Dave Miller
Allowing Ads
A brief report.
I recently purchased a box of PermaJet A4 OHP Transfer Film from RH Designs to test its suitability for the production of enlarged inkjet negatives. This is a clear 165 micron film described as perfect for making contact negatives. I have no idea who the manufacturer might be. Unlike the Kentmere film product, this one lays flat and feeds through the Epson 2400 printer without any problems.
I prepared a digital 20mb file of a copy of the Adobe monochrome test image, sized at 15cm x 11cm. A correction curve prepared for me by a friend, who is into this sort of thing, was applied which also magically inverted the image.
I printed this file using an Epson 2400 printer loaded with PermaJet K-Chrome inks in their Continuous Ink system. Printer settings selected were Ultra Smooth Fine Art Paper and Best Photo, for no better reason than thats what my wife had used for her last print. The sheet came out of the printer dry and with no signs of over-inking. However the negative was allowed to dry for two days because I didnt have the opportunity to get to my darkroom for that period.
Today I contact printed it onto Kentmere VC Select RC paper under white light, and developed for 2 minutes in Moersch 30 Meritol developer. This is a warm tone developer carefully selected for the purpose because it happened to be mixed and ready from the last print session. If anyone wants a copy of the original scan please email me, and I will provide an attachment, they are about 17mb.
Inking lines can clearly be seen on the scan, but these are not visible on the silver gelatin prints, I dont know why the flatbed scanner emphasises these so much. They can be seen on the prints with the help of a x10 loupe as can the inkjet grain. I am sure that if I made prints on FB paper and handed them around at an APUG meeting no one would identify their origin.
So there you have it, as far as I can tell the Permajet media is doing the job its designed to do, and, with the obvious proviso of my limited experience, can recommend it.
I recently purchased a box of PermaJet A4 OHP Transfer Film from RH Designs to test its suitability for the production of enlarged inkjet negatives. This is a clear 165 micron film described as perfect for making contact negatives. I have no idea who the manufacturer might be. Unlike the Kentmere film product, this one lays flat and feeds through the Epson 2400 printer without any problems.
I prepared a digital 20mb file of a copy of the Adobe monochrome test image, sized at 15cm x 11cm. A correction curve prepared for me by a friend, who is into this sort of thing, was applied which also magically inverted the image.
I printed this file using an Epson 2400 printer loaded with PermaJet K-Chrome inks in their Continuous Ink system. Printer settings selected were Ultra Smooth Fine Art Paper and Best Photo, for no better reason than thats what my wife had used for her last print. The sheet came out of the printer dry and with no signs of over-inking. However the negative was allowed to dry for two days because I didnt have the opportunity to get to my darkroom for that period.
Today I contact printed it onto Kentmere VC Select RC paper under white light, and developed for 2 minutes in Moersch 30 Meritol developer. This is a warm tone developer carefully selected for the purpose because it happened to be mixed and ready from the last print session. If anyone wants a copy of the original scan please email me, and I will provide an attachment, they are about 17mb.
Inking lines can clearly be seen on the scan, but these are not visible on the silver gelatin prints, I dont know why the flatbed scanner emphasises these so much. They can be seen on the prints with the help of a x10 loupe as can the inkjet grain. I am sure that if I made prints on FB paper and handed them around at an APUG meeting no one would identify their origin.
So there you have it, as far as I can tell the Permajet media is doing the job its designed to do, and, with the obvious proviso of my limited experience, can recommend it.