Back when I had "free" time, I could spend all night and weekends doing
contact sheets, then intermediate enlargements, and finally 8x10's of
the best. Now days, since I have so little time to spare, I find it
much more economical in the long run to send all my B&W out and get
everything printed 3.5x5 -- I can do the contact sheet for my records,
but it's easier to pick out the promising frames for greater attention.
For convenience, I occasionally shoot Kodak Select -- a "monochrome"
film that's processed in C-41 so any one-hour lab can handle it, but the
images come out essentially B&W. True, if the lab's equipment isn't set
up properly, you might get images back that are tinted, but that's half
the fun! One roll came back slightly bluish, another green, which made
for some interesting images, but one came back almost sepia -- it worked
really well since it was a model wearing western garb....
Daniel J. Mitchell wrote:
>
> So now I've got a darkroom set up, I'm torn.. I _can_ take lots of photos
> now so I can experiment with things, and it theoretically won't cost me
> much, because I can just do contact prints -- but I find that I'm barely
> making any enlargements from the contact sheets because of the time it'll
> take.
>
> This means that while I can make guesses as to how well composed the shots
> are based on the contact prints, and general exposure, I can't do much
> beyond that.
>
> But taking the time to print up 36 4x5 prints is a pretty imposing
> proposition -- what do people out there who have darkrooms do in this sort
> of situation? Do you just do contact sheets then enlarge the "good" ones to
> 8x10? All of them to 4x5 and pick through them there? Something in the
> middle? Do you just get an 'eye' for the ones that're worth enlarging,
> because at the moment I can certainly tell the duds at 1:1 size, but there's
> a lot of others that might be worth blowing up, but there's still a lot of
> them to make up intermediate sizes of before I go the whole way.
>
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