In the age of scanners, it is an utterly indescribable feeling to reproduce printed work using high-contrast film! Yesterday I developped some Tech Pan I had used to copy prints from a woodcut novel by Lynd Ward, "Wild Pilgrimage."
The interesting thing is that the copy I borrowed from the library is not the usual repro edition: it is actually printed from the woodblocks. Most of the books by Ward in circulation right now are quality reproductions of prints, but some reading in his biography told me that for "Wild Pilgrimage," because it was produced during the Depression, they did not invest in a larger scale printing job, and printed directly from the blocks.
(More info on him:
http://www.inthesetimes.com/article/2339/
http://www.bpib.com/lyndward.htm
Dead Link Removed)
I used my SMC Macro-Takumar 50mm on my Spotmatic F, bolted to my enlarger column (which has the standard tripod screw), and two photofloods on either sides. The setup was so shitty that the plastic of the wires started to fume after a few minutes, and I called it a night pretty quickly, and thereafter threw away my old lamp housings. But it gave enough light to work at f/8 or so, and I managed critical focussing with a magnifier on the eyepiece.
I exposed at EI 200, processed the TP in Dektol stock for 3mins, 5s inversions each 30s. I know you must be cringing at my depleting of the rare TP for non-pictorial work. Too bad. TP was meant to be used like that, and OMG, a gamma of 3.0 does give amazing results for woodcuts.
I've looked at the negative with my loupe, and every single notch in the woodblock is perfectly reproduced, every cross-hatching is sharp and well-delineated. There are no midtones to trouble the sharpness of the negative, no trace of blur, no trace of unequal focus. I have an analogue copy of the print that is about as close as could be from the original, and that will last!
I can't wait to blow these at 11x14.
The interesting thing is that the copy I borrowed from the library is not the usual repro edition: it is actually printed from the woodblocks. Most of the books by Ward in circulation right now are quality reproductions of prints, but some reading in his biography told me that for "Wild Pilgrimage," because it was produced during the Depression, they did not invest in a larger scale printing job, and printed directly from the blocks.
(More info on him:
http://www.inthesetimes.com/article/2339/
http://www.bpib.com/lyndward.htm
Dead Link Removed)
I used my SMC Macro-Takumar 50mm on my Spotmatic F, bolted to my enlarger column (which has the standard tripod screw), and two photofloods on either sides. The setup was so shitty that the plastic of the wires started to fume after a few minutes, and I called it a night pretty quickly, and thereafter threw away my old lamp housings. But it gave enough light to work at f/8 or so, and I managed critical focussing with a magnifier on the eyepiece.
I exposed at EI 200, processed the TP in Dektol stock for 3mins, 5s inversions each 30s. I know you must be cringing at my depleting of the rare TP for non-pictorial work. Too bad. TP was meant to be used like that, and OMG, a gamma of 3.0 does give amazing results for woodcuts.
I've looked at the negative with my loupe, and every single notch in the woodblock is perfectly reproduced, every cross-hatching is sharp and well-delineated. There are no midtones to trouble the sharpness of the negative, no trace of blur, no trace of unequal focus. I have an analogue copy of the print that is about as close as could be from the original, and that will last!
I can't wait to blow these at 11x14.