Thanks. I hadn't realized that printing off the digital image was
limited to resin coated papers. I also didn't realize that the
"negative" was made from overhead transparency film.
Chuck Norcutt
On 10/20/2010 5:44 PM, Ken Norton wrote:
>> I'm afraid I just don't get this "digital contact negative" thing. Why
>> isn't a B&W digital image projected by light onto conventional B&W paper
>> just as good... nay, better because there's no intervening process to
>> muddy the translation?
>
>
> For those not following what a "digital contact negative" is, let me explain.
>
> You may have taken a photograph with a digital camera or possibly
> scanned a slide or negative and digitized the image for editing
> purposes. Regardless of the source, you have this fancy image file
> that you want a B&W print of. You have several options:
>
> 1. Inkjet print (pigment preferred) on some gloriously expensive new
> paper. Cost per print is horrid (especially when you have large
> percentages of black coverage in the picture). This technology is
> constantly improving and each new printer is better than the last. The
> problem which most purists note, is the image tends to sit on top of
> the paper, not in the paper. Regardless, this is a great option if you
> are so inclined and have the budget for it.
>
> 2. Digital output to a Noritsu printer which is loaded with Harman
> (Ilford) B&W paper. Quality labs, such as Millers, use this setup.
> Output is fantastic, but the paper options are restricted to Resin
> Coated papers, not fiber.
>
> 3. Digital Contact Negative allowing for "contact printing" on the
> medium of your choice. This can be fiber papers, resin papers, even
> home-brew options like alternative-process coatings. Advantage to this
> method is no enlarger is needed, once the process is calibrated, it's
> highly repeatable, and you only need space big enough to handle the
> trays for processing.
>
> A digital contact negative is made by taking your lovely picture in
> your photo editor, reversing it (making it a negative), applying some
> special sauce to the color and curves and then printing with a common
> inkjet printer onto "Overhead Transparency Film". You then take this
> printed negative, and in a darkroom place it on top of the unexposed
> printing paper. Place a clear sheet of glass on to to tightly sandwich
> it together and expose. Lightsource can be an enlarger or a lightbulb
> hanging from the ceiling. Expose for whatever time your system is
> calibrated for (say 20 seconds) and then take your exposed paper and
> process it in the standard "Develop-Stop-Fix-Wash" steps.
>
> The end result is a print that has all the lovely characteristics of
> an analog print (the image sits in the paper, tooth, reflectance,
> texture)... Of course, if you know what you are doing and follow
> procedures correctly, the archival properties are exceptional.
>
> AG
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