Contact printing “how-to” but as a final product, not a proof.

[Dean Lastoria]

I’ve done some searching on this forum, but I can’t see any how-to tips on contact printing as a final product. I love a contact print that you can stare at forever and fall into! Can you point me to an existing thread?

Alternately, do you know any web resources? They all tell you how to put a sheet of 35mm to choose what to print, but not how to do it as the end result.

I can contact print, but they aren’t very good. I’ve got my darkroom back up after the child-rearing fallow, and I want to practise, but directed practice is sometime better. Oh, 4x5 and 8x10. Regular paper to start.

Thank you,

Dean

[Oren Grad]

I can contact print, but they aren’t very good.

It will help if you can tell us what specifically you don't like about your current results.

[John Kasaian]

It will help if you can tell us what specifically you don't like about your current results.

^^^this^^^
What do your images look like under a loupe?
What method/equipment are you using?

[koraks]

Making a good contact print is not all that different from making an enlargement. The possibilities for burning and dodging are somewhat more limited, but otherwise, it's basically the same process. I agree with Oren : if you explain what the problem is with your prints, it's easier to think of possible solutions.

[Tin Can]

2 things help any contact print.

First you need to have a way to ensure the negative and image paper is very tightly and evenly in contact.

Second is enough appropriate light that will evenly cover the entire area.

I have at least 3 methods of making contact prints.

A Print File Custom Negative Proofer which works for up to 8X10.

B For anything up to 16X20 a old vacuum press frame Here's one discussion on them.

C I have a very old metal box Contact Printer with internal lamps, a 1/4" glass plate and a hinged soft pressure plate that seals light and hold the 2 pieces very tightly. Picture of mine later. Here is a bunch of them, but I don't recomend any of the ones FS.

[phil sweeney]

Good info here: http://www.michaelandpaula.com/mp/html/Azo_Main.html

See Writings about Azo: "On Printing"

[David Schaller]

The better the negative the better the print. If you’re not happy with the print, start by taking more care exposing and developing your negative.

[Fred L]

what everyone else has already suggested, esp the firm contact between the negative and paper. Also make sure you have good blacks as it a) let's you know whether your exposures are good or not, and b) it looks better than something approaching black, but is really a very dark grey. muddy iow

and make sure your contact frame glass is spotless. can't emphasize this enough because spotting contact prints is beyond hellacious.

[Pete Roody]

Dean,

Even though you said "regular paper to start," you should realize that one major advantage of contact printing over enlarging is that you can use alternative process techniques. These processes are not that difficult to learn and the results can be amazing. Christopher James' book is an excellent reference:

https://www.christopherjames-studio....okreviews.html

Pete



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[William Whitaker]

Dean,

Even though you said "regular paper to start," you should realize that one major advantage of contact printing over enlarging is that you can use alternative process techniques. These processes are not that difficult to learn and the results can be amazing. Christopher James' book is an excellent reference:

https://www.christopherjames-studio....okreviews.html

Pete

I didn't know about this book, but it looks like a worthy addition to the library. The price of a new one made me gasp. But I found a used copy on Amazon for about 1/5 the price of new. :-)