MIXING YOUR OWN
I have always been an advocate of vertical integration. The more you can do yourself, the better control you have of the outcome. For many years I used prepackaged photo chemicals and have never had a problem. But, as the traditional darkroom and the materials used become more and more an alternative process, commercially available photo chemicals are getting harder to find. Some favorite chemicals have vanished. An old favorite, the Zone VI line of print developer, fixer and hypo are now gone from Calumet. I recently witnessed 8 bags of print developer and 2 bags of print and film fixer selling for $127.50 on eBay. That is well over double the original cost from Calumet.
The bottom line is, you can mix your own photo chemicals. Sometimes, if you purchase bulk raw chemicals, you can even save a few dollars. Another plus to mixing your own is the fact that you have 100% control. If something goes wrong, you know who to blame. You can also modify the formula and experiment. Mixing your own photo solutions is not hard. It is not rocket science and you do not have to be a chemist. If you can follow a recipe and bake a cake, you can mix your own chemistry for the B&W darkroom.
The first thing you need to understand is that in order to mix your own photo chemistry you will be handling CHEMICALS. If you are not comfortable with this thought, do not even go there. But, remember that you are surrounded with chemicals. . . the entire planet is made of them. If you take proper precautions and are careful, there is nothing to fear. I am not a chemist, so I have little understanding of deep details and I have even less inclination to study chemistry. Do as I do, assume that everything you handle in the way of raw chemicals are toxic. Do all mixing in a well-ventilated area. Clean up spills immediately. Avoid breathing airborne powders. Always wear gloves and purchase a respirator with proper filter. A little common sense goes a long way.
As I said before, for me, mixing photo chemicals is nothing less than following a recipe. When mixing any photo chemistry formula/recipe you need to accurately measure all of the various chemicals. Most formulas call for dry chemicals measured in grams and liquids in milliliters. I have two scales for dry measure. I have a very accurate digital scale for small quantities and an old-fashion triple beam for larger amounts. I picked up a box of small serving containers at the local big box store to be used as disposable containers for measuring small amounts of dry chemicals. I also have larger 8oz plastic cups for larger amounts. Be sure to use the tare function to zero the scale with the empty container before measuring. Zero the scale with every new container, they do not all weigh the same. Once used, I toss them in the trash. I never reuse one of these plastic containers. This assures there is no chance of unwanted contamination.
For liquids, I use an appropriate size graduate, and for small quantities, a pipette is the easiest way to make accurate measurements. You can use a pipette pump to make loading and measuring easier, or just dip the pipette into the container and hold your thumb over the end. Remember to always thoroughly wash the pipette after use and always use a clean pipette when going from one chemical container to the next. If the pipette is not properly cleaned, you will cross contaminate your chemicals.
Always follow the chemical formula. Most all formulas are mixed in water and there should be a temperature specified to insure the chemicals dissolve. Always mix in the exact order as called for in the formula. Add each ingredient slowly and continually stir until each is completely dissolved before adding the next. This is where a magnetic stirrer comes in handy. Take your time. Do not rush the process. Some chemicals take some time to completely dissolve.
I use distilled water for all stock solutions. I always use distilled water for stock solutions and processing film. Unless your tap water has known problems, it should be fine for mixing printing chemicals.
Once properly mixed, store each formula in a clean bottle with a plastic cap. Never use metal caps, some chemicals will cause them to rust and contaminate the solution. Brown glass is best for developers and plastic should be fine for most others. Be sure to label each container as to its contents and also include the date mixed. Most all stock chemicals are good for three months, some much longer.
There are many published formulas. Some popular commercial formulas are proprietary, but in many cases there are alternative, similar formulas that are published. By applying a little experimentation, you can tailor your photo mixtures to suit you. Search the Internet for formulas and pick up a copy of “The Darkroom Cookbook” Third Edition by Steve Anchell.
Mixing your own is not that difficult. With a little study, careful handling, forethought and experimentation you can mix your own photo chemistry.
Here is a list of things you will need or may want to have;
• disposable gloves
• respirator
• apron
• a selection of required chemicals
• accurate scales
• disposable plastic cups for weighing chemicals
• several sizes of graduates for liquids
• stirring rod
• magnetic stirrer
• pipette
• pipette pump
• glass storage bottles
• plastic storage bottles
Resources:
Bostic & Sullivan
http://www.bostick-sullivan.com
Artcraft Chemicals Inc.
http://www.artcraftchemicals.com
The Darkroom Cookbook Third Edition by Steve Anchell
http://www.steveanchell.com
Pyrocat HD a semi-compensating, high-definition developer, formulated by Sandy King.
http://www.pyrocat-hd.com
The Book Of Pyro by Gordon Hutchings
Do not forget to search the Internet for more information.
JB
D/FW LF GROUP GRAPEVINE CAMERA SHOW OUTING
We had another outing. This time breakfast and a camera show in Grapevine, Texas. Though the show was a little slow this time, you always find something in a box that you just have to go home with. Susan found a Zone VI viewing filter and in the next box I found one of the original square filters from way back in the early days of Fred Picker.
Bob really wanted this Jobo, but I think someone else ended up with it. . . nice! Paul found just what he needed for his new darkroom. . . a nice Beseler 45 with a lot of accessories to boot. Way to go Paul!
A PLACE TO STAND
Ever found that once you have your camera in just the right position that you can’t quite see the very top of the ground glass. It is important to get up there so you can see if your foreground is in focus. Never fails, you need just a little more to get a good view. Well, we found a neat accessory that just may save the day for you.
We discovered a nifty little folding step stool at Wal-Mart. We hauled a couple of these with us on our last trip and though I never used mine, Susan found it very helpful with several of her photographic efforts. It was especially useful for her and the pano format cameras she uses. She made use of the step several times when she needed a little height working with difficult setups.
Here is more information from the Wal-Mart web site;
Keep everything within reach with the Mainstays 12″ Folding Step Stool. This skid-resistant step stool gives you an extra boost to reach high shelves or cabinets. It folds down to two inches thick for easy storage.
Mainstays 12″ Folding Step Stool:
Easy to carry
Skid-resistant top and feet
Stands 12″ high
Folds to 2″ thick
Weight capacity: 300 lbs
Folded Size: 13.5″ x 12.5″ x 2″
Weight: 2.5 lbs
Wal-Mart No.: 007126355
This 12″ step folds up and is easily tucked away till you need a little boost. This is another accessory that is a life saver when you need it. We ended up purchasing several of these for use around the house also. You never know what you are going to find when you are out poking around in the stores.
JB
CLEANING FILM HOLDERS
Dust is forever the biggest enemy of the large format shooter. Seems that no matter how meticulous you are, that one little speck of dust sneaks in and plants itself right in the middle of some nice smooth area. . . like the sky. It is a never-ending battle and requires continuous attention.
It is obvious that you need to keep your camera clean and it is imperative that you vacuum out all of your film bags and equipment cases. Dust gets everywhere, and it is good practice to vacuum everything before you go out to photograph. But, there is one area we have found to be extremely important for dust control, and that is keeping your film holders clean.
We have found that a thorough cleaning of every holder just prior to loading film keeps the dust problem to a minimum. If the inside of the holder is clean, then the outside is the only place where dust resides. Realize that the most critical time is before and during exposure. If a dust speck gets on your film after exposure, at least it is no longer a threat for making the dreaded pinhole which leads to the black spot on the print. After exposure, the worst a dust speck can do is possibly scratch the film during handling.
Everyone has their own methods for cleaning and loading film holders, and here are my main concerns and how we prepare our holders for loading. I will begin by saying that every holder is cleaned and inspected just prior to every loading session. Even on the road, we never load a holder with fresh film without cleaning. My biggest concern is dust inside the holder. I want the inside to be as clean, and dust free as possible. No matter how clean your film bags and cameras are, dust will always settle on the outside of the holders. If you thoroughly clean the inside of the holder, you will have a better chance of keeping the film dust free. I begin by cleaning the work surface with a damp towel and after dry I vacuum the area just to be sure. I always use the round brush on the end of the vacuum hose and before attaching I vacuum it well to make sure the bristles are free of dust.
I work each holder individually and begin by vacuuming the entire outer surface of the holder with the dark slide still in place. I pay particular attention to the entire area around the parameter of the holder where the slide meets the holder. I want the exterior of the holder as dust free as possible before I remove the slide.
One area that collects dust is the light trap area. Any dust on the dark slide will be wiped off by the felt in the trap. It is imperative that the dark slide be completely removed and the light trap vacuumed thoroughly. Also, while the dark slide is out of the holder, I vacuum the inside of the holder and the entire parameter, paying special attention to the film hold down and dark slide slots along the sides. I open the loading flap and vacuum under it also. The last thing I do before reinserting the dark slide is vacuum both sides of the slide and inspect it for dust or any possible damage. Each dark slide is removed, one-at-a-time, and always replaced in the same side of the holder. I never mix up slides, they always go back into the same holder and same side. . . always!
Once the holders are cleaned we immediately load them with fresh film and place them into their film bag. It is a good idea to vacuum the film bag before placing newly loaded film holders back inside. This is a good idea, especially if you have been in a particularly dusty area.
This is the ritual we go through every time we load film and we have little problems with dust on our film. Everyone has their own way of doing things and this is the procedure we use when loading film. There are a few things that we have found that greatly improve the odds of keeping your film clean. Remember, the vacuum is your best friend when it comes to dust. See my previous post titled “DUST. . . A Four Letter Word!” for more information.
JB
CALUMET SHUTTER SPEED TESTER LF UPGRADE
If you are lucky enough to own a Calumet Shutter Speed Tester, you know it is not exactly ideal for testing large lenses and shutters. I have owned one of these handy little devices for over ten years. I performed a modification/upgrade near ten years ago that makes the tester much more suited to testing large lenses and shutters.
This modification/upgrade is not difficult, but does require a little ingenuity and proficiency with a soldering iron. With a little planning and a good junk box full of odds and ends you can construct a remote trigger for the tester.
Follow the link HERE to our main web site which will take you to the ‘ARTICLES’ area and scroll down the page to download the PDF titled “CALUMET SHUTTER TESTER MODIFICATION: AN UPGRADE FOR THE LF SHOOTER.” This modification/upgrade has served me well over the years. Hopefully you will find this of interest also.
JB
D/FW LFG IN PARIS. . . TEXAS THAT IS
The D/FW LF Group had one more outing for the 2011 season. This time we headed up to Paris, Texas for a weekend of our usual fun. We met up Friday night at the hotel and prepared for two days of sightseeing and shooting some film. Michael, Janice & Terry, and Susan & I made up the group on this outing. We had a couple others that were not able to make it, but it was still a fun and productive trip.
Susan and I exposed some B&W film and Michael got in his first field test of his new roof-top shooting platform on his truck. Nothing like customizing!
We would like to thank Carolyn and Marcus for their warm hospitality and for arranging and guiding us on a tour of the town. We especially enjoyed the neat places and alleyways around the town. Wish the weather had been a little better. Cloudy is not a problem, but that excessive wind is when shooting LF. Fortunately we were able to find out of the way places and shelter from that south wind in some really great alleys around town.
Two days of really fascinating shooting in a very interesting and scenic town. Again, thanks to everyone in Paris for a great weekend and thanks to Michael for arranging this outing. We anticipate more of these outings beginning early in 2012. Hope to you see you there!
JB
D/FW LF GROUP OUTING SATURDAY OCT 29th
We had another one of our fun outings last Saturday to St. John’s Church in Fort Worth. This was a limited outing and we ended up with only five making the trek, but it was well worth the time. We would like to thank Fr. David for allowing us to have access to his beautiful church. Here are a few snapshots of the group at work.
SAMPLE GALLERY VIEW CAMERA PHOTOGRAPHY BY JB & SUSAN HARLIN
For those that are planning to come to our current exhibition and those not able to visit, we have created a sample album which contains a few of the 28 images on display. Do not forget to mark your calendar for our reception Saturday, Nov 05th.
Click HERE to go to the sample album.
AN INTERESTING BOOK “MAKING KODAK FILM” by Robert L. Shanebrook
I have always been a collector of books, and I have always been interested in how things are made. I am especially fascinated with large industrial manufacturing processes. Photography is also more than a fascination for me, it has become my prime interest. I have little interest in the chemistry and mechanics beyond knowing how to make things work, yet I am still fascinated with how things are made. I ran across an interesting book a while back, put it on my list of things I needed to check out, and promptly forgot all about it. Typical for me, but thankfully I did remember the book and ordered a copy.
If you were ever curious as to how photographic film is manufactured, then I can highly recommend a great book on how Kodak makes film. “Making KODAK Film; The Illustrated Story of State-of-the-Art Photographic Film Manufacturing” by Robert L. Shanebrook, is a book I can suggest to answer the majority of your questions about what goes into manufacturing film. I will quote from the author’s web site;
Information in the book
The book was compiled based on my personal experience plus the input from Kodak experts. Kodak provided access to Kodak Park and assigned experts to the project. Typically the experts explained the operation to me and then accompanied me as I photographed. After I retired I spent over forty days photographing in Kodak Park and many more days in discussion.
In addition, I was aided by input from 24 Kodak retirees. In most cases the retirees were the predecessors of the current Kodak experts that helped me. I also utilized the advice of ten experts from outside Kodak. To insure accuracy the manuscript was reviewed by many of the people that provided information used in the book.
I am grateful to over ninety people who helped me with the book.
Author
Bob Shanebrook graduated from Rochester Institute of Technology and worked at Eastman Kodak Company for 35 years before retiring in 2003. At Kodak he worked as a commercial photographer, researcher, product development engineer, film manufacturing manager, and for over twenty years was a Worldwide Product-Line Manager for Kodak Professional Films. He was involved in nearly all aspects of Kodak’s black-and-white and professional film business.
I highly recommend this book to anyone interested in learning about the art and craft of film manufacturing. For me this was a slow read since the book is mostly photographs. They say a picture is worth a thousand words, with some of these machines, it may be more like ten thousand.
Mr Shanebrook has self published this book and I can recommend it is a good one. . . two thumbs up from me. A great read if you are interested in just how complex the film in your camera is to produce. More information and how to order a copy from the author can be found HERE.
JB
D/FW LFG WEEKEND
The D/FW LF Group had another exciting weekend, with two gatherings. Saturday we started off with breakfast at the Original Pancake House in Grapevine. We had ten people join us for the beginning of a usual gathering. After breakfast we then adjourned and moved over to the Grapevine Convention Center for the Camera Show. This one was a productive one. I found several things including some raw chemicals for the darkroom. Susan and I actually made several trips to the van to unload our trappings. Larry made even more trips and needed some help. What fun!
Sunday it was an early trip down to County Road 1118 in Johnson County to photograph a very old iron bridge on the Brazos River. If I counted correctly we had eight people that showed up before, and some after sunrise. Beautiful morning, not a cloud in the sky, not a breath of wind, and it was in the upper 40’s to mid 50’s. Couldn’t have been better for such an outing. As usual we migrated mid morning over to Glen Rose for a late breakfast, early lunch at the Big Cup Cafe. Outstanding hamburger and by a little after noon we were home. Susan and I shot a few 4×5 negatives and, as usual had a great time.
We will be planning more outings and if you are interested in joining us, please watch for our next gathering.
JB
“VIEW CAMERA PHOTOGRAPHY BY JB & SUSAN HARLIN”
Hopefully fall is coming and bringing cooler weather and some rain. The Texas summer is just too brutal to get out and do much photography. So, with a little cooler weather finally moving in, it just may be a good time to get out and look at some photographs. Susan and I are having another exhibition of our work that will carry everyone from fall into winter. We will have 28 of our latest Black & White photographs on display including everything from snow, to desert, from 8×10, to 8×20, in living B&W, on display at the Downtown F/W Library.
“VIEW CAMERA PHOTOGRAPHY BY JB & SUSAN HARLIN” will run September 29, 2011 through January 12, 2012 at the Central Library West Wing Gallery, Downtown Fort Worth Library. We will be posting our reception date soon, so check back for the date and time.
Library location and parking information HERE.
JB & Susan
UPDATE: We have 28 photographs up and ready for viewing. If you stop by, please drop us a line and let us know what you think.
D/FW LFG FIRST FALL OUTING. . . TWO DAYS!
The D/FW LF Group is heading out for an early fall outing next Saturday & Sunday, October 1 & 2, 2011.
SATURDAY, October 1st
We are planning to meet for breakfast at the Original Pancake House at 9AM then head over to the Camera Show at the Grapevine Convention Center that starts at 10AM. Follow this LINK, and print out the page for $1.00 off admission.
SUNDAY, October 2nd
We are heading down toward Granbury to photograph down the Brazos River under the BRIDGE that is on County Rd. 1175. Sunrise is at around 7:20 so there is no need to be there until around 8AM for us B&W shooters! Before you get to the bridge (from the north) there is a small parking spot on the left. Once you walk toward the old r-r bridge you will see a path down towards the river. I do recommend some good support for your feet!
Breakfast, a camera show one day, and an outing, and I would bet more food the next! Hopefully everyone will be able to join us both days!
JB
WRITING ON THE NEGATIVE EDGE
I was recently asked what type of writing device we use to mark the catalog number on the edge of our film. I had not given it much thought since we have been using the same pens for marking film for many years. I have heard of people using various mechanical pens and India ink. Some say they use a common Sharpie. There are numerous ways to do this, but the easiest and most effective way I have found is to use a pigment liner pen.
Specifically, I have used a Staedtler pigment liner pen for years. They are clean, easy to use, make very dense letters and numbers that easily show up on proofs, and are filled with permanent black ink. The ink used is lightfast and will not fade. One nice thing about the Staedtler pigment liner pen is it will not dry out. The manufacturer says, “The unique cap-off feature of the ink enables pens to be left uncapped for 18 hours without drying up. Even when left open during long breaks in writing, they remain ready for action without delay.” They also last a long time. We have not had to buy new pens in years.
The Staedtler pigment liner pens are available in nine writing widths from 0.05 mm to 0.8 mm. My favorite sizes are the 0.3, 0.5, 0.7 mm widths. I use the smaller diameter pen for small film where the clear edge is very narrow. You still get very legible writing along the film edge that prints well on the proofs. I prefer the larger diameter pen for the really big film. These have worked well for me for over 30 years, and should work well for you also.
Here are a few things I have learned over the years that may help when using these pens to mark your film. I always mark my negatives on base side opposite the emulsion, this way the file number prints correctly on the edge of prints and proofs. Be sure to let the ink dry thoroughly before you place the film into a storage sleeve. It should only take a minute to dry. I have found that if you make a mistake, you can remove the ink using a cotton swab lightly moistened with acetone. And, one more thing; the biggest mistake you can ever make is not using a filing system for your negatives. If you choose to mark your film on the edge, these markers will do the trick.
If you are interested in learning more about Staedtler pigment liner pens, HERE is their web site.
JB
D/FW LF GROUP, WET PLATE PHOTOGRAPHY WITH TY GUILLORY
We had another great gathering in East Texas this past Saturday. Twelve dedicated photo enthusiasts braved the heat for a day
with Ty Guillory to learn about wet plate photography. Ty gave us a tour of his workshop where he builds period cameras and showed us many of his wet plate photographs. There was a lot of discussion about period lenses, a subject about which Ty can give you plenty of information.
Once we had a good understanding of the cameras we moved outside for a hands on demonstration of the fine art of making tintypes. We were all fascinated with the simplicity and complexity of the process.
After a jam packed morning of photography we were treated to a great picnic lunch prepared by Ty’s wife Tina. After a break to recharge, we braved the 100 plus heat for even more photography.
One fun high point of the day was getting to drool all over the 5×7 camera that Michael purchased. Seems none of us were aware that Michael is now moving into the world of wet plate photography. Ty had even mounted a beautiful period lens that Michael had purchased
and the two of them took a great risk by making the first photo of yours truly. That lens may never be the same! As the afternoon progressed we moved inside to Ty’s shop and some welcome A/C.
At this point it was discovered that Michael needed a 3/8-16 mount, so Ty proceeded to install a second tripod socket on Michael’s new camera while we all watched. By the time the last few of us really die hard types decided it was time to head home, it was near 4:00. The thermometer in the van read 110 most of the way home. What a day!
The D/FW LFG would like to thank Ty and Tina for a very informative and fun day. We all had a great time, despite the heat, and some of us just may have learned something new. Once this heat subsides we will be planning more outings.
JB
D/FW LF GROUP, SATURDAY, AUGUST 13th, AMON CARTER MUSEUM. . .
Since the heat is on here in North Texas, we have decided to move our next gathering indoors and enjoy photography under air conditioned comfort. “Masterworks of American Photography: Landscape” begins Saturday, August 13th at the Amon Carter Museum in Fort Worth.
Saturday morning we will meet for breakfast at Lucile’s, 4700 Camp Bowie Boulevard, when they open at 9:00 a.m. The museum opens at 10:00 a.m. and after coffee, breakfast, and I am sure, much discussion, we will head up the street to the exhibition. This is an open gathering and we invite everyone to join us for some more photography and fun.
D/FW LF GROUP, PILOT POINT GATHERING. . . ANOTHER HOT MEETING!
Despite the fact that I really detest the heat, especially when it gets into the 80’s, we gathered before sunrise on the square in 
downtown Pilot Point Saturday. Texas is now into 30 consecutive days of 100+ temperatures, so in order to get out and have some photo fun when it drops all the way to 80 you have to get up early.
We had a good gathering in the summer heat. We all made a hasty retreat by about 8:30 to the local eatery for breakfast and shelter inside where the A/C was cranking. We continued for a couple more hours of shop talk and tall stories.
Michael said, “Fifteen photographers in all, ranging in age from 28 to 82.” We had a great time, met some new LF shooters, a great breakfast, and discussed photography. What else could you ask for?
Next gathering will be Saturday August 20th in East Texas. We will head over to meet Ty Guillory on his ranch in Mineola, Texas to learn about wet plate photography.
Don’t let anyone tell you we are afraid of the Texas heat. . . we don’t like it, but we have to make the best of it.
JB
STOP & FIX WITH STAINING DEVELOPERS
As most know by now, we use staining film developers. To be specific, we use the classic PyroCat HD formula from Sandy King. This developer gives us the type of negative we like. Keep in mind that creating art, no matter what may be your chosen medium, is a very personal thing. What works for me may very well not be at all acceptable to you. My father used to say, “that is why they paint cars different colors.” Personally I do not care for red cars.
All of that said, I have experimented with numerous staining developers and have chosen the one that works best for us. Along my journey of research I have found many opinions and myths that I have found to just not be true. Everyone seems to have an idea of what they believe to be true, but few have actually gone to the trouble to, as Fred Picker would say, TRY IT.
One area of great debate when it comes to staining developers is what stop and fix is appropriate. I find that this is not that great an issue and even John Wimberley agrees. Just in case you have not heard of John Wimberley, he is the father of modern Pyro developers. Even Gordon Hutchings the father of PMK, and author of “The Book of Pyro” was preceded by Wimberley and his first modern formula, WD2H. From an article titled “PyroTechnics Plus: Formulating a New Developer” in Photo Techniques magazine, March/April 2003, Wimberley has the following to say about Stop Bath and Fixer:
“Myths abound concerning the correct stop bath and fix to use with pyro, but it is not a critical issue. Either an acid or plain-water stop bath may be used, and any standard or rapid fixer is acceptable. . . However, avoid hardening fixers. I recommend the manufacturer’s minimum recommended time to avoid the possibility that sodium sulfite in the fixer might weaken the dye mask.”
Wimberley goes on to say that you should follow the manufacturer’s suggestion as to the proper stop for any type of fixer. If you use an alkaline fixer, use a plain water stop, or follow the instructions. He also says Hypo Clearing Agent (HCA) should not be used, since they are mostly sodium sulfite and “the enemy of the dye mask.” He recommends a 10 minute wash time in running water sufficient to complete five changes of water by volume.
If you do much research on this subject, you will find a lot of differing opinions. The thing is, you finally have to draw a line and choose what you intend to do with your processing procedures. So, having said that, here is the way I process film using PyroCat HD.
• Film is processed in open trays by the shuffle method
• Acid stop using 3ml 28% Acetic Acid plus 1,000ml water
• Fix in Kodak Rapid Fixer (no hardener)
• Rinse in running water 2-3 minutes
• Wash in a vertical washer 15-20 minutes
• Bathe in 2 drops wetting agent plus 1,000 ml distilled water
• Hang to dry
This is how I process film using my chosen staining developer. I am sure there are those that will point out all of the reasons this will not work, but I can assure you, it works for me. The most important thing to do is to be consistent. If you do things exactly the same every time, there is a very good probability that you will see consistent results. Fred Picker would say, “different is not the same.”
Remember, the best thing you can do is finalize your procedures and get on with creating your art. The finished print is what is important, how you get there should not get in the way of your creativity.
JB
EASILY FIND GRADE #2 AND GET YOUR FILM TEST CORRECT
So, here is the predicament; you are getting ready to do your film testing; you have decided to use the simple visual film testing technique. Visual film testing is a really simple way to determine your correct film EI and developing time. All you need to do is perform these tests on a grade #2 paper and you will know you are making the best possible negatives.
But, there is one nagging little problem. If you are using VC paper, how do you know what filter, or light source setting, that will produce a grade #2 contrast? Even if you are using filters, each filter set has different filters that will give different paper grades on different papers. Even the developer you choose can affect paper contrast. You really need to KNOW how to achieve a true grade #2, using your equipment and darkroom, in order to do a valid film test.
What if I could show you an easy, inexpensive, and quick method that will get you plenty close enough? Well, here you go. . . “FINDING VC PAPER GRADE #2; EYEBALL CALIBRATION.” This method should get you well within range to get you started on the right track.
Remember, that making a good negative is the first step in making a great print. Hope this helps you on your quest for photographic excellence! Download the PDF version from the Articles area of our web site.
“Simplicity is the ultimate sophistication.” -Leonardo da Vinci-
JB
D/FW LF GROUP, RAILROAD GATHERING. . . WE MET, DESPITE THE HEAT!
It is near impossible for me to get motivated in the heat. This Texas summer started early this year and we are in a period of above normal temperatures. The D/FW LF Group made the trek to The Dallas Museum of the American Railroad last Saturday. It was an incredible adventure just to look at all of the rail cars, and I found myself in complete fascination with the steam locomotives, especially the Big Boy.
The trouble was no matter how much I tried, I just could not get past the heat and bring myself to drag out even a 4×5 camera. In fact, I barely mustered the enthusiasm to use my digisnapper. All I can say is I certainly hope we get another opportunity to photograph at the museum. Hopefully by this winter they will have completed their move to their new location and we will try again. Lunch was a high point as usual.
I would like to thank everyone for an interesting day. Thanks Michael for making the arrangements, and Bob for lunch. Thanks to Robert and Mark for braving the heat with their cameras. Hope you guys made some good photographs!
Next outing will be Sat, 07/30/2011 in Pilot Point. This will be an early shoot so we can stay ahead of the oppressive Texas heat, and of course, we will conclude with brunch at the local greasy-spoon on the town square. Hope to see everyone there! In the mean time, keep your film cool!
JB
MEASURING PAPER FOG
I was recently asked to test some Kentmere paper for fogging. A friend had shut down his wet darkroom and had several packages of paper he wanted to sell, but wanted to know if it was still useable. I agreed to test for him and if you wonder how to check for paper fog, here is the process I use.
Begin by cutting off a strip of the paper to be tested in very subdued safelight to total darkness. Since the paper I was testing was 16×20, I cut off a strip across the short side about two inches wide. I then cut the strip in half. This gave me two pieces of paper 2×8 inches. On the back of the paper I mark one with the letter ‘F’ and the other with the letter ‘D’ and place the latter into a light-tight box.
The strip marked ‘F’ is placed into a tray of fresh fixer and agitated for five minutes. Then it is placed in a tray of running water. Next the strip marked ‘D’ is placed into a tray of developer, agitated for two minutes. . . stop for thirty seconds. . . and fixed for five minutes. I use my standard print developing chemicals and the normal times. If you use different materials, use your normal times. Once both strips are in the wash tray, turn on the lights and wash for thirty minutes. Remove the test strips and dry as usual.
What has happened here is I have cleared the test strip marked with the ‘F’ which stands for fixed only and I have developed the strip marked ‘D’ for developer as usual. All that is needed now is to measure the reflected difference. I used an X-Rite 810 densitometer to measure the difference and found it to only be about 0.003, which is nothing to worry about. Keep in mind that all light sensitive materials, film or paper, will have some amount of base fog when developed.
Fortunately I was able to report to my friend that his paper was in excellent condition and he was happy to be able to sell it to another photographer. Hopefully this batch of paper will live on to produce some beautiful prints.
Also keep in mind that you do not need a densitometer to run this test. If you cannot see any appreciable difference in the two test strips, you can assume the paper is in good condition. If you have some old paper that shows signs of fogging, you can experiment with adding a restrainer, like Benzotriazol, to your developer to see if it will help. Never throw out printing paper just because you have had it on the shelf for some time. Test it first. . . you may be surprised to find that it is in good condition and useable.
JB
JB & SUSAN HARLIN UPCOMING EVENTS
Here is our current calendar of upcoming events. More information available by clicking on the event below. We invite everyone interested in film photography to join us, though we specialize in LF and ULF, we love film. Hope to see you at one of our gatherings!
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01/28/2012 – D/FW LF GROUP OUTING. . . Grapevine Camera Show Saturday 01/28/2012
THE DAY KODAK DIED. . .
Is it over for Kodak? Who knows for sure?
January 19, 2012 | Categories: Commentary, Film, Photography | Leave A Comment »