![]() The Pictorico uses a smooth microceramic coating over precisely finished film. In the US, there's only one source for satisfactory transparency material, Pictorico OHP film (transparent, works well for "high energy" processes like platinum or AZO) and Pictorico High Gloss Gallery Film (translucent white, works well for "conventional" silver paper from Kodak, Ilford, Forte, etc). I'm going to guess you're in Santa Monica California, not Santa Monica Spain. The transparent material you print on is also important. ![]() "Alternative processes" like platinum, gum, or argyotype are sensitive to ultraviolet, and the way different colors block ultraviolet is very different from how they block visible light. Mark's software gives you the ability to determine the smoothest colors for your printers, and the negatives can look very colorful and strange. Dan has curves to compensate for this, typically with weird looking orange negatives. The paper doesn't "see" the way your eyes do, and looks "gritty" as different colored dots block different colors of light. Your 1280 makes it's "grays" by mixing dots of cyan, magenta, yellow, and black. One is the high contrast (grade 5) layer and one the low contrast (grade 0) layer. Multigrade papers have two layers, one blue sensitive and one green sensitive. What photographic paper are you printing on? Graded silver papers are most sensitive to blue light. Now, different photographic papers have different spectral sensitivities. Mark's eBook comes with software that will generate the curve for your particular combination of clear material and ink. Dan's book has curves and instructions for the 1270, and the supplement covers the 1280. Now, you can't just "invert" an image, you need to apply a curve (typically in PhotoShop) to give you a negative that prints well. That means you carefully scale your image up to 720dpi at the size you're going to be printing at. The native resolution of a 1280 is 720dpi when you print at 1440 dpi. Seriously, you get the very sharpest image when you print at a multiple of the printer's "native resolution". After all, it's almost the end of December, so you should be thinking about your New Year's resolution! Now, let's get your resolution question out of the way. I must confess, this took me totally by surprise, I just found out about it when I went to get the APUG forum pointer for you.Īlthough the old APUG forum is no longer open to new posts, there's 300 threads with over 1000 posts total in the archives, which are worth looking through. In mid October, it was spun off to an entirely separate site, called "Hybrid Photo". They called it the "gray area" because it's the digital preparation of negatives for analog printing. The "best" forum, by far, was the "gray area" section of APUG, The "Analog Photography User's Group". The two "standard" reference books are Dan Burkholder's "Making Digital Negatives" and Mark Nelson's "The Precision Digital Negative". There are several good books out on the subject, and several forums where it is frequently discussed. ![]() It's quire rewarding once you get the hang of it. Minimal levels that I normally (ie, when making regular digitalįirst, and foremost, there's a name for what you're doing, many of us have been doing it for years. 'negative?' Any other suggestions to maxamize the sharpness andĭetails? (I have been sharpening before printing, but only the High as 1440 dpi) would give me a sharper and more detailed Printing at 600 dpi, or higher (my Epson 1280 printer can go as Regular prints, it is not working for my needs. Now, I am printing at 300 dpi, but while this has been fine for IĪm not getting the details I want on these acrylic sheets. My initial tests have not been that successful. Then using these "negatives" to make traditional contact prints in Onto tranparancies (after inverting them in PS, of course), and ![]() As someone who enjoys alternative processing techniques in theĭarkroom, I am thinking of printing some of my B & W digital images
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