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#11
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Just to add a bit more
We must not forget the creative use of toners with contact prints and expecially the creative hand washing of POP papers to reveal their image. Although I am not an expert on this I know a lot of the toners used by photographers of years gone by, in the production their contact prints, were probably home brews and their formulas were often kept secret by those who used them - as they produced their mark. A lot of these toners are now used by those who make contact prints today and it is worth noting that these toners are not widely used with projection printers in the same way, but of course there is no reason why they should not be tried. As far as I can see the photographers who use alternative processes to make contact prints also may use a selection of toners to get the creative result they are looking for. Neil.
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"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#12
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the original question seems to come from the viewpoint that an image should be unaltered, but that is impossible. The camera always lies. After that it depends on what your purpose is. Documentary where, as a photographer, perhaps you have a duty not to manipulate but that is debateable. Or fine art, in which case anything goes. Since when was anything creative limited to being unmanipulated.
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An old dog learning new tricks |
#13
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#14
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I've noticed since I've stoped drinking spirits my work has taken a down turn
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"To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which will never be seen again" Ralph Waldo Emerson. Timespresent Arenaphotographers |
#15
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I helped Tim Soar make some plt/pd prints from 10x8 in camera negs earlier this year. He has a uv light source that comes from three uv bulds inside an overhead canopy above a vacuum contact printing frame (Parker?). As the light is shaded one could get your hands between the light and image in much the same way as you do under an enlarger - so yes manipulate away - just judiciously
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#16
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Trevor, Been there done that! A friend and I drank a bottle of Highland Park once when we went into the darkroom to print. We took the bottle into the darkroom with us when we started and the first prints looked excellent as we were making them. When we went back the following morning we found an empty bottle and a tray full of crap prints which we destroyed immediately. The darkroom smelled like a distillery too.
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#17
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[QUOTE= .......The darkroom smelled like a distillery too. [/QUOTE]
Les, have you thought of improving the darkroom's ventilation system Cheers - !!! Neil.
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"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#18
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Thanks. There are some interesting thoughts/comments here.
The reason for me asking the question was to take a view on the relation of the contact print to the negative. For smaller formats (as I see it) contacts are 'simply' a utilitarian means to assess an image prior to deciding whether to print from it or not. As has been pointed out in previous posts, large format contact prints can (and do) also have an aesthetic quality to them and seem to be viewed as distinct from enlarged prints. I was canvassing the views of contact printers as to how they saw them and went about making them. If I've caused people to stop and think about the "why" as well as the "how", maybe that's no bad thing. |
#19
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He’s even plugged the keyhole. Anyway it would distract from the ambience. |
#20
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In all fields of human endeavour, specialism leads to depth. If you want to go deep into a subject then you need to specialise in it. Choosing to contact print is one way of specialising. Contact printing imposes a number of constraints, such as having to consider the size of your print when you make your negative, and, depending on your process, it can make print manipulation difficult. But at the same time it can be liberating because there are fewer decisions to make. I think that labelling contact prints as being somehow more 'pure' than enlargements is perhaps more about marketing than photography...
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