Digital BW, The Print

After reading David Fokos's wonderful paper on making digital negs 
for platnum printing, i got really interested in the same technique 
for silver based prints.  Has anyone tried this?  I know someone who 
contacted Fokos and was informed about the details, but he doesn't 
like to share.  I'd be really interested to hear about anyone who's 
done this.  Thanks!

Check out http://www.slonet.org/~mhd/2photo/outneg/outneg.htm as well 
as http://homepages.ihug.co.nz/~alanju/Digitaltofilm.html

Chris Hargens

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "finnianp" 
<finnianp@y...> wrote:
> After reading David Fokos's wonderful paper on making digital negs 
> for platnum printing, i got really interested in the same technique 
> for silver based prints.  Has anyone tried this?  I know someone 
who 

> contacted Fokos and was informed about the details, but he doesn't 
> like to share.  I'd be really interested to hear about anyone who's 
> done this.  Thanks!

<finnianp@y...> wrote:
> After reading David Fokos's wonderful paper on making digital negs 
> for platnum printing, i got really interested in the same technique 
> for silver based prints.  Has anyone tried this?  I know someone 
who 
> contacted Fokos and was informed about the details, but he doesn't 
> like to share.  I'd be really interested to hear about anyone who's 
> done this.  Thanks!

I'm not sure what details you may be looking for. Fokos's document on 
the Bostick and Sullivan web site seems to lay it all out.

Have you looked there?

http://www.bostick-sullivan.com/Technical_papers/Digital%
20Info/Dave_Fokos/davetech.htm

Good Luck,

Don Bryant

Thanks for the suggestions!  I will see if i can get ahold of Dan 
Burkholder's book.


As for Don Bryant's suggestions, I believe that only works for 
platnium printing.

Thanks!

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "donbga" 
<dsbryant@m...> wrote:
> 
> <finnianp@y...> wrote:
> > After reading David Fokos's wonderful paper on making digital 
negs 
> > for platnum printing, i got really interested in the same 
technique 
> > for silver based prints.  Has anyone tried this?  I know someone 
> who 
> > contacted Fokos and was informed about the details, but he 
doesn't 
> > like to share.  I'd be really interested to hear about anyone 
who's 
> > done this.  Thanks!
> 
> I'm not sure what details you may be looking for. Fokos's document 
on 

> the Bostick and Sullivan web site seems to lay it all out.
> 
> Have you looked there?
> 
> http://www.bostick-sullivan.com/Technical_papers/Digital%
> 20Info/Dave_Fokos/davetech.htm
> 
> Good Luck,
> 
> Don Bryant

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "donbga" 

> I'm not sure what details you may be looking for. Fokos's document 
on 
> the Bostick and Sullivan web site seems to lay it all out.


So I looked at that and I notice it basically consists of 
adjusting your digital image in Photoshop and then taking it
to a service bureau and having them make a HALFTONE negative
of it to print!

Why a halftone image?   If you think the "dotting" in a 
black-only print is bad, wait till you see what an (even 
good)  halftone looks like!    Why not just have the service
bureau use a film-recorder to make a continuous-tone 
negative?

Peter-

> So I looked at that and I notice it basically consists of
> adjusting your digital image in Photoshop and then taking it
> to a service bureau and having them make a HALFTONE negative
> of it to print!
>
> Why a halftone image?   If you think the "dotting" in a
> black-only print is bad, wait till you see what an (even
> good)  halftone looks like!    Why not just have the service
> bureau use a film-recorder to make a continuous-tone
> negative?
>
If I am not mistaken this is same process that LenWork uses when 
producing some of their "LensWork Special Editions".  They scan a 
original print and then produce a negative on an image setter.  This 
negative is then printed in the traditional fashion in a darkroom.

I bought several to see how good they were.  You cannot see the 
halftone dot with a 3.5x loupe.  You can make them out with a 10x loupe.

--
Kevin

What you folks want is Dan Burkholder's book "Making Digital Negatives
for B&W printing" from www.danburkholder.com

His techniques are very well explained, work very well, are
inexpensive and produce beautiful prints.  I should know - I've been
using them for years.

All of the work in my book "Celestial Nights"(Aperture) was printed in
this way.

Neil Folberg
www.neilfolberg.com
\
--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Kevin Gulstene
<kevin@d...> wrote:

> Peter-
> 
> > So I looked at that and I notice it basically consists of
> > adjusting your digital image in Photoshop and then taking it
> > to a service bureau and having them make a HALFTONE negative
> > of it to print!
> >
> > Why a halftone image?   If you think the "dotting" in a
> > black-only print is bad, wait till you see what an (even
> > good)  halftone looks like!    Why not just have the service
> > bureau use a film-recorder to make a continuous-tone
> > negative?
> >
> If I am not mistaken this is same process that LenWork uses when 
> producing some of their "LensWork Special Editions".  They scan a 
> original print and then produce a negative on an image setter.  This 
> negative is then printed in the traditional fashion in a darkroom.
> 
> I bought several to see how good they were.  You cannot see the 
> halftone dot with a 3.5x loupe.  You can make them out with a 10x loupe.
> 
> --
> Kevin

Neil,
> 
> His techniques are very well explained, work very well, are
> inexpensive and produce beautiful prints.  I should know - I've been
> using them for years.
> 
> All of the work in my book "Celestial Nights"(Aperture) was printed 
in
> this way.

Your work in "Celestial Nights" has always captivated me, kudos for a 
very inspiring creation.

Briefly, can you discuss your workflow? For example are you creating 
inkjet negatives on transparency material or or you making files for 
imagesetter negs? If you are creating inkjet negatives are you 
creating spectral density or physical density negatives? And also 
what about printer, inks, curves, transparency media, etc. I've got 
both of Dan's books but it is always interesting to hear about 
someone else methods, especially when they are creating satisfying 
and beautiful work like you've done.

Best regards,

Don Bryant