Comparison: Direct Positive Vs Contact Prints

[@MyJuancho2010]

Joe..you the best....me encanta tanto como usted sabe..se aprende bastante con una persona con tanto conocimiento.....THANK YOU...THANK YOU.

[@briansegarra9312]

You should try contact prints paper negatives vs paper reversals with your latest reversal process

[@geireplekake820]

Nice video, thank you. Advice to have a look at the black-white reversal process, it also works nice for photopaper. Comment about your developer trays: Im not convinced that rinse between stop and fix will extend the fix life, since the acidity of the stop bath corresponds to the acidity of the fixer bath. If you use water, this will on the contrary reduce the acidity of the fixer bath and contribute to it loosing effect earlier.

[@Joe_VanCleave]

I'm going to look into the reversal process. Thank you for your input regarding the chemicals. This technique of a water rinse between chemical steps I started doing with the small 100mL volumes when using the 35mm steel tanks as makeshift rotary tanks for individual sheets of paper, it certainly helps to extend their life, as evidenced by testing. For larger volumes, perhaps not so much.

[@geireplekake820]

Yeah there is a facebook group with lots of information about it, search for bw reversal. Testing through measured experiments is always the best way to research your technique, so then i trust you are doing the best way :)

[@moneyshotphoto]

How do you preflash. No one ever explains the process

[@a.x.marcus4627]

Great video, thanks! For direct positive, Ansco 120 is great.

[@keithpage8672]

An interesting exercise, thank you. First time I've seen anything on this paper negative system. What about enlarging the 4x5 paper neg using your 4x5 Beseler? Say to 8x10 or 10x12 etc?

[@Joe_VanCleave]

There are several people who have built reflection enlarger heads to do direct enlargement of paper negatives without having to shine light through the back of the paper media.

[@silveranddye]

It will be interesting to see if you load the direct positive paper with the emulsion side down instead of up. Would the result be an accurate orientation of the image i.e the image is not flipped.

[@Joe_VanCleave]

Emulsion-to-emulsion otherwise the image will print too soft.

[@danko6582]

I prefer to develop under safe light to avoid issues of incomplete development. Of course, you have to be careful with red light exposure with direct positive

[@erchata]

yo no entiendo porque desactivais el traductor, pue ala adios.

[@mstechbasement5395]

Joe, I always enjoy your videos! Just curious: have you experimented with monobath developers and Harman Direct Positive Paper? Thanks for sharing your hobbies with us!

[@Joe_VanCleave]

I've been looking at monobaths for film. Typical film developers are usually slow-acting on paper, meaning it might be quicker with paper to just use two separate baths. I haven't thought about engineering my own monobath specifically for Harman, however.

[@mstechbasement5395]

Joe Van Cleave OK, best of luck, if you venture into monobaths. Donald Qualls has a workable recipe (for 400 TX) with Kodak HC-110 concentrate, household ammonia, and Ilford Rapid fixer. I hope to try it soon. But now there are several commercially prepared products available: R5, Cinestill Df96, FPP Super Monobath. I haven’t tried any of them. Anyhow, cheers from North Carolina!

[@davidgibbon8927]

Hi, Can you explain 'Pre Flash' please?

[@Joe_VanCleave]

Pre-flashing gives a slight, even exposure onto the paper before the in-camera exposure, that helps to increase shadow detail without affecting the highlights much. This has the effect of controlling excess contrast. The pre-flash exposure is commonly done under an enlarger with the lens stopped down all the way, for just a few seconds. The objective is a faint enough exposure such that if the paper were then developed (instead of exposed in-camera), it would have a very slight gray tint.

[@randallmayer7219]

how long do you preflash?

[@Joe_VanCleave]

I use a light source comprised of a type S-11 frosted white bulb (120vac, standard medium base) built into a housing with a 1/4" aperture hole, suspended 30" above my darkroom table. For grade 2 paper negatives I pre-flash for around 8 seconds, while for Harman Direct Positive paper I pre-flash for 3-4 seconds.

[@何决云]

Great video!

[@CigarManGarth]

Longer camera exposure,,, 2, 4, 6,,,,,,, seconds?

[@bkspicture]

Seems better to develop the paper negs in standard trays so you can see as it develops. But great video and here is my process for paper negs for those that are interested. Use variant papers and do two things so I get better tonal range and a detailed sky. Take the image with a yellow filter which helps alot and make skies & clouds visible. Add one stop to the exposure for the filter + over expose the paper one stop which reduces the contrast. The paper I use can be squeezed to ISO 12 which I expose @ISO 3. Develop the paper in trays, use Dectol in pretty high dilution 1+9 / 1+15. Watch and stop the developing when it looks good and so it don't get overexposed.

[@bkspicture]

Can find some example images etc of my experiments with paper negs here: www.blog.bkspicture.com/tips_and_tricks_Paper_Negative-Better_results_with_Paper_negative.html

[@Joe_VanCleave]

Thank you! I've been using grade 2 paper along with pre-flashing, which seems to control the excess contrast of day-lit scenes. I agree that development by inspection is the preferred method for getting the best negatives. But my darkroom is unheated in the winter and uncooled in summer, so it's very convenient to use a rotary tank indoors.

[@silva-anderida7695]

Interesting.Thanks.