![]() ![]() There is something very complete and pleasing about a set of contacts from a freshly processed batch of film: sheets of images to edit and assess, reviewing each roll with a loupe or magnifying glass, and noting the best frames for possible printing. While it is often easier for colour film to be processed at a minilab, providing a set of prints (and often low-resolution scans), the contact sheet is the best option to see what is on the film we have processed. A more recent innovation is the ability to print digital files onto inkjet film to make a negative, which can then be contact printed: a hybrid process combining digital capture and traditional darkroom printing.įor photographers using 35mm and 120 film, contacting remains an essential part of the process, at least when shooting and processing in black & white. Large format cameras are still used today, and while most negatives will be printed with an enlarger, many photographs produce contacts as finished work. While the technology did exist, the majority of large-format negatives in use, such as 8x10in, were contact printed.Ī 19th-century process such as Albumen – one of the primary methods of printing prior to the introduction of silver gelatin in the 1870s – was so insensitive to light that contact printing was the only practical method of production. ![]() Until roll films were introduced in the early 20th century, enlargements were very rarely made. The negative is sandwiched between glass and photographic paper, exposed to light and processed accordingly. The contact is the earliest method of printing a negative in the darkroom and remains the most simple.
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