It looks like you do your own dry mounting, matting, and framing. There is obvious care taken in how the dry mounted print sits in the window, and there are no over cuts in the mats window. Nicely done, very clean.Leica CL, 1934 Elmar 3.5cm f 3.5, Agfapan 25. 11x14" darkroom print
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I hear you. It's like subduing some mythic multi-headed beast.Thank you. I haven't reached the 10k hours with cutting window mats yet and am still discovering measuring tricks along the way. I have to admit, I find the printing easier than the mounting!
8"x20" contact print from enlarged 4"x10" negative (Bergger 200 in Pyrocat)...print on Ilford Warmtone FB
Greg, did you use an inkjet to make the enlarged negative? I do that with alt processes (Kallitypes) and am wondering how well the process translates to contact-printing on silver gelatin.
Sanders, that image is one of 3 I had negatives made by Bob Carnie. I sent him file scans..... BUT one negative was perfect, one had banding issues on his printed negative and the 3rd one (from a scan of a 5x7" neg) had such banding issues as to not be usable. He re-did one and it had similar problems. An expensive failed experiment.....
If i need something similar for a client in the future i admit, i'll just look for someone to a high quality digital print.....but i prefer printing in my own darkroom.
I am sorry to hear that. I've had to deal with banding only once, and that was due to a clogged inkjet print head. I know banding can occur with 8-bit files, but if you're scanning a large negative and working with 16-bit files, you should have been able to get a printable negative.
For the enlarged negative that worked for you: How did the contact print you made with it compare to what you ordinarily print with a regular negative? I am curious as to how well a digital negative contact-prints on silver gelatin papers. Any thoughts?
I have four kallitypes up on the wall in the Weizenblatt Art Gallery at Mars Hill University this summer. I hinged them each onto half-inch gator board -- very simple. Here are a couple of snaps from the installation:
A few, but poorly captured on the iPhone, they appear washed out.
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I like these a lot, and the gator board is a nice compliment too.I have four kallitypes up on the wall in the Weizenblatt Art Gallery at Mars Hill University this summer. I hinged them each onto half-inch gator board -- very simple. Here are a couple of snaps from the installation:
I like these a lot, and the gator board is a nice compliment too.
While I have plenty of my traditional wet-printed photographs dry mounted, matted, and framed behind glass, I personally find glass to create a barrier for the viewer, especially when reflections are a problem. I had a small exhibition at the university a few years ago of a mixture of cyanotypes, Van Dykes, and silver-gelatin prints where I just placed them loose on a table and encourage viewers to pick the up to look at them. Yes, this creates some wear and tear but I wanted the viewers to have the opportunity to interact with them as much as to just view them.
Over the past dozen years or so, I produce more drawings and alt-process photos than conventional photographs and my preferred method for displaying them is to hang them with two small binder clips on the wall. I want the lack of pure flatness of the paper to be part of the work. However, some of my stuff has gone up on a year-long exhibition and I was told that the work really needed to be framed and covered with glass or acrylic to protect it from, well, handling. OK, I did that.
I have a new series of drawings, all based on my original photographs, and after a discussion with one of the art professors who sells quite a bit of work, I learned that, in her opinion, work that is framed under glass will more likely sell as this is what the buying public expects. I am framing this series, under glass but using spacers to keep the glass away from the paper and mounting the paper to the backing board using the t-hinge method, allowing it to float a bit.
I have four kallitypes up on the wall in the Weizenblatt Art Gallery at Mars Hill University this summer. I hinged them each onto half-inch gator board -- very simple. Here are a couple of snaps from the installation:
While I have plenty of my traditional wet-printed photographs dry mounted, matted, and framed behind glass, I personally find glass to create a barrier for the viewer. ... I want the lack of pure flatness of the paper to be part of the work.
in her opinion, work that is framed under glass will more likely sell as this is what the buying public expects.
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