Tag: film

Index Prints

Posted on Posted in coursenotes, Getting Stuff, labnotes, visual mindTagged , , , ,

The idea print. Collecting visuals. Stages of the darkroom process. Beyond the wild guess. Looking more than once, while looking at more than one. Building the comparative response.

This index is from the librarians, not the linguists. /’ that it contains so much contradictory information that a verbal message is needed to fix its meaning ‘/ 

The key point of this post is using “jigs” as aid to determining exposure of a print. They provide an efficient way to make several attempts, or tests of settings in making darkroom prints. Typically, they are used to determine exposure setting, however, they could also be used to test changes in contrast filters, or color balance filtration, since while the “flaps” are closed, enlarger settings may be changed.

These devices are the commercial form of what was frequently a kludge made by the printer from cardboard, tape, or, perhaps, scavenged sheet film holders. My initial, 1960s version was made using scrapped film holders. These were sold by the cardboard box full at the surplus stores.

The start point. finding a way in the dark. What is the exposure setting for darkroom materials. Color or black-white paper exposure must be tested; determined by making trial exposures. These are called “test strips” — strips, small samples of the material you will use to make your print.

Durst Test Print Tool
Ways of making test strips.

Drawing patterns, making conclusions.
Index prints are also known as “contact sheets,” or “proof sheets.” Most uses of these are as first edit device for selecting among negatives/slides. The exposure, contrast and processing controls are sometimes lax. I try for a first best use setting for the most interesting of the negatives. This sheet serves as my point of search into my file of pictures. Rather than shuffling through the negatives, I shuffle through my index prints. These prints, in some cases, provide my an easy notepad of what was printed and when. The details of the printing will be in a print/darkroom notebook.


What is the start point of making a darkroom exposure

By using test jigs, I was able to characterize film for making separations for dye transfer in as few as 6 sheets of film. A morning’s work. It was sixty years later that a boastful amateur told a student of mine that wasn’t possible.

Good to know. #OIC

Why Didn’t You Make Dye Transfers

Posted on Posted in art school, creativity, Getting Stuff, meaning, studio table, the Lab, The WhyTagged , , , ,

Everybody loved dye transfer. Nobody made them. Why? This century, this time span one and all bemoan the death of a friend they never knew. Never even visited.

  • supplies were a phone call away
  • documentation was available free, or for minimal charges
  • workshops were held at getaway photo shops.
  • several colleges held courses
  • trade schools were in major cities, or by mail-order

A simple enough question . with likely very few answers — honest, introspective responses.

The obvious response: there aren’t any materials . What about when there were — why didn’t you buy the Efke film? Assuming you were an adult in 1990, why didn’t you buy Kodak dye transfer material ?

And for those of you who did buy the materials: why didn’t you use them ?

Continuing along this expansion, for those of you who bought Materials and took a workshop, why didn’t you use dye transfer as your print process?

If you were drawn to dye transfer enough to buy the materials and take the training, why didn’t you expand your skills and become a die transfer printer?

Why do people buy beyond use : compulsion vs obsession. The ownership vs the authorship. Do they believe themselves stewards?

Catalog prices for some Dye Transfer supplies. These are the retailer list price. Labs paid much less.

Consider: Giffen vs Veblen goods. The professional depended on the supplies. The hobbyist didn’t. 1981 was a break year for Kodak’s process. By 1986, the decision had been made to let the process run out the clock. During this time, the larger labs had a decreasing dye transfer business. It was maintained as a prestige factor attracting interest but resulting in few projects. Small specialist labs grew in the eighties; even the best known added other processes to their sales brochure. “Now, the finest Black and White from the finest Color Lab.” — 1987 —

Kodak chose not to license, nor sell the process[ 1981,2] . Wonder why? In their final run of product, the only supply sold completely was Tanning developer. Nope, not even all the matrix film was sold. Not even the Pan Matrix. So it goes…. much of the film and paper was held in store for years.

and then it was recycled. The Fotokemika branded Efke matrix film also saw few buyers.

Maybe there is a market for the Coffee Mug, the Trucker Hat, the Film Vest… not the film… Sell the tchotchke, maybe the tattoo, no need for the mats and blanks.