Digital Negatives
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Product Description
"Digital Negatives: Using Photoshop to Create Digital Negatives for Silver and Alternative Process Printing" bridges the world of traditional photographic printing with digital technology. A digital negative, prepared in Photoshop, allows you to skip the dark room time developing the negatives-getting straight to a variety of printing processes including silver, platinum, and a host of other 'alternative' processes. You will see this as an opportunity to mix technology with traditional photo processes resulting in more time for your art! In the recent past, photographers that wanted digital negatives had to take their business to labs. Now all of you Photoshop users can incorporate this practice into your workflow of choice. The book offers easy, quick start recommendations for specific supplies and instructions for making your first print quickly without all the details of calibrating digital negatives. It offers expert instruction for the more advanced; much of the book will be focused on how to calibrate digital negatives, configure a digital darkroom, and fine tune prints from digital negatives. Adventurous, experimental techniques take printing using alternative processes into new options including toning, multiple printing, printing with ink and platinum, plus others.
About the Author
Brad Hinkel worked as a program manager for a very large software company in the Seattle area. He helped ship a number of important software products including Word, Mail, and Flight Simulator. He also worked for an Internet retailer in the mid-90's. Brad has been teaching digital photography since 1999. He was largely responsible for starting the digital photography program at the Rocky Mountain School of Photography starting in 1999, and has taught several sections of every course at RMSP. He also created the complete digital photography program at the Photographic Center Northwest in Seattle starting in 2000, and created the entire digital curriculum for that school. Ron was trained as a biochemist and had a career conducting research into gene control mechanisms. Most recently, he directed a laboratory at the Hutchinson Cancer Center in Seattle from which he retired in 2002. As part of that career, Ron published over 100 articles and book chapters in major research journals and wrote numerous grant applications. Thus, Ron has extensive experience in technical writing and exposition. Since retiring from science Ron has pursued a second career in photography. Ron co-published a book on Spruce Root Baskets for which he did the photography. And he has published in national photo magazines. Ron has work for several years conduction extensive research into methods for making high quality digital negatives and has printing many of his own images using these techniques.
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Paperback
I am so pleased that, despite reading the previous review, I went on to buy the book. Few books are so well organized and self contained.
The authors explain with great clarity the procedure from beginning to end, without assuming any prior knowledge on the subject.
They make no secret that they predilect palladium printing and the book is interspersed with some impressive samples. But this does not mean that they concentrate exclusively on this particular technique. On the contrary it covers with meticulous detail all the associated indispensable steps from scanning, preparing the file in photoshop, making calibration curves, printing the digital negative on an inkjet printer down to the last steps of how to use the darkroom (or an improvised one) to make the final print.
I read and buy many books and I wish there were more like this one.
The authors explain with great clarity the procedure from beginning to end, without assuming any prior knowledge on the subject.
They make no secret that they predilect palladium printing and the book is interspersed with some impressive samples. But this does not mean that they concentrate exclusively on this particular technique. On the contrary it covers with meticulous detail all the associated indispensable steps from scanning, preparing the file in photoshop, making calibration curves, printing the digital negative on an inkjet printer down to the last steps of how to use the darkroom (or an improvised one) to make the final print.
I read and buy many books and I wish there were more like this one.
6 of 10 people found the following review helpful
Format:Paperback
I hoped this book would expand on the work of Burkholder. It's subtitle strongly suggests it creates digital negatives that work with Silver prints. Not one illustration in the book is of a normal silver monochrome print. If you read the one chapter which mentions silver printing, and the problem page, it basically says the process is picky-picky, the printers have issues and one is left with the conclusion that this book is for the miniscule minority that coat their own papers with platinum and palladium. This book does not move anything further forward than the Burkholder books for those who want to make silver prints from digital files, although its explanation of the digital negative process is clearer in some respects.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
11 reviews
39 of 39 people found the following review helpful
State of the art for Digital Negatives and alternative printing
2 Dec 2006
Format:Paperback|Amazon Verified Purchase
This new book represents the state of the art in producing digital negatives to be used for a variety of alternative printing processes, including platinum, palladium, and others. I have used the procedures and tools presented in this book to work my own way through the process of creating negatives and making fine palladium prints, so I have proven that it works. The use of the QTR RIP as defined in the book is the best way today to get repeatable print quality and tonality for making negatives, allowing me to spend more time on the creative side of editing images in Photoshop (or wherever you choose).
The structure of the book also allowed me to spend time understanding the details of curve creation necessary for getting the right tones in the negative, but also lets me jump to chapter 4 and just follow his procedures, use his curves, and get started without slugging through the measurements that the authors spent years doing for us.
Plus the ending sections of the book give lots of examples and suggestions for other printing processes, including adding color to palladium or platinum prints with the same printer used to make the negative. It's very clear and inspiring.
As a direct result of the content of this book, I am now making the finest prints I can make in Palladium. This book takes the process out of the hands of the select few who have more time than I to solve the trials and tribulations of this process, and puts it where I can simply make beautiful prints. It's a whole new world...
The structure of the book also allowed me to spend time understanding the details of curve creation necessary for getting the right tones in the negative, but also lets me jump to chapter 4 and just follow his procedures, use his curves, and get started without slugging through the measurements that the authors spent years doing for us.
Plus the ending sections of the book give lots of examples and suggestions for other printing processes, including adding color to palladium or platinum prints with the same printer used to make the negative. It's very clear and inspiring.
As a direct result of the content of this book, I am now making the finest prints I can make in Palladium. This book takes the process out of the hands of the select few who have more time than I to solve the trials and tribulations of this process, and puts it where I can simply make beautiful prints. It's a whole new world...
22 of 22 people found the following review helpful
From
1 April 2007
Format:Paperback
The last few years have seen alternative photographic processes grow in use. From the street studios in Providence to the booming gallery scene in Chelsea, hand-coated emulsions are a popular counter to the photographic digital revolution.
Brad Henkel and Ron Reeder have deftly organized the work flow necessary to produce the high quality large format negtaives necessary for many of these processes. Their "Digital Negatives.." provides clear simple instructions (along with PhotoShop curves and calibration step wedges at their [...]) for the artist who wants to launch quickly with minimal theory. The book also has excellent detail for those who seek more (The Quadtone RIP profile instruction is top quality).
I found their explanation of calibrating PhotoShop curves to print media very clear and easy to practice. The two authors have expanded on the groundbreaking work of Dan Burkholder (Making Digital Negatives for Contact Printing) and Mark I. Nelson's "Precision Digital Negatives", but have kept their processes open and very approachable. Key screen flows are presented for both the Mac and PC environments.
The book also includes a number of fine art and practical process illustrations (How about a Becquerel contact Daguerreotype from a D1x RAW file!). I would strongly recommend this book for the alternative process artist who is ready to move from litho film and pyro developer to digtial contact negative production.
In addition to your computer, you will need a scanner and good quality inkjet printer, as well as Photoshop CS, to get started.
NWG 3-31-07
Brad Henkel and Ron Reeder have deftly organized the work flow necessary to produce the high quality large format negtaives necessary for many of these processes. Their "Digital Negatives.." provides clear simple instructions (along with PhotoShop curves and calibration step wedges at their [...]) for the artist who wants to launch quickly with minimal theory. The book also has excellent detail for those who seek more (The Quadtone RIP profile instruction is top quality).
I found their explanation of calibrating PhotoShop curves to print media very clear and easy to practice. The two authors have expanded on the groundbreaking work of Dan Burkholder (Making Digital Negatives for Contact Printing) and Mark I. Nelson's "Precision Digital Negatives", but have kept their processes open and very approachable. Key screen flows are presented for both the Mac and PC environments.
The book also includes a number of fine art and practical process illustrations (How about a Becquerel contact Daguerreotype from a D1x RAW file!). I would strongly recommend this book for the alternative process artist who is ready to move from litho film and pyro developer to digtial contact negative production.
In addition to your computer, you will need a scanner and good quality inkjet printer, as well as Photoshop CS, to get started.
NWG 3-31-07
15 of 15 people found the following review helpful
Highly recommended to all photographic printmakers!
14 Jun 2007
Format:Paperback|Amazon Verified Purchase
Dan Burkholder gets the credit for introducing digital negatives for contact printing processes several years ago, but it is Ron Reeder and Brad Hinkle who have finally worked out a system that produces extremely repeatable results. Now photographers everywhere can easily harness the power of Photoshop to create stunning prints using just about any contact printing process available. I have personally used this book to create salted-paper prints, van dykes, cyanotypes, and silver gelatin prints with pleasing results.
I teach alternative processes year round in Denver, Colorado, and as any instructor knows, the easiest way to hook a student on something new is the accessibility of the process. Even my darkroom shy students are taking notice of the work a small handful of pioneering students are experimenting with at our school using this excellent text. One student exclaimed to me just last week "this book will save the darkroom".
If you are looking for a system to harness the power of Photoshop with the beauty of a hand-crafted print, this is the best resource available!
I teach alternative processes year round in Denver, Colorado, and as any instructor knows, the easiest way to hook a student on something new is the accessibility of the process. Even my darkroom shy students are taking notice of the work a small handful of pioneering students are experimenting with at our school using this excellent text. One student exclaimed to me just last week "this book will save the darkroom".
If you are looking for a system to harness the power of Photoshop with the beauty of a hand-crafted print, this is the best resource available!
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