing frame is easy to build also, but tools are required. I used a table saw.
Kent, I'm attaching a photo that I made of a rube goldberg contact printing construction, made of cardboard and a bit of construction adhesive. It looks very funky (it is very funky), but it was cost free and has been working well for a couple of years, maybe three years. I blended ideas that I took from Tim Layton's DIY printing frame, and from Daniel Unkefer on this site.
You can see that it's just cardboard, though the cardboard shelf, top and bottom are 3/4" thick corrugated cardboard. The sides,back and front flaps are from typical moving-grade cardboard. The shelves are glued in with liquid nails construction adhesive. The shelf just below the light will hold 6x6 contrast filters, registered against thick 2-sided tape (with the exposed side of the tape covered). The drop light on top is also registered using the same tape - it's a bit over 1/8" thick, and two layers makes for unambiguous registration. The whole package is 48" high, and about 16" wide. The two flaps that could close the front if desired work well as stabilizers also. Weight, about 7 lbs, max (I haven't actually weighted it). I use a 6 watt incandescent bulb in the drop light, so the drop light socket needs an adaptor. Plug the drop light into a darkroom timer, and bob's yer uncle.
On the bottom shelf is a DIY contact printing frame, sized to accept 4 4x5 negatives with very little wiggle room.
The printing construction is a snap to build, no tools are required beyond a box knife. The contact printing frame is easy to build also, but tools are required. I used a table saw.
That does look pretty efficient.
Kent in SD
Daniel Unkefer
11-Mar-2022, 11:58
https://live.staticflickr.com/65535/51932872640_9227678325_b.jpg (https://flic.kr/p/2n88xHS)VC Contact Printing Box (https://flic.kr/p/2n88xHS) by Nokton48 (https://www.flickr.com/photos/18134483@N04/), on Flickr
Here's a better interior view of the Multigrade VC Printing Box. Not difficult to make and works well. I looked at Tim Layton's pictures of his unit on the internet, and built my own
Here's a better interior view of the Multigrade VC Printing Box. Not difficult to make and works well. I looked at Tim Layton's pictures of his unit on the internet, and built my own
Thanks again. Good ideas here.
Tin Can
12-Mar-2022, 06:29
I love using this for multiples, fast to use
I paid real money for this very heavy gem 9 years ago
It was made for AZO and way too bright for new paper
Changed to Oven lamps, added a pile of good paper as filter
The lamp height is adjustable, contrast filters easily used. New 1/4" plate glass, the black pressure plate is 1" cushion
I printed my 2 LFPF mail print exchanges with it
Now we just use computers until our...... fall
I better start using my AZO and LODIMA, that will take years...
https://live.staticflickr.com/65535/51933800074_fdc1766694.jpg (https://www.flickr.com/gp/tincancollege/71i20u)Real Old 8X10 Contact Printer (https://www.flickr.com/gp/tincancollege/71i20u) by TIN CAN COLLEGE (https://www.flickr.com/photos/tincancollege/), on Flickr
linhofbiker
19-Mar-2022, 14:43
I love using this for multiples, fast to use
I paid real money for this very heavy gem 9 years ago
It was made for AZO and way too bright for new paper
Changed to Oven lamps, added a pile of good paper as filter
The lamp height is adjustable, contrast filters easily used. New 1/4" plate glass, the black pressure plate is 1" cushion
I printed my 2 LFPF mail print exchanges with it
Now we just use computers until our...... fall
I better start using my AZO and LODIMA, that will take years...
https://live.staticflickr.com/65535/51933800074_fdc1766694.jpg (https://www.flickr.com/gp/tincancollege/71i20u)Real Old 8X10 Contact Printer (https://www.flickr.com/gp/tincancollege/71i20u) by TIN CAN COLLEGE (https://www.flickr.com/photos/tincancollege/), on Flickr
Maybe I could fit this in my large film changing tent i.e. the big one with "tent poles", along with the 8x10 processing drum. Great for 5x7 and 4x10 film. But it would get hot inside the tent particularly in the Florida summer.
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