Since you’re familiar with screen printing, you’re already familiar with those basics, even though they’re not quite the same. The end product was a halftone (at whatever lpi the screen was) that could be stripped into the film negative used to burn the litho plates for the press. Place a glass or plastic halftone screen in front of the film while exposing it to a continuous tone original (a photograph) in a vacuum frame, and the holes in the screen either let enough light through to turn the film clear or made it stay black (after going through the chemical baths, of course). Instead, when the film was exposed, those sections that were exposed either turned black or clear depending on the amount of light that hit the film. The film didn’t record grays like film in a hand-held camera. Ortho film, by the way, was a brand name of high-contrast litho film used in process cameras (big litho cameras that sat on the floor). There are probably two or three of us here who worked directly with paste-up, mechanical color separations, film stripping and the other old ways of doing things.
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