The Darkroom Workshop

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 that free, old out-of-date paper may be a really good deal after all!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

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

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

PROCESS AND RESULTS

PROCESS AND RESULTSThe scientist is absorbed in the process, while the artist is obsessed with the results.
 
Brooks Jensen, publisher of LensWork Magazine, tells an interesting story about someone he once knew that had a thirst for photography.  Seems this fellow leaped  into photography with unchained enthusiasm.  He spent many hours, and a lot of money, purchasing equipment and building a darkroom.  Then spent even more time learning how to control the process of B&W film and printing.  He became an expert at exposing, developing, and printing.  He was a master of the equipment and materials.  Then suddenly he got rid of all of his photographic equipment and took up another interest.  When asked why he said, he could not find anything of interest to photograph.  He had nothing to say artistically.  He was absorbed in the process, yet discovered he had no interest whatsoever in the results.  To quote one of my earlier BLOG posts; Edward Weston said something to the effect that, you should be able to look down at your feet and find something interesting to photograph.
 
Edward Weston was absorbed in his photography.  It was said that he had little interest in anything mechanical.  Edward never learned to drive a car.  He was totally dependent upon others for transportation.   If his camera or other equipment broke, he was helpless to repair any of it.  Yet he was a master at operating the camera and in the darkroom.  He was obsessed with the results, and understood only enough of the process to achieve his vision.
 
I have witnessed this phenomenon myself.  I have seen those that really believe they wanted to work with big cameras and film.  They start off with a bang and end with a fizzle.  Creating art really is hard work.  You have to master the photographic process, but it is even more important that you have something to say.  Don’t become absorbed with the gear and forget that the end product is what really counts.  Like baking a cake, it should be about the cake, not the brand of mixer used for the batter.  Remember that PROCESS is only a path to RESULTS.

JB

E-Books

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

WHAT CAN WE DO?

Film Is Not Dead
Susan and I were recently invited to visit the camera club we were members of many years ago. Back in the days before digital turned camera clubs into computer clubs we were both serious club members. Susan is a past club president and I a past vice president. Over the years this club’s membership has changed and many of the old hands we knew have moved on. The majority of those attending were new faces, but there were quite a few dedicated members we knew from years past.

The meeting brought back fond memories of being in a room with fifty or more like-minded people, all sharing their interest in photography. We had a great time visiting and catching up with what our old friends are up to now days. The group seems to still be motivated, with several photography outings planned and even a few workshops. Of course all they seem to know about is digital, PhotoShop and LightRoom.

What struck me like a bolt from the blue was the remarks that came up when the word film was added to the conversation. Blank faces; jaw drops; and a look of confusion when we mentioned we still shoot film. The same questions came up; you can still get film? When informed that film was still there and gaining in popularity, there was even more silence.

This just dumbfounded me and leads me to question myself. I have to ask, what can I do to get the word out about film? Here we were with a group of motivated photography buffs, and all they seem to be aware of is one single path for photographic expression. This situation begs the question, what can we as dedicated film shooters collectively do to make sure the world knows film is still there? Maybe we should all attend our local camera clubs and try to inform everyone that there is an alternative to being a computer club. If you are interested in the art and craft of photography, there should be a well rounded interest in all forms of visual expression. Film, digital, alternative processes; they are all valid. Even today! Our interest centers around traditional film and wet darkroom and that is what we do. Thing is, others interested can do it too. . . if only they knew it still existed.

Hello World. . . Film Is Not Dead!

JB

E-Books

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

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

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

FILM; STILL ALIVE AND KICKING!

And they said it wouldn’t last! Hmm. . . seems that has been said before. What am I talking about? Well. . . FILM of course! It’s amazing to see the resurgence in the interest in and the use of the worn out old technology of photographic film. Sort of like vinyl records, tube amplifiers, buggy whips and saddles. What becomes old is new again. I honestly had this feeling something like 15-20 years ago when that tired old chant started; Film Is Dead. I didn’t believe it then and now it looks like I was correct in my assessment. I didn’t fall for the sell your film gear now while you can still get something for it. Truth is, we bought even more film gear. And what is happening now? The prices of film photographic equipment is once again rising. All of the manufacturers closed up shop and went chasing after high-tech gizmos. And now, suddenly there is a growing market with a finite supply of hardware. You have to choose what you can find used or refurbished. How could that happen? What is going on in the world of photography?

It’s all because of young people. They grew up with all that techno stuff and one day someone, like me, showed them there is something else. Something different. . . Wow! A different way of seeing, creating, photographing. . . making your artistic statement. The key word is different. Fred Picker used to say, “different is not the same!”

I hear all kinds of comments. Look at the size of that camera! You can still get film for that? You can get film that big? Oh, you make prints? And the look of them! That seems to be something else that is new to the younger generation. I grew up looking at photo albums put together by my family. You didn’t have a little screen to view your snapshots instantly as you made them. You had to send the film off and wait! And those prints you got back in that envelope had value. You didn’t make a thousand snaps and pick one to look at once and then discard. You kept real printed photographs and looked at them over and over. And if one was really special, you had an enlargement made!

Yes the story of film and film cameras has come full circle, just as I had predicted way back in the Film Is Dead days. I said there would be a mass exodus by film and film camera manufacturers. But I also said that film would not go away. There would always be someone out there that would keep making it. Because there are those of us that are not willing to give it up. I predicted there would be someone to fill the niche market. I also predicted the price of film would go up. . . and it has. But, what is the cost of what you love? How can you put a price on that which you have spent most of your life learning, exploring, refining and experimenting with?

Another thing I feel strongly about is knowledge and passing it on to future generations. I feel it is near a responsibility to preserve what you have spent a lifetime learning. This commitment led to the four book series that Susan and I put together and self-published 20 years ago. Those books have been revised and are now available in e-book format. Through our web site and this Blog we have further endeavored to highlight what we do and how we approach photography as an art form. 

It’s been an interesting and fulfilling journey to this point and that journey is just beginning. I feel I can now say with confidence, FILM IS NOT DEAD!

JB

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

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

IS A PYRO FILM DEVELOPER RIGHT FOR YOU?

Pyro Staining Developers

The first time I used pyrogallol was unforgettable. During lunchtime on a hot summer day in 1970, I left work and climbed a hill nearby to expose some test negatives. That evening, I tray processed the 4×5 Plus-X in Kodak D-1, a classic version of “ABC Pyro.” When I turned on the light, what I saw made my heart pound. The negatives were beautiful: tones were spectacularly differentiated throughout the density range, especially in the highlights. And what sharpness! I knew I’d finally found my developer.*
-John Wimberly-

I believe that an artist is never satisfied. As photographers, we all started somewhere. For me it began many years ago; more than I care to count. I can remember when it was a thrill, almost magic, to just get something from the camera to a finished print. My early attempts now do not excite me that much but they were where I started and I cannot deny my vision and skills have changed over the years. My wife and I have continued to hone our photographic vision and skills and we continue to evolve. The journey through creativity is never ending.

So, what does this all have to do with developers? Film, camera, lenses, chemicals and process are all only a means to the end product; the finished print. Each item alone may or may not be of major significance, but everything plays a roll all the way to the end. For many years we used Kodak HC-110 film developer. I fine tuned the developing times and even had my own dilution that I called Dilution JBH. We have hundreds of LF and ULF negatives processed in HC-110. This is about the best film developer you can use if you are just starting out. I am not a practitioner of the film of the month club nor the developer of the month club either. I believe you choose carefully, then spend your time wringing everything you possibly can from your choices. But, as I say, an artist is never satisfied. There is always that little something more.

This drive for continually progressing forward is what led me to begin exploring Pyro developers. I did a lot of research. We both did a lot of real-world testing, using numerous Pyro film formulas. This quest turned into several years of experimentation, but we both feel we learned a lot and did find that little something extra. We both agree the effort was well worth the time we invested.

Pyro film developers are different. Though the difference is very subtle and really cannot be fully appreciated unless you have some experience with the more traditional developers. I would never recommend that a newcomer to film photography start with a Pyro developer. You need to refine your skills first with a non-staining developer, so you will see the minute differences a Pyro developer creates.

JB

* “PyroTechnics Plus: Formulating a New Developer” by John Wimberly, Photo Techniques Magazine, March/April 2003, p.34-37

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