Contact Printing 11x14 film - paper and chemicals

[Joseph Kashi]

I am planning to branch out and make contact prints with my 11x14 whenever the university photo department returns the camera and lenses ( 250 WF, 300 Dagor, 12-19-23 Protar VII, and Nikkor 450 Q). Most of my more recent LF experience is with 5x7 Ilford Delta 100 developing in XTOL 1:2 and then scanned for digital printing.

Suggestions about personally used currently available contact print paper ( no POP or Platinum ) and chemicals would be very welcome. My current thought tends toward a classical approach: Adox Luper contact paper ( now that AZO's gone) developed in Photographer's Formulary Amidol or Ansco 130 developer, with the film probably Ilford FP4 11x14 developed in one of the more modern Pyro formulations.

Any experience-based thoughts and suggestions about materials, processes, and procedures would be appreciated.

Thank you.

[xkaes]

I can't tell for sure if you have done contact printing before or not. Can you clarify?

[Joseph Kashi]

I can't tell for sure if you have done contact printing before or not. Can you clarify?

I have done mostly enlargements in the past from 4x5 and 5x7 BW and color. Any prior contact prints were more in the nature of contact sheets/proof prints, not exhibit-grade contact prints from 11x14 negatives. I do not have any experience with contact papers like AZO/equivalents. I've mixed from scratch and have used Amidol and other less-common chemicals many years ago, but gave the large jars of all of those chemicals to the university photo department and so will be buying small-quantity commercial formulations.

[Michael R]

Adox Lupex would be the traditional option in the sense it is the only silver chloride paper around. What specifically makes it a contact paper is only that silver chloride emulsions are too slow to be practical for exposure under an enlarger. It is worth considering variable contrast enlarging papers, which are as good for contact printing as they are for enlarging. The benefit of Lupex is that it will be more responsive to different developers - including how image colour is affected, while VC enlarging papers give you more contrast control (especially since Lupex is only available in one grade).

FP4 is as good as anything else I guess (or you could continue with Delta 100) but given the small apertures you’ll be using on a camera that big I suggest something faster like HP5. I wouldn’t bother with pyro or catechol but if you’re set on that route the “modern” staining developers to consider would basically be Wimberley’s or PMK (pyro), and Pyrocat (catechol).

[Alan9940]

Adox Lupex is a beautiful paper, but you'll probably spend hours of time dialing in your preferred contrast level; it's about a grade 4 paper. Personally, I don't particularly like it in Ansco 130, but Amidol is really nice with it. But, again, Amidol is such a powerful developer that controlling contrast (at least, for me) requires water baths and/or SLIMT treatment.

As Michael R suggests, I would also recommend trying a selection of VC papers and move on to Lupex, if you feel the need. Good luck! I've lusted after 11x14 for many years, but just never pulled the plug and made a move.

[John Layton]

Might I also suggest...as a means to realize meaningful image color controls for VC enlarging papers - that you might try something like Ilford Multigrade Warmtone paper with a lineup of Moersch paper developers...specifically SE-6 (very cool), 4812 (neutral/warm), and Warm Tone (warm-warm). You might just be pleasantly surprised at the color variations combos such as these can give you while also affording the contrast controls offered by a VC paper, especially if and when augmented with a bit of toning (like selenium) when so desired.

Also...very important - make sure that your contact printing frame provides adequate (and even!) pressure throughout the print area - and keep that contact print frame glass clean! Be especially careful while compressing/sliding the pressure springs into their associated slots...that you don't dig into the slot surfaces - which can dig out little "crumbs" of material which can then magically end up underneath your photo paper (which then becomes dented) or even between your paper and negative (ask me how I know!)

[xkaes]

I agree with what has been said -- no need to use anything special. Treat it as any enlargement, except the negative is on the baseboard, not in the enlarger.

[jp]

Get a contact printing frame, not just a sheet of glass to set over the negative.

Some contact frames are like John L mentioned; spring fingers that can cause wood debris if misused. They are fine if you are intentional about opening/closing.
There are also frames with spring loaded snaps that don't work like that. (photographers forumulary has some like this)

I like VC enlarging papers. I've been using Ilford art300 for some small contact prints of soft focus negatives.


You can get some of Lodima azo paper if you're real patient with ebay and the forum here.. But don't wait. get to work making prints using a variety of VC papers.

[Vaughn]

I make 11x14 contact prints...usually alt processes, but occasionally silver gelatin papers.

An issue I have run up against in printing with store-bought silver gelatin papers is paper size. Printing an 11x14 neg on 11x14 paper leaves a lot of linear edge very close to the image area that can get physically damaged during processing, handling and storage. An issue specially since I like displaying the image with its rebate. There is also an issue of possible chemical contamination on the edges. Both issues can be handled with good darkroom practices, of course.

But I prefer to use my 12x15 contact printing frame and cut down 16x20 paper to fit. Just makes everything that much easier throughout my life with the print. I'd prefer a 13x16 contact frame (full inch around the image area), and if I had one custom made, I'd aim for that size.

[Erik Larsen]

I would suggest starting with any of the numerous variable contrast papers available unless your negatives are taylored to Lupex. In my opinion it is much easier to get a fine print with the ability to adjust contrast that the vc papers afford. On the other hand, if you have a good control of your negative exposure and development to fit Lupex paper you will be rewarded with a beautiful print. I never seem to have the perfect negative and vc paper can help overcome my in exact negatives. If you are using an enlarger as your light source changing contrast is simple, if not you’ll have to adapt a bit. If you’ll be using big film, I might suggest a fast film just due to the small aperture you will likely be forced to use. Have fun with it, it is a rewarding experience!