how to dry fibre-based prints?


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cool. sorry one more question - haven't seen these around, what shops sell them?

No worries, pai. Make them yourself. All you need to do is to get a frame to secure them on. You should be able to buy the screens from a hardware store or Home-Fix.

It's really easy. Just be sure that you remove the access water with a clean and grit-free squeegee, and that your drying area is free from dust. Ensure that there's a good airflow between screens if you decide to build multiple screens.
 

This is pretty effective for large or very large prints. I have dried exhibition prints up to 5.5' this way.

Wow!!:o

66 inches size? Done with traditional wet printing?

May I ask where was this done? In Singapore? What equipment did you use (assuming you printed them the pictures). What kinds of negatives were used for this degree of enlargement? And huge (more than 66 inches) trays were used?
 

Wow!!:o

66 inches size? Done with traditional wet printing?

May I ask where was this done? In Singapore? What equipment did you use (assuming you printed them the pictures). What kinds of negatives were used for this degree of enlargement? And huge (more than 66 inches) trays were used?

At that size it probably won't be a tray... will be a trough right?
 

huge trough.

so far, wad i did previously for FB is to really just hang them by their corners and weigh it down...it curled very slightly , thereafter, i did put it thru the drying roller but didn't set in any temp...just room temp which was about (25oC) .

was good enuf...but if u're a nitpicker, u can flatten it under glass again.

for me, i mounted it into a frame with tempered glass and gave it to my client.

hope that helped in neng ziam

PL
 

Spot on ....the were done in troughs in a pretty big darkroom. They weren't the easiest prints I've ever done, but it was worth it.

This was done in Australia, shot on a Mamiya RZ with Ilford Pan F and Fuji Neopan 100; projected (sideways), onto a frame that was drilled into the wall, with a Beseler enlarger with a Rodenstock lens.

Dev was always Rodinal. Papers were bought in rolls; brands were selected based on effect required.
 

Spot on ....the were done in troughs in a pretty big darkroom. They weren't the easiest prints I've ever done, but it was worth it.

This was done in Australia, shot on a Mamiya RZ with Ilford Pan F and Fuji Neopan 100; projected (sideways), onto a frame that was drilled into the wall, with a Beseler enlarger with a Rodenstock lens.

Dev was always Rodinal. Papers were bought in rolls; brands were selected based on effect required.

kewl!

I printed mine wall mounted...but i couldn't just drill the wall...so basically we stuck it onto a piece of paper, with some really flat tac on-off light glue.

exposed using rodenstock/schneider with the grand old durst.......

i really hate the developing part.......those troughs..........

anywayz.....Rodinal was the standard last time........plenty of that... not forgetting contrast graded RC / byrata papers........

those were the days when AGFA papers will still alive!
 

I have seen such big prints only once, when I visited some galleries in Carmel.

They were printed by Ansel Adams himself! Of course the negatives were 8x10.

Awesome!
 

kewl!

I printed mine wall mounted...but i couldn't just drill the wall...so basically we stuck it onto a piece of paper, with some really flat tac on-off light glue.

exposed using rodenstock/schneider with the grand old durst.......

i really hate the developing part.......those troughs..........

anywayz.....Rodinal was the standard last time........plenty of that... not forgetting contrast graded RC / byrata papers........

those were the days when AGFA papers will still alive!

Yea, I know what you mean. Sometimes, it would take days to get the perfect print. Worse yet ...you get your perfect print and it rips while drying from all the water weight. Aargh!

Rodinal has been a standard forever. Thankfully, it apparently is available again now. It was and still is (whenever I shoot film - which is hardly) my favourite film developer.

I loved the Agfa stuff, and almost exclusively used Agfa (only other standards for me were possibly Ilford Bromophen and Ilford stop and fix, a pyro dev, Seagull and Brilliant paper - as far as I can recall).

I was really sad when Agfapan was discontinued, but thankfully found that Neopan is very very similar but with a thinner acetone base.

Tried RC papers just once ....hated it.

Funny, that's what I did at first ......tape the bloody paper to the wall for exposure.
 

I have seen such big prints only once, when I visited some galleries in Carmel.

They were printed by Ansel Adams himself! Of course the negatives were 8x10.

Awesome!

Ansel Adams was a master printer. Have you seen his 8 x 10 contact sheets??!! They blew me away.
 

OMG... FB at that size? How you wash it throughly enough? Trough also???

I've heard of people who use mops (literally) for really large (and not v. important) prints. They soak the mop in developer, then mop it onto the surface of the print.. :o
 

Ansel Adams was a master printer. Have you seen his 8 x 10 contact sheets??!! They blew me away.

Yes, I had seen his contact prints.

I have also recently started using 8x10. But even the 4x5 are very beautiful. Very intimate.

Of course mine are very "kindergarten-ish!:embrass:
 

OMG... FB at that size? How you wash it throughly enough? Trough also???

I've heard of people who use mops (literally) for really large (and not v. important) prints. They soak the mop in developer, then mop it onto the surface of the print.. :o

Yea, washing was a bitch. It was also done in a trough with multiple of multiple changes of water.

You can do it with mops, but no way are you going to get the tonal values that agitation will give.
 

Yes, I had seen his contact prints.

I have also recently started using 8x10. But even the 4x5 are very beautiful. Very intimate.

Of course mine are very "kindergarten-ish!:embrass:

It's great that you're dabbling in large format. Sadly, it's a dying art. You have a 8x10 camera?

Adams used to burn and dodge his contact prints - he was meticulous.
 

It's great that you're dabbling in large format. Sadly, it's a dying art. You have a 8x10 camera?

Adams used to burn and dodge his contact prints - he was meticulous.

No, large format is not dying. If I am not mistaken, there is a revival in the US!

I do not have a 8x10. But I do have access to one.

Dodging and burning with contact prints is very difficult because all one sees on the contacted negative and the paper is one piece of near "blackness". Making a print from contact, and from enlarging is quite different.
 

Yea, washing was a bitch. It was also done in a trough with multiple of multiple changes of water.

I can only imagine... I suppose u had a helper?
 

No, large format is not dying. If I am not mistaken, there is a revival in the US!

I do not have a 8x10. But I do have access to one.

Dodging and burning with contact prints is very difficult because all one sees on the contacted negative and the paper is one piece of near "blackness". Making a print from contact, and from enlarging is quite different.


In the scale of things, it is a fading craft. Quite sad, really.

If you can visualise your final print, with the aid of a straight contact, with practice, one could learn to determine how much dodging, burning, etc. is required for each specific area.
 

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