Darkroom

03
Sep
2020

DUST. . . Still A Four Letter Word!

Simco F10 Top Gun

If you shoot film, you know that dust is one of your biggest enemies.  It gets into everything and is nothing but a nuisance.  I have written before about controlling dust around your camera and film holders, see these articles; “DUST. . . A Four Letter Word!” and “Wax on. . . Wax Off.”  
 
There is another Dust battle you have to deal with when handling and printing the finished negatives that requires as much, if not more attention to the problem.  Static attracts dust to the film like a magnet.  You can eliminate or greatly reduce the dust on the negative using compressed air, but there is even more you can do.  If you use an ionizing device you can greatly reduce the static charge, which helps in removing dust and helps keep it away.
 
Dust is not only a problem with film, it is also a big problem in manufacturing.  Ever notice how clean your new phone or TV is when you take it out of the box the first time?  There are numerous commercial devices used in the manufacturing process to help control the static charge that attracts dust.  These devices are on the expensive side, since they are specialized tools designed for commercial use.  The good news is, since they are used so much, they appear on the used market at much more tolerable prices.

We have two Simco F10 Top Gun Static Neutralizing Blow Off Guns.  (I know, get your mind out of the gutter, this is what the manufacture calls the device. . . see photos.)  We installed one in the darkroom years ago.  It worked so well, we added another in our work room where we mount, mat and frame.  This model has been replaced, but you can find them on eBay.  The unit is simple to use.  All you need is a source of air (a compressor) and a standard grounded electrical outlet.  They do work well.
 

One problem with the Simco unit is the hose and electrical umbilical.  It is long, about 10 feet and difficult to handle.  I solved that by building a spring-loaded retractor attached to the ceiling.  This keeps the umbilical out of the way and the device easily accessible when needed.

As I said, you will need a compressor with a regulator to furnish air to the Simco unit.  I keep the system pressure at about 40psi and you will need to add a filter to your air source.  We have a compressor in the garage which has a filter on its outlet.  Air is piped in via piping in the attic, then there is another filter at each Simco unit.  You do not want water or oil in your air lines.

We use the Simco Top Gun units every time we print or mount and frame prints.  They have become an integral part of the way we work.  Anything you can do to eliminate dust will help you in keeping print spotting to a minimum.  These units are also great for helping eliminate dust when mounting and framing.

Also worth mentioning is the Chapman ionizing antistatic brush.  I am not sure if they are still made, but Zone VI, Kodak and others sold these at one time.  We have a Chapman model and use it from time to time.  The unit has a soft camel hair brush attached to a high voltage supply via a long cord.  This is a good alternative if you do not want to have to use a compressor as with the Simco unit.  We both used the Chapman brush until we found the Simco units.  The ionizing brush works well, but nothing beats having compressed air combined with an ionizer.

Just remember; DUST IS A FOUR LETTER WORD!

JB

Posted by JB Harlin in Darkroom, Film, How-To, Photography
03
Sep
2020

THE PROPER PROOF; AN IMPORTANT STEP

‘Before making a print, let me remind you again that you must first make the proper proof in order to select the negative for printing.’

 

‘Please do not short cut this step.  An outstanding print is always the product of an outstanding negative.  No one can positively translate negative densities – as seen on a viewing table – into emotional values.  You must see the way it prints.  The proper proof identifies the qualities of the negative.’

-Fred Picker, ZONE VI WORKSHOP; The Fine Print In Black & White Photography,  Amphoto, Garden City, NY, 1974, p. 44-

Proper ProofWhile working on all of the negatives from our last trip, and a couple of local outings, I began thinking about proofing and just how important the proof is to the fine art photograph.  I guess I take a lot of what I do for granted and seem to believe that everyone else understands the process.  This may not be all that true and maybe it would be a good idea to emphasize in a little more detail the importance of proofing.

I gained the most in my creative photographic endeavors when I discovered Fred Picker and his little book titled “ZONE VI WORKSHOP.”  This little book is short and sweet, yet packed with a lot of information.  You might say it is deceptively simple and short.

 

I believe the above quoted paragraphs from the chapter titled “THE FINE PRINT” pretty much sums up one of the most important steps in the photographic process.  You have to see what you have captured on the film before you can decide to make the finished fine print.  The proper proof is your absolute verification as to the validity of the negative.  It is your guide, your control and provides the necessary information for the next step. . . the finished print.

We proper proof and file our proper proofs into 3-ring notebooks.  This is where the second half of the creative process begins.  (The first step is finding something worthy of capturing on film.)  I highly recommend you proper proof every negative you make.  This way you will know what your are doing and what you have to work with.  The proper proof will also reveal any shortcomings or problems you may have with your equipment or technique.  As Fred says, “Please do not shortcut this step.” I agree and feel it is a very important step in the creative photographic process.

Are you interested in learning more about the art and craft of black & white photography and Proper Proofing? We have created an e-book series especially for you. Within in the pages of “The Film Exposure Work Book” you will learn how to preform your own film tests and how to make proper proofs. You will find more information at our BOOK STORE.

JB & Susan

 

Posted by JB Harlin in Commentary, Darkroom, Film, Photography
03
Sep
2020

DON’T THROW OUT OLD PHOTO PAPER

DON’T THROW OUT OLD PHOTO PAPER
There seems to be a lot of people interested in the traditional wet darkroom these days. As many abandon their darkrooms, others are just getting started. I have seen numerous transfers of darkroom materials, chemicals and hardware to newcomers interested in the wet darkroom. . . a lot of times for FREE. There is a lot of old printing paper coming out of storage and being either tossed in the garbage or passed on (without any guarantee what so ever) to those that are just starting out. Certainly a lot of this old paper is fogged to some extent. . . but all may not be lost. If you find yourself in possession of several thousand sheets of a really great paper, depending on the amount of fog, you just may be able to make excellent prints, despite a little general degradation.

DON’T THROW OUT OLD PHOTO PAPERPaper fog, as a rule shows up as a general darkening of the processed paper, thus making pure white in the print an impossibility. You can easily test for paper fog. . . see my previous article, “MEASURING PAPER FOG” for my method for testing paper.

Success is very dependent on the image you are printing, but in most cases, fog can be eliminated in the highlights and whites of the print by simply doing a little selective bleaching. Even deep shadows can be livened up with a little work with a bleaching mixture and a brush. Selective bleaching is not difficult and here is more info from a previous post titled, “A LITTLE SELECTIVE BLEACHING.”

If the whole print requires overall livening up, you can bleach the entire print in a tray.   Look up the formula for Farmer’s Reducer. You may find that you have to over-print the image (print a little too dark) and then bleach it back upward (lightening the image) to restore the image sparkle. You will just have to experiment and find what works best for each print.

Realize that if the paper has severe fog or a mottled, spotty fog, this method will not be of much help. Also keep in mind that even severely fogged paper can sometimes be fixed out and used for other processes. Many carbon transfer printers used old, fixed out paper for their finished images. Old, fogged paper should not be thrown out without first, at the very least, trying to find if it is in some way useable. You never know. . . that free, old out-of-date paper may be a really good deal after all!

Velox

4×5 Contact Print on vintage Velox paper, expiration date of 1958

If you have a lot of fogged paper that you paid little to nothing for, why not give bleaching a try. I have successfully pumped life back into paper that had expiration dates on the box that make it nearly as old as me!

JB

Posted by JB Harlin in B&W Paper, Darkroom, Film, Photography, The Darkroom Workshop
03
Sep
2020

CUSTOM PANO PRINTING EASELS

Custom modified 5.5 x 14 & 8 x 20 printing easels

Seems the more you do the more you need to do.  Or, maybe more accurately, the more you do unique things, the more custom hardware you need.  Either way, seems there is always some project that needs to be addressed.

Susan started working in the pano format exclusively about 11 years ago.  She shoots only 4×10 and 8×20 film.  This means she enlarges her 4×10 negatives to mostly 5 1/2 x 14 or 8 x 20.  She cuts 11 x 14 and 16 x 20 paper in half when she prints.  Not much of anything exceptional there, except you need some sort of non-standard printing easel when making such prints.  For years now she has been using a modified 16 x 20 Saunders Speed Easel and an adjustable easel for 5 1/2 x 14.  Thing is, these easels are very large and the way our 8×10 enlarger is setup, you have limited baseboard area.  What she wanted was a custom easel for the 8 x 20 for sure and something similar to her modified 16 x 20 using an 11 x 14 Speed Easel.

 
This is not that difficult of a machining project. . . just requires a little thought, some metal and the magic ingredient. . . time!  Oh, and a couple of spare Saunders Speed Easels to perform a modification upon.  We did find the easels on eBay, and I had ordered the material. . . finally I found the time.
 
For the 8×20 easel the idea was to cut down the hold-down border to the correct size, then cut the base to match.  This would make a custom 8 x 20 Speed Easel.  The actual re-fabrication was not too difficult.  It took more time measuring to make sure things worked out to the right print border size, since this is a cut once type of project.  I machined a new cross bar for the hold-down, made sure it was a good fit and drilled and tapped the ends.  Next I cut off the unneeded portion of the stock hold-down, drilled the side bars and assembled the new 8×20 border hold-down.  It all fit just about right.
 
Next I needed to cut off the unneeded portion of the base of the easel.  I carefully measured and marked the needed cut.  The bandsaw did the rest.  A little dressing with a large flat file and the new base was almost done.  Since the larger Speed Easel has a locking mechanism to keep it closed, I needed to add a relief in the base to clear the latch.  That required a little more bandsaw work, followed by some finishing up in the vertical mill and all was well.

Once everything was test fitted, all that was left was a little painting.  Since all of the easel is steel, it is a good idea to discourage rust.  I lightly sanded the newly fabricated border hold-down and gave is a luxurious coat of self-etching flat black primer. . . done.  The base was a little different.  I really didn’t want to repaint the whole thing and finding paint that matched the Saunders yellow was not really an option either.  I decided to mask off the end where I had removed the excess base about one inch inward and only paint that portion with the black primer.  That way I would get the bare edge of the exposed metal covered and it would not look that bad.

All that was left now was to wait for paint to dry and then assemble.  I did have to remove the anti-skid rubber feet from the cutoff piece of the base and glue them to the new 8 x 20 easel.  That was it. . . all done. . . ready to use.

For the 5 1/2 x 14 easel modification, I took a much simpler approach.  Since the original 11 x 14 easel was small, there was no problem using it on the enlarger base.  So, no need to cut the entire easel down to a smaller size.  All I really needed to do was machine a new cross bar to cut the easel size in half.  I also worried that if I did cut the easel down that the border bar assembly would not have enough weight to hold the paper flat.

I cut a new cross bar from a length of 0.25″ square steel bar and machined up a couple of bracket pieces from aluminum to hold it in place.  A little drilling and tapping and six #4-40 truss head socket cap screws and all was ready for some finish work.  The new divider bar, along with the brackets were cleaned and given a coat of flat black self-etching primer.

I know this is not a project for the average person to attempt with only a few hand tools.  This is not complicated, but does require a degree of precision and tools suited to the task.  There are those times you have to build what you need.  This is one of those things I do to relax and unwind.  I offer this little project as an example of what can be done.  If you decide to modify your easel, do proceed with caution.

JB

Posted by JB Harlin in Darkroom, DIY, How-To, Photography
03
Sep
2020

EXHAUSTION; OR, IS THIS STILL GOOD?

Fixer does not soon become “exhausted” in the sense that it can’t dissolve more silver salts. Instead, the trouble is with silver/sulphur complexes that build up as the hypo is used. They can’t be washed out of paper. One of Alfred Stieglitz’s sins was that in spite of excellent training in photographic sciences at the Berlin Technische Hochschule under the great Wilhelim Vogle (whose discoveries made orthochromatic and panchromatic film possible), Stieglitz told the young Ansel Adams that a gallon of fixer is good for thousands of prints. He thought that Kodak’s advice to change the hypo frequently was just corporate greed-anxiety to make big profits selling more dirt-cheap hypo. No doubt that’s why some Stieglitz prints are turning funny colors.*
* Photo Techniques Magazine, “Advanced B&W Printing” 2002, “Photo 303, The Pratt Institute Handouts” by David Vestal, p.40

EXHAUSTION
Nothing lasts forever. And, this is even more true when it comes to photographic chemistry. The question is, how long does the chemistry used in the darkroom last once mixed and what is the exhaustion rate? I firmly believe that trying to milk photographic chemistry for every last little bit is a recipe for disaster. Think of it this way. You have invested a lot of time and money by the time you get into the darkroom. Is it really worth it to try and save a few dollars by pushing your luck with chemistry that may not be up to par? Honestly, the least expensive item you use in the photographic process is the chemistry and water. Why scrimp, and risk disaster?

We calculate the exhaustion rates of all chemical formulas we use. It is very important to know the capacity of the film developers you use. If you try and stretch the chemistry beyond its useful capacity you will ruin your film. Same thing happens with the fixer. Printing paper is the same, except if you make a mistake you can always start over. But with film there is no do-over.

We very closely watch the capacities of the chemistry we use. The basic rule in our darkroom is to assure that we seldom go beyond 50-60% capacity. Film developers are used one-shot, making sure to use an adequate volume of chemistry for the number of square inches of film being developed. Film fixer is ran to 50-60% capacity then discarded. The same criteria is used when printing. Paper developer is used to maybe 60-70% capacity then discarded. Paper fixer is never used more than 60% of capacity.

In our darkroom there are few chemicals that are not discarded after a darkroom session. The only fixer we keep is the rapid fix used for film and it is discarded at 50-60% capacity. The only other chemistry we keep is Selenium Toner. All chemistry is labeled with the date it was mixed. Those that are kept for reuse are marked with the number of sheets of film or paper it has seen.

There is no need to run the risk and facing the consequences of exhausted chemistry when it comes to your photography. As said before, the chemistry is the least expensive item you will use in the whole photographic process, from film to the finished print. It is not worth the possible disaster that scrimping can cause. It is important to know the capacities of every formula used and never run any to full exhaustion. Nor is it a good practice to keep mixed solutions too long. Some formulas deteriorate rapidly once mixed. Know your chemistry and use it wisely!

JB

Posted by JB Harlin in Darkroom, Film, How-To, Photography, The Darkroom Workshop
28
Oct
2018

PRESTO, MAGIC AND SECRETS

PRESTO MAGIC AND SECRETS

It seems that working in the darkroom is magic. Developing film has little visual magic, that is to say, you see no magic, because most all film processing is done in total darkness. The magic is reserved for when you turn on the lights. But, printing is a different story. Under the dim glow of the safelight you can actually see the printed image appear, seemingly from nothing. It is a magical experience to see the photograph develop right before your eyes. No matter how many times I process a print, it is still magic to see the transformation. There is something that is otherworldly about what happens in that tray of liquid. But is it really magic?

It is well understood that a magician performing slight of hand or an illusion has many secrets. If you knew how a magic trick was done, it would ruin the experience. So in the world of magic, there are many secrets. And the working magicians guard those secrets well. Though photography seems to be magical, there are no secrets. There are no secret formulas, techniques or mystical incantations used when making traditional photographs in the wet darkroom. If you dig deep enough, you will find just about everything you would ever want to know about photography. There are no hidden secrets, only the basics of the process. Once these basics are mastered, there are many variations and techniques one can apply to achieve their personal vision.

I can say without reservation that I have no secrets. What I have learned over the years is the product of finding those techniques that work best for me and applying them as I see fit. Working in the wet darkroom and with film is about starting with the basics. You need a firm foundation of craft upon which to build your creativity. Next you apply different refining techniques and utilize them as needed to suit your vision. And what is so interesting about this is, you can do the same. You have to find what works for you.

I can also say that I never stop learning. Every time I step into the darkroom I push the boundaries of my abilities. I strive to continually learn new things that work for me. Interestingly enough, nothing I do is particular to me. Everything I do is something I learned from someone else, or an article, or publication I found. There just are no secrets. It is a matter of rolling up your sleeves and expanding your proficiency by doing.

My best advice to the newcomer to traditional photography is to come to the realization there are no magic bullets. There are no short cuts. You will only master the art form through seriously and continuously striving to achieve the results that suit you. Never stop learning and expanding your abilities.

Sorry, prestidigitation will not work. Don’t waste your time looking for that magic shortcut. . . it doesn’t exist. But the good news is there are no secrets. You only have to roll up your sleeves and learn the process, the old fashion way. You can’t say PRESTO and pull a beautifully printed photograph out of your hat!

JB

E-Books

Posted by JB Harlin in Commentary, Darkroom, Film, Photography, The Darkroom Workshop
02
Sep
2018

WHAT IS YOUR LEVEL OF DEDICATION?

WHAT IS YOUR LEVEL OF DEDICATION TO PHOTOGRAPHY?

There is an old photographic saying that goes something like; “if you buy a camera, you are a photographer; if you buy a piano, you own a piano.” No matter what your experience may be with the camera and making photographs, my question for you is, what is your commitment to photography? Are you dedicated to making photographs? Do you make prints? Or, are you only interested in the hardware?

When I think of what a truly dedicated photographic artist would look like, I think of Edward Weston. He lived a very simple life. He was not a camera aficionado. Edward did not have an elaborate darkroom. Yet he created some of the most influential photographs of his time. He was all about the finished image. Certainly he was a master of his technique and the hardware he used. But technique and hardware were only the tools he used to do what he loved.

One trend I find disturbing is that people today do not make prints. There is something very special about a finished print. Whether held in an album, or framed on the wall. Just the act of making a print says there is something special about this particular photograph. It requires, even demands you look! Not a casual glance, but to really take the time to look at what is there.

I don’t care what hardware you use, do you make finished prints? Do you feel your time, money and effort is worthy of making a print? Do you go out and shoot several hundred images, look at them maybe once then discard them? Why not go out with the intention of making only one photograph which you will then take the time to make a finished print from? Why not intentionally go and make only one or two, or three photographs? Then choose the best, and take the time to make a print. Hang it on your wall and live with it. Show it to everyone you know.

Maybe, just maybe if you made prints and did it often, you could influence others to do the same. Why not be different? Why not get out of the rut of snap, look and discard? Why not demand that people look at what you do? Make a statement! Do it to the best of your abilities. Make a finished photograph. . . make several. Be tough on yourself and make photographs that say something to you. If you reach others, then you are doing something worthy. You are expressing yourself and not just flashing something on a little screen to immediately forget and discard.

Why not be a trendsetter? You never know, you might even surprise yourself!

JB

E-Books

Posted by JB Harlin in Commentary, Darkroom, Film, Photography, The Darkroom Workshop
18
Aug
2018

PRE-SOAK FILM; YES/NO

PRE-SOAK FILMHere is another one of those subjects that seem to come up and usually divides those that participate in the discussion into two distinct camps.  Do you pre-soak your film, or not?  For me, there is no other choice when processing sheet film.  I process in trays, multiple sheets, using the shuffle method.  I have done this for as long as I have been using sheet film.  In fact, I have always pre-soaked film, even back in the days I processed 35mm and roll film in a tank.
 

A pre-soak is absolutely necessary when using the shuffle method in trays.  If you drop a pile of sheet film into the developer dry, you will end up with a pile of film all welded together.  Each sheet has to be placed into the pre-soak tray, one at a time, and allowed to sit for a few seconds to insure each is adequately wet before adding the next.  Once I have all of the film in the pre-soak, I begin to shuffle, start the timer and continue for a minimum of three minutes.  The stack is then lifted out of the tray, allowed to drain, then it is off to the developer.

As a friend has said on numerous occasions, he believes not pre-soaking is only a manufacturer’s way of trying to speed up the process for those that do not want to add an extra step.  Pre-soak not only keeps sheet film from sticking together, I believe it allows for more even development, since the emulsion is already wet and prepared to better and more uniformly absorb the chemistry.

I have never seen any ill effect from pre-soak and I would not hesitate to recommend it to anyone that asks.  Though, I am sure there are others that will tell you all about how it is not what should be done.  One thing you will notice is the pre-soak water will have some color to it when you turn on the lights.  This is simply dye in the film emulsion, and depending on the film, ranges from light blue, to a nice bright green.


So, pre-soak or not. . . this one is up to you, but if you ask me I would say definitely yes.
 


JB

Posted by JB Harlin in Commentary, Darkroom, How-To, Photography, The Darkroom Workshop
23
May
2018

PYRO DEVELOPERS; SUBTLE YET DIFFERENT

When you go into your darkroom year after year and print your negatives, you slowly become acutely aware of the most minute changes in image quality. It’s this intimate contact with your craft and subject that allows you to see the minute changes that the materials and process make. The prints you made in years past may now seem to be lacking. Even those negatives you were never quite able to interpret into a suitable finished image may somehow come alive when you apply new wisdom and technique. Everything in the chain of events, from the camera to the finished photograph can and will make a difference. Some can make a vast amount of difference; others can be very small. Yet they all add together in the finished print.

When we first started working with Pyro developers it took some time to realize exactly how the different look and feel of the film would translate into the finished print. There are those that say there is no difference between different film developers. They may also say there is no difference in the film you choose. That is like saying there is no difference between Ford and Chevy; no difference between red or white wine. Maybe for some this may be the case. But for those that take the time to really look and absorb the image, there is always a difference. Fred Picker said, “different is not the same!”

Never let the opinion of someone else dictate your choices; either in life or photographically. You need to prove all things for yourself. Never fall prey to hearsay. Test everything for yourself. If you feel the need to explore Pyro developers, by all means take the time to do your own testing. To really know, you have to find the answers for yourself. A quick dabble will not do. You need to establish your personal film speed and developing time. Then go out and make photographs in the real world. And not just a few photographs, but a lot; over time; test; adjust as needed. Give yourself at least a years worth of real photography. Then you will have enough experience to make a really personal and informed decision.

Is there a real difference in a Pyro film developer? This is a question you will have to answer for yourself. Just do not fall into the trap of depending on someone else to make the decision for you. Pyro was good enough for Edward Weston, Morley Baer and many others. If we could only ask them their opinion.

Pyro Do Your TestingOver the past 20 or so years Pyro film developers have again become popular, with modern reformulations for modern film. John Wimberley, Gordon Hutchings, Sandy King, Jay DeFehr, among others, have done a lot of research and have formulated numerous reincarnations of Pyro film developers, specifically designed for use with modern film. Steve Sherman, Bob Herbst, Michael A. Smith and Steve Simmons have written extensively about Pyro developers and their unique qualities. Susan and I have made our choice based on our own real world experiences. We join with the many others that are also Pyro developer users.

Posted by JB Harlin in Commentary, Darkroom, Film, Photography, The Darkroom Workshop