A Hybrid Approach For Creating Conventional Black & White Photographic Prints Using Digitally Created Negatives

by David R. Spielman

Brooks Institute of Photography - September/2004

 

Abstract

 This work deals with digital negatives and their use in making black-and-white photographic prints on conventional light-sensitive materials. Unlike its glass plate or celluloid counterpart, the digital negative is not created in a camera or darkroom, but instead via some digital means. Three different methods of creating digital negatives are presented in this work. These include a film recorder using conventional photographic film, an imagesetter using high contrast lithography film, and an inkjet printer using special materials.

 But why make a digital negative in the first place? Why not use one of the many digital printing technologies currently available? The dilemma facing many photographers is how to create truly enduring archival prints from digitally acquired or enhanced images using these printing technologies. This work addresses the field of digital printing in general, and inkjet printers in particular, and shows that, despite its promise, there still are many problems with this technology.

 For many photographers, the air-dried, glossy fiber silver print that has been processed and toned to archival standards is still the ultimate goal. For others, a superb handmade platinum print on fine-art watercolor paper is the quintessential example of the photographers art and connects the viewer to the heritage and legacy of photographers of centuries past. Using a digital negative allows for the continuation of this tradition. The digital negative is really a hybrid creation, one that gives the best of both worlds the analog and the digital.

Chapter - 1 "The Search for the Holy Grail"

Chapter - 2 "Making Digital Negatives"

Chapter - 3 "Oh My God! All I See Are Spots!"

Chapter - 4 "The Inkjet Negative A Cheaper Alternative"

 

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