After working with cyan and platinum & reading this chapter (in addition to the one on digital negatives) it has become very evident to me that the need for a dense negative is very important to the overall outcome of the image. Additionally, as far as digital negatives go, it is very important to adjust each image accordingly with a curve for each specific process and know how they will translate to the specific printer you are using. As I read in the book, in order to get an ideal contrasty negative that will translate well to the different mediums when using film you want to underexpose and overdevelop the film. I found this to be interesting and a lot simpler than trying to deal with a digital negative. Overall I found the process of negative construction to be a lot more complicated than expected.