Contact printing question

rbiemer

rbiemer

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I've been pretty happy with my 4x5 negative processing but not with my scanning so far.

So, I thought I would look at contact prints.
My ultimate goal is a "real" darkroom and a 4x5 enlarger but that's not happening soon.

In the meantime, I've searched around the web for some basic starting points and, holy cow there is lots and lots of somewhat conflicting info!

What I need to do, again, for now, is a basic paper/negative/glass "sandwich" under a suspended bare bulb type of set up.

What I am having a tough time sorting are two main things: bulb size(watts) and distance above the paper.

I've found contact print paper and am hoping to get exposure times of 30 seconds or so--I'm not sure I can consistently control times at the short duration for enlarging paper. Though if I can get that 10 to 30 second exposure time with "regular" paper, that would work for me too.

Yes, I will be testing my specific set up but when I read things like "15 watts 3 or 4 feet above the paper" as well as "90 watt :)eek:) bulb 2 feet above the paper" , I think I need a bit of help to minimize paper/chemistry waste.

Thanks!
Rob
 
True contact printing paper has a silver chloride emulsion that requires a strong UV light source for printing. Whereas more conventional papers respond to UV, blue and some green light. So the required printing time has to do with more than just wattage, but spectra.

For economic testing its a good idea to use test strips rather than whol e sheets of paper.

Good luck and keep us posted.
 
I did my 4x5 contact prints under regular enlarger as light source. You don't need to blast it...

Check in classifieds or remaining photo stores for contact printing frame. I had one specifically made 4x5 and MF, but it was more memorabilia than practical solution.
Instead I'm using classic contact printing frame for 35mm film. It is metal base, with removable foam on top if it, negative+paper are placed on foam and then hinged glass door comes on top.

4x5 contact prints could be done on postcard sized RC paper which last time I checked was sold 100 cards for 20$. It is not big deal to determine how long exposure needs to be. With practice and not over-concentrated developer, you'll do it with very first try.

This is contact print from digital negative on same kind of paper and contact print frame I did recently:

MEIlfRC17Sep235.jpg
 
You don't need a UV source for contact printing. I would suggest setting up your sandwich in the dark, or under red light, then exposing a sheet in strips. Move an opaque card every 10 seconds for a minute, so you get 6 differently exposed areas: 10s, 20s, 30s, 40s, 50s, and 60s. If it's all underexposed, increase the time, or decrease the distance.

Don't get closer than a couple feet, or the distance from the bulb to the corner of the paper will be significantly longer than the distance to the center.

Good luck!
 
Yes, using an enlarger would make this simpler (sort of!), but that's not happening for a while.

Test "strips" are going to be a good way to sort the exposure time but I will be doing as Chris101 suggests--and thank you, Chris, for the point about distance affecting illumination across the negative!

After I posted yesterday, I found that Stearman Press (the folks that make the daylight tank I'm using for 4x5 ) are offering Fomalux 111 cut specifically for their tanks. It is listed as "Grade #2, contact speed" so that ought to mean exposure times should be fairly long--enough that I can be consistent. Stearman have the data sheet for this paper on their site and I emailed them to ask about some kind of starting point.

Rob
 
rbiemer said:
Yes, using an enlarger would make this simpler (sort of!), but that's not happening for a while.

Test "strips" are going to be a good way to sort the exposure time but I will be doing as Chris101 suggests--and thank you, Chris, for the point about distance affecting illumination across the negative!

After I posted yesterday, I found that Stearman Press (the folks that make the daylight tank I'm using for 4x5 ) are offering Fomalux 111 cut specifically for their tanks. It is listed as "Grade #2, contact speed" so that ought to mean exposure times should be fairly long--enough that I can be consistent. Stearman have the data sheet for this paper on their site and I emailed them to ask about some kind of starting point.

Rob
Click to expand...

When you said Stearman Press it didn't ring a bell at first. I have one of their daylight tanks. I guess I need to get that out and use it.

But I am really interested in the contact paper. I think I might get some of that. Thanks for the lead.
 
A UV source is only needed for alternative printing like platinum.

A 15 watt bulb abou 3 feet above the paper and a piece of glass over the neg is all you need. I'm not sure there are any contact speed papers made any more. A couple of years ago Lodima was made but was a specialty product made in small runs to order. I'd suggest Foma papers in fiber base. I've found the Foma papers to be about the slowest speed available. I've been very pleased with their paper and use it when I want to do a brown tone. In dilute brown toned it produces a beautifuly rich print with excellent tonal scale. It reminds me of the papers of the 50's and 60's.

I've been in Edward Weston's old darkroom and all he used was a contact frame with a small bulb a few feet overhead.
 
x-ray said:
A UV source is only needed for alternative printing like platinum.

A 15 watt bulb abou 3 feet above the paper and a piece of glass over the neg is all you need. I'm not sure there are any contact speed papers made any more. A couple of years ago Lodima was made but was a specialty product made in small runs to order. I'd suggest Foma papers in fiber base. I've found the Foma papers to be about the slowest speed available. I've been very pleased with their paper and use it when I want to do a brown tone. In dilute brown toned it produces a beautifuly rich print with excellent tonal scale. It reminds me of the papers of the 50's and 60's.

I've been in Edward Weston's old darkroom and all he used was a contact frame with a small bulb a few feet overhead.
Click to expand...

x-ray, did you check the Foma contact paper being sold by Stearman Press? The data sheet is at https://cdn.shopify.com/s/files/1/1273/8933/files/F_lux_111_en.pdf?9670027819143883936.

I was wondering if it looked like it might measure up to what you had been used to?
 
I'd not seen that. I still shoot some 8x10 and would love to try it. Azo and Velox were the last contact speed papers I used so that tells you how long it's been.

Thanks!
 
oftheherd said:
When you said Stearman Press it didn't ring a bell at first. I have one of their daylight tanks. I guess I need to get that out and use it.

But I am really interested in the contact paper. I think I might get some of that. Thanks for the lead.
Click to expand...

I am very happy with their tank, I don't have any LF experience to compare it to, but it has been easier to load and to use than the last time I did 35mm in a daylight tank.

As well, I don't know anything about the paper they've got on offer but it seems to be almost the only choice now for new production. I can't quite tell if the Lodima is available currently or not. Seems to maybe be available in larger sizes but I don't know.

Rob
 
plummerl said:
It's still showing on his site at the moment, and even on sale: https://shop.stearmanpress.com/collections/photography/products/contact-paper-fomalux-111-sp-special-cut-99-x-124-mm

This assumes that your talking about 4x5 contact paper.
Click to expand...

I saw that but I was looking for 8x10. The way it looks, it's been discontinued and a limited supply of 4x5 #2 is all that's a available.

I think I have 25 sheets of Fomabrom in the freezer still. It's very slow in comparison to other papers and is a really beautiful paper. Tones are warm and rich and a little toning in Viradon or brown toner produces a really lovely print. I have a pretty quiet week and will do a few 8 x10 contacts if I have some paper.
 
I contact print too. my solution for a contact frame is a bit strange, but effective. My friend gave me a broken office scanner. I use its cover together with the glass to print. Easy and ready avaliable. As for the light - ditto what the others said - I use MF enlarger together with timer to control exposure. I tried using overhead light but it was too strong.
 
x-ray said:
A UV source is only needed for alternative printing like platinum.

A 15 watt bulb abou 3 feet above the paper and a piece of glass over the neg is all you need. I'm not sure there are any contact speed papers made any more. A couple of years ago Lodima was made but was a specialty product made in small runs to order. I'd suggest Foma papers in fiber base. I've found the Foma papers to be about the slowest speed available. I've been very pleased with their paper and use it when I want to do a brown tone. In dilute brown toned it produces a beautifuly rich print with excellent tonal scale. It reminds me of the papers of the 50's and 60's.

I've been in Edward Weston's old darkroom and all he used was a contact frame with a small bulb a few feet overhead.
Click to expand...

Xray,

Lodima still distributes Kodak AZO the silver cloride paper. This paper has mucho long tonal range. This seems to be the ultimate paper for contact printing.

michaelandpaula.com/mp/Azo_Notice.html

Contact printing is of interest to me. The new Piezography Pro allows for making digital negatives without requiring an ink change and is now fully developed into a turnkey system. I eventually would like to print negatives from files created by my Monochrom. Contact printing silver wet prints from digital image capture for me would require a large vacuum frame and a pretty big studio space.

Cal
 
The best prints I ever made were Azo..LF neg..halogen office light..long 3 to 5 min exposures..
The Halogen light had 3 settings..low/med/high...
The glass I had was pretty thick and heavy..and I requested they pick a perfect piece for me from the glass supplier..no defects..
Prints you can be proud of..
They glow..there is nothing better..
My wife who is an artist said when she saw the first azo prints in 5x7 ..wow..and all you did was switch paper to get that result...jeeze..
So simple..so easy..to get a great print this way as long as the neg is good..
 
Calzone said:
michaelandpaula.com/mp/Azo_Notice.html
Click to expand...

I always hear about Azo and see 40-year-old paper occasionally selling for silly amounts of money. I want to try it just because of the mystique, and seeing these prices I was in for a 500 sheet box - but then I realized this is really outdated. Right? This is just an old website.

The link above it that says "Azo" goes to a page about Lodima, and prices are 3x the "Azo" prices.

I assume these are not two different products.
 
Corran said:
I always hear about Azo and see 40-year-old paper occasionally selling for silly amounts of money. I want to try it just because of the mystique, and seeing these prices I was in for a 500 sheet box - but then I realized this is really outdated. Right? This is just an old website.

The link above it that says "Azo" goes to a page about Lodima, and prices are 3x the "Azo" prices.

I assume these are not two different products.
Click to expand...

C,

From what I understand Paul and Linda somehow have access by being sole distributors of the original Kodak AZO. This is current production and not dated paper.

Seems to be touted for the darkest blacks available and a very long tonal range. Likely the ultimate for fine art printing.

Paul and Linda are fine art printers, and it was in their own best interest to keep AZO going. I remember having to pre-pay and having to wait for the paper to be manufactured. Not really sure how it is today. I do know that originally it was only available in grade 2, but then a grade 3 was added. Evidently there is enough demand to keep production going.

The pricing is high, but not in the realm of fine art printing. I understand that Paul and Linda do very well selling their prints. I know they are at Art Basil every year. Their work is very popular with collectors.

Cal
 
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