Trius
Waiting on Maitani
What? No PT/PD 20x24 prints? Slacker.
x-ray
Veteran
I present my 4x5's in a 100% acid free natural white cotton rag mat. Usually 11x14 with a 1/2 to 1 inch open area around the print. I usually leave about two inches extra white paper that the image is on around each side so as to have only the paper the platinum is coated on showing through the window of the mat. I sign just under the print on the paper the print is made on. I don't have one at the moment to scan and show but will in a week so I will try to post one. I use a simple museum black frame made of 1-1/2 inch black wood or one with a slight soft gold edge. It's fairly traditional to frame like this. I like to keep it simple as to not distract from the image.
jwhitley
Established
Huh? I took Ron Reeder's workshop at PCNW last Spring, and it was no problem to get outstanding digital negatives for alt. process printing from Epson 3800 printers. BTW, we used Pictorico OHP, not the more expensive white film, and that worked fine; we were also using Quadtone RIP (QTR) with customized profiles for the printing.
See the book Digital Negatives by Brad Hinkel and Ron Reeder for more info. Ron also has a ton of great info and updates on topics covered in the book; see http://www.ronreeder.com/, in the articles section.
Also, APUG isn't a resource for digital negative work, but folks there can offer advice and assistance for traditional contact printing and making enlarged negatives for contact printing from smaller formats (again, by traditional darkroom means). You'll need to look to its sister site, http://www.hybridphoto.com/ for discussions and expertise on digital negative work.
JCT
Established
I love 4x5 contacts -- something about the intimacy. They remind me of fine jewelry, small and intricate. A little hard to describe (and I'm a little incoherent after a silly day at work) - but they make me work a bit harder (in a good way) -- I find myself digging about trying to see "everything".
Close second is 5x7 -- I've been shooting with an Anba Ikeda, light as a feather. And I love the aspect ratio. I also have an old B&J that I got for a song and am restoring.
Some day I want to learn Pd -- I'm hoping my lab science background is helpful!
But beware the pull of "bigger" -- I stumbled on a stellar deal for a user Deardorff 8x10, just had to buy it.
JT
Close second is 5x7 -- I've been shooting with an Anba Ikeda, light as a feather. And I love the aspect ratio. I also have an old B&J that I got for a song and am restoring.
Some day I want to learn Pd -- I'm hoping my lab science background is helpful!
But beware the pull of "bigger" -- I stumbled on a stellar deal for a user Deardorff 8x10, just had to buy it.
JT
x-ray
Veteran
I love 4x5 contacts -- something about the intimacy. They remind me of fine jewelry, small and intricate. A little hard to describe (and I'm a little incoherent after a silly day at work) - but they make me work a bit harder (in a good way) -- I find myself digging about trying to see "everything".
Close second is 5x7 -- I've been shooting with an Anba Ikeda, light as a feather. And I love the aspect ratio. I also have an old B&J that I got for a song and am restoring.
Some day I want to learn Pd -- I'm hoping my lab science background is helpful!
But beware the pull of "bigger" -- I stumbled on a stellar deal for a user Deardorff 8x10, just had to buy it.
JT
I agree that the intimacy of 4x5 is part of the charm. Bigger isn't always better. I started working on a series of 3x4 Pt/Pd prints last year and really love the size. Groupings or singles of small prints are stunning IMO.
I do love 5x7 and split my shooting about 50/50 between 4x5 and 5x7 and only take my 8x10 out on rare occasions. I sold my 11x14 and have another that needs a new bellows but haven't gotten the interest up to get it put together. I went through my 8x10 phase many years ago and shot so much in product photography that it lost it's charm. Also now that I'm getting older I don't enjoy lugging the 150 pounds of gear around like I once did. I purchased my 8x10 Deardorff from a fellow photographer back in the early 70's. It was old at the time and had a bad bellows and no front swings. I purchased it for $75 and another $75 of a 165mm Wollensak wide angle. Sold the Wollensak and bought a WA Dagor that I still have and purchased the current front swing mod from Jack Deardorff and a new bellows. I guess I have about $450 in it and have shot probably 10,000 sheets through it. It's still as tough and solid as a new one but looks a little battered as any camera used that much over 70 years or so. I don't want to sell it because I will want to shoot 8x10 again one day but I just can't get the excitement going over the format at the moment. I have to admit that I would like a 7x17 one day. I had a 12x20 but it was too large for me but a nice 7x17 is about the right measure for a nice pano and some stunning Pt/Pd prints.
Handy
Newbie
Very Good
Very Good
Huh? I took Ron Reeder's workshop at PCNW last Spring, and it was no problem to get outstanding digital negatives for alt. process printing from Epson 3800 printers. BTW, we used Pictorico OHP, not the more expensive white film, and that worked fine; we were also using Quadtone RIP (QTR) with customized profiles for the printing.
Very Good
Huh? I took Ron Reeder's workshop at PCNW last Spring, and it was no problem to get outstanding digital negatives for alt. process printing from Epson 3800 printers. BTW, we used Pictorico OHP, not the more expensive white film, and that worked fine; we were also using Quadtone RIP (QTR) with customized profiles for the printing.
ZorkiKat
ЗоркийК&
Whole Plate as in "Full Plate"? That's only 6.5 x 8.5 inches (16.5 x 21.5 cm), hardly larger than 5X7.
I'm using a "Half Plate" wooden camera with a 4X5 reducing back. 5X7 appears to be manageable, and even this can make a 4X5 negative look like a "miniature"...
