I've used a similar procedure to do photo-restortions. A customer brings me an old print in bad condition- torn, cracked, etc- I scan it, do the needed artwork, print a 'negative' and contact print it in the darkroom. I've gotten very good results in B&W. I haven't had much success doing the same in color, but I haven't put much effort into that as yet.
Ken Hart From: "BOB KISS" <bobkiss@xxxxxxxxxxxxx>
DEAR CLAUDIO & ERIC, To quote Monty Python, "And now for something completely different..." I know this is not your question but it is a viable alternative. I have used, with Eric's guidance, a different method for getting digital files printed on silver-gelatin paper. My problem was agreat (2 1/4 'Blad neg) photo of some very dark skinned fellows shimmying up a greased pole to grab the banner off the top at a local fish festival here in Barbados. Obviously I had to shoot up into the sky and, to make it morefun, an aircraft passed above the pole exactly as the guys grabbed the banner! Of course I used a filter to darken the sky relative to the skin tones but, when printing, I still had to do a lot of dodging on the skin tones and burning in of the sky. Though I have been printing for about 45 years I still make mistakes of over dodge and/or over burn so I throw away enough prints to cost money and time. Solution? I scanned my 2 1/4 neg, did all the adjustments in Frotoshop where I could easily avoid/correct any over dodging/burning. I then printed a digital neg (to whatever size final print I want) using Burkholder's silver-gelatin template with my Epson 3800 onto INKPRESS transparency film. I make contact prints under my enlarger using VC(multigrade) paper and filters. The results are stunning and I don't throwaway a single piece or paper any more when printing this image. The diginegs are stored for future use. And I am still delivering beautifully toned, archivally processed, silver gelatin prints. Pure silver? No. More efficient use of time and resources with less impact on theenvironment? Yes. And the results are lovely. On, and did I mention that, as long as I keep the contact printing frame clean, I spend NO time spottingprints because it was all done in Frotoshop? CHEERS! BOB -----Original Message----- From: pure-silver-bounce@xxxxxxxxxxxxx [mailto:pure-silver-bounce@xxxxxxxxxxxxx] On Behalf Of Eric Nelson Sent: Saturday, June 19, 2010 8:26 AM To: pure-silver@xxxxxxxxxxxxx Subject: [pure-silver] Re: Imapro QCR-120I get good results w/my Agfa Alto on 4x5 although I haven't enlarged beyond 16x20. The QCR-45 Film Recorder seems to spec a little higher than the Altobut there's not much info on the QCR-45 Film Recorder that I could find. I use a setting for 100 asa chrome film and end up over developing to gain contrast.Still in the throes of building my new studio so I have to use my iPhone formost of my interneting etc which is somewhat limiting.. Ran into a lot of issues w/the new place.. On Sat Jun 19th, 2010 6:48 AM CDT Claudio Bonavolta wrote:Dear All, First my apologies for a question not really "Pure"-Silver but as it isabout a tool to convert di**al to silver, I hope not to be damned for the eternity ...I have the opportunity to buy a used film recorder Imapro QCR-120: http://www.imapro.com/filmrecorders.htm#QCR-120%20Film%20Recorder and would like to have some feedback on this imager (or others, it mayinterest someone else on the list).My expected use is to convert dig**al files into negatives and print themonto traditional paper, mostly B/W.I've trying to figure out with the seller and manufacturer what films I canuse and the technical constraints related to this device (GPIB interface, windows drivers, ...).Thanks in advance, Claudio Bonavolta http://ww.bonavolta.ch
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