I've been doing some contact printing; I've done very little of this in the past. It has it's differences from printing through an enlarger.
For those who contact print on a regular basis, what are suggestions and tips that you would offer for an efficient and successful contact printing experience?
What are recommendations for a light-source? (I was using an enlarger with a color head for a light-source.)
Contact printing is really not all that different from enlarging and the same tips/tricks work for both. Dodging and burning the contact print is a little different--not necessarily as easy to see the area you're affecting--but, on the other hand, I've always found that contact prints seem to "print themselves" and don't require much, if any, manipulation. I use my enlarger when contact printing on VC or graded papers, and a bare bulb for printing on contact printing papers such as Lodima and Adox Lupex.
Originally Posted by neil poulsen
Press R for safe light, Yellow or Purple for split grade printing.
With some testing you find what exposure time of yellow gives same middle gray than purple, then by balancing the exposure time with each color you have variable contrast with MG papers. You also burn shadows or highlights with the grade you want.
Yellow makes the same than green, because yellow is green + red, having the red no effect. Also purple does the same tan blue. Blue or Purple is high contrast, green or yellow is low contrast.
It's better to use yellow and purple (than green-blue) because the additional red allows to see better while burning/dodging.
I place the bulb 2m high, under it I place a cardboard with a hole to better control exposure, the remote IR command can adjust power, but when you press R you get full power, so I find the convenient way is the cardboard with a bore.
Also a smaller light source (because of the bore) helps sharpness if contact is not perfect. I use a 8mm glass on the neg+paper, so no lock needed.
I glued a little plastic on R-Y-P buttons to (in the remote) locate where they are without looking at.
Lodima paper, or another contact printing specific silver chloride paper?
http://www.michaelandpaula.com will have some information on contact printing. That is mostly what they do/have done. They sell Lodima paper, a product they have made to their specifications.
Enlarging papers work but contact printing paper is a bit easier to control and has a greater tonal range.
” Never attribute to inspiration that which can be adequately explained by delusion”.
FWIW, I use an enlarger for a light source and a Printfile "proofer" to hold the negative against the paper.
An old Kodak exposure guide to determine the exposure and a timer plugged into the enlarger.
Certainly not the only way to do things but it has simplified my work flow.
Oh, and a short string of red LED Christmas lights for my safe light.
"I would feel more optimistic about a bright future for man if he spent less time proving that he can outwit Nature and more time tasting her sweetness and respecting her seniority"---EB White
Pere, I am going to try the party bulb, I have been using an Elwood 5X7 enlarger at 1 meter without a lens, just a lensboard hole, but I found I needed to make a lead pencil center filter on Pictorica to even out the light. I used my spot meter to check falloff.
Just ordered this bulb from Amazon.
Some us have a pile of contacts prints to make ASAP!
Press R for safe light, Yellow or Purple for split grade printing.
With some testing you find what exposure time of yellow gives same middle gray than purple, then by balancing the exposure time with each color you have variable contrast with MG papers. You also burn shadows or highlights with the grade you want.
Yellow makes the same than green, because yellow is green + red, having the red no effect. Also purple does the same tan blue. Blue or Purple is high contrast, green or yellow is low contrast.
It's better to use yellow and purple (than green-blue) because the additional red allows to see better while burning/dodging.
I place the bulb 2m high, under it I place a cardboard with a hole to better control exposure, the remote IR command can adjust power, but when you press R you get full power, so I find the convenient way is the cardboard with a bore.
Also a smaller light source (because of the bore) helps sharpness if contact is not perfect. I use a 8mm glass on the neg+paper, so no lock needed.
I glued a little plastic on R-Y-P buttons to (in the remote) locate where they are without looking at.
Tin Can
This bears witness to much class ! I like it, the RF command is much better than the IR one I have,
no need to point to the bulb, with adhesive velcro strips it may be attached to the contact frame, for total convenience
also it has presets ! You may make a preset for each grade with the right power, o to balance power for both extreme grades to have same exposure effect.
You can also use it with a timer, but then you may want to a red safe light filter between the bulb and the paper, like in the enlargers, or a cover, because you may need to power the bulb while you select the color.
Yes and if I have 10 of them for a party all will work from one remote.
I read Amazon feedback before buying anything.
Even if i don't buy from Amazon.
Tin Can
The best guide to contact printing on silver chloride papers:
http://www.michaelandpaula.com/mp/azoamidol.html
http://www.michaelandpaula.com/mp/onprinting.html
RIP MAS.
Yes, RIP MAS!
I have read the link many times. I have a personal aversion to Amidol. My problem.
I have both Lodima and a large pile of old AZO.
I will be testing both shortly.
I won't be posting scans of results. My problem.
I may or may not use AZO or Lodima for the current Print Exchange.
Tin Can
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