CONTACT PRINTING & AZO
I have to admit that I am a contact printer. Susan and I both contact print. There seems to be some confusion about contact printing and all I can say is, it is the easiest way you can make a print. Contact printing is nothing more than laying the negative directly on a sheet of printing paper, covering it with a piece of glass, and adding some light for the exposure. Nothing could be more simple. You do not need any special equipment to print on graded paper. A negative, some graded paper, a sheet of glass, and a lamp.
As a side note at this point, note I use the term LAMP. I have been corrected for years by an old friend that worked in the lighting industry at one time. In the industry, there is no such thing as a Light Bulb. . . it is a LAMP. So when I say LAMP, you can be assured that to the laymen I am talking about a Light Bulb. Now back to contact printing.
You can contact print on any paper, but one of the more interesting papers that is highly sought after is the old Kodak Azo. Azo is a silver chloride printing paper that was manufactured primarily for making proofs. It is extremely slow and requires such a large amount of light to yield an image it is mostly used as a contact printing paper. There seems to be some confusion about printing on Azo, and believe me, it is not that complicated. You just have to use a light source that is bright enough to yield reasonable printing times. This is where the lamp comes in.
All you need for printing on Azo is a simple, frosted lamp. For small negatives, 4×5 or smaller you can use a sheet of thick glass for printing. Larger negatives require a printing frame that holds the paper and negative under pressure. Edward Weston printed most of his most famous work using an 8×10 negative in a simple spring back printing frame, exposed under a lamp hanging by its cord from the ceiling. He adjusted the lamp intensity by changing the lamp size, or moving the lamp up and down by coiling the cord and using a clothespin.
So, now we get down to designing a printing rig for Azo. This can be as simple or complicated as you wish. I am going to describe how we print Azo and other papers. This is the setup we use, and how it is designed. I will say this again, you can use this same setup for contact printing regular enlarging paper also.
Let’s begin with the printing frame. We print large negatives, and we use a vacuum frame. The advantage of a vacuum frame is that you get absolute even pressure between the film and paper, no matter what the size of the film. We shoot 8×10, 11×14, 8×20 and 16×20 film, and have a vacuum frame large enough to accommodate the largest film. The vacuum frame is positioned under the drop table below the 8×10 enlarger. The vacuum pump is located just below the frame and includes a vacuum gauge which is handy to confirm the frame is properly closed and the vacuum is drawn down. By having the vacuum frame located below the enlarger we can also use the enlarger for printing on other papers, including VC papers that require control of blue and green light. The top of the counter is removable, as is the drop shelf which is used for enlarging. By removing the counter top and drop shelf, the vacuum frame is exposed and can be used for printing.
Printing on Azo only requires a lamp placed at some distance from the film and paper. Different negatives require different amounts of light. We set the vacuum frame to lamp reflector to a fixed distance and change the lamp wattage as required. The higher the wattage, the brighter the lamp. We keep a supply of lamps, ranging from 7 ½ watt to 200watt depending on the amount of light required. For most of our negatives we use the 45watt, 65watt, and sometimes a 100watt lamp. I like having a reflector around the lamp to help keep the light out of my eyes while printing. It also focuses the light downward onto the printing frame.
The lamp fixture is fitted with a custom machined clamping mechanism that attaches to the focusing rail of the Beseler 8×10 enlarger just below the lens, and is held in place with a thumbscrew. The enlarger head is raised or lowered to set the distance from the lamp reflector to the vacuum frame. We always adjust the lip of the reflector to vacuum glass to 30 inches. For our setup, this allows for even illumination of the vacuum frame and keeps the reflector between your eyes and the lamp. The lamp assembly is easily removed by loosening the thumb screw in case you want to change to enlarging paper and use the enlarger as a light source. This all sounds complicated, but in reality it is very simple. Refer to the photos for more detail.
The only thing that might affect your printing repeatability would be any variation of the line voltage to the lamp, which will affect the lamp output. The voltage is easily stabilized using a constant voltage transformer. You can find constant voltage units used, take a look on eBay. The one we use is a 350watt unit made by Sola-HD and will easily handle our largest lamp which is 200watts.
The constant voltage transformer is mounted in a large box that is located behind the 8×10 enlarger. I have also added a timer and a one second metronome, both made from an old digital alarm clock. Some cheap digital clocks can be modified to function as a resettable timer. I was able to rig the alarm beeper so that it chirps every second. I like to use a metronome when contact printing, and there is also a large digital readout timer that I can use as a check, just in case I lose count. The printing lamp and timer are wired to a foot switch. When you step on the switch the lamp comes on and the timer begins to count upward. The metronome runs continuously and has a switch to disable it. My wife does not like it, she only uses the timer. There is also a switch on the main box that controls the vacuum pump. As a safety precaution, the lamp will not activate until the vacuum pump is running. This way if you accidentally step on the footswitch with your box of paper open, the lamp will not light.
Printing is extremely simple. Switch off the room lights, place a sheet of printing paper, sandwiched with your negative, in the center of the vacuum frame. Close the glass top. Hit the pump switch and check to see that the frame has drawn down. When you are ready to start, step on the footswitch. The printing lamp comes on and the timer starts counting. I always step on the switch in time with the metronome. Count off the desired exposure. When complete, release the footswitch. Turn off the vacuum pump. Remove the paper and process.
Need to burn and dodge? Keep track of your exposure and use a card or cutout shape for the appropriate time. You can easily see the image since the paper is white and the negative is easily seen through the glass of the printing frame or vacuum frame.
Contact printing on Azo, or any other printing paper, is extremely easy, and is not rocket science. By adding the ability to print Azo using the 8×10 enlarger, we save space, which is always a premium in the darkroom. You can make your printing setup as simple, or complex as you desire. The main thing is to make prints. Make lots of prints. Those prints are what is important.
JB
THE 2012 ILFORD ULF FILM RUN BEGINS NOW
It is that time again. . . time you get your order in for this year’s Ilford ULF film run. The ordering window opens on Monday 30th April and will run until Friday 22nd June 2012. More information and a list of dealers HERE.
BIG CAMERAS, BIG FILM; TRINITY ARTS PHOTO CLUB
We will be giving our talk titled, BIG CAMERAS, BIG FILM at the Trinity Arts Photo Club this Monday, April 23rd at 7:00pm. Looking forward to spreading the word about film photography. If you are in the area, please stop by.
JB
JOBO IS BACK!
Good news for those of you that use Jobo products for processing in your wet darkroom. Posted on the Internet below from Firscall Photogaphic LTD, located in Taunton, Somerset, UK.
Jobo Announces first Film and Print Processor in over 20 years!
Posted on April 3, 2012 by Firstcall Photographic
Jobo stopped production of its rotary processors in 2010. In doing so it became the last manufacturer to market a range of film processing machines to photographers.
With the resurgence in demand for film usage, reduced mini-lab sites and film processing in multiple retailers, they have decided to re-tool to make a new film processor that will be available in the last quarter of 2012.
Based on the original design for the Jobo CPP2, the new model has the initial product code of CPP3 and will have the capability to process all types of film and paper. It will have accurate temperature control, timer and take all Jobo tanks up to the 3000 Expert (sheet film tank system). The original CPP2 concept will also be maintained in that it will have both cog and magnet lid connection for use with a lift and normal rotary agitation.
To get a technical Specification and a free £290 lift with purchase of the processor send your name and contact info to info@firstcall-photographic.co.uk
CROPPING
Those that dictate hard and fast, unwavering, rules for the creation of art usually are the vane, egotistical, self-centered types that are full of their own over-inflated view of their importance and try to tell you that cropping is an unforgivable sin. I say. . . Not True!
No one has the authority, nor the right, to tell you what, nor how, to create your art. Cropping is a personal decision, and can only be justified by you as an individual. If cropping helps any particular photograph, then it is no sin to proceed to crop away.
Cropping is best done in the camera at the time you make the negative, but it is not always possible. There will always be those instances that appropriate framing is just not possible in the field. Never pass up an opportunity just because the perfect image does not exactly fit the film. Keep cropping as an option. Do not dismiss anything that will help. 
During the printing process look carefully at your first work print and determine if the image is strong from corner to corner. Use cropping L’s to mask questionable edges of the image and determine if lopping off some of the image will strengthen it. If you are enlarging you can reset the easel and the print size. If you are contact printing, a rotary trimmer is your best friend. The choice is totally yours. Do not be a slave to others opinions. There are no rules. The decision is so eloquently expressed by Bob Segar: “What to leave in, what to leave out. . .”
If cropping does not improve the photograph, maybe it is a good idea to find another image that will be more expressive. If you do hit a brick wall with a photograph, save your work and put it aside for later. There are few negatives of questionable substance that are worth killing yourself in order to print. You are usually better off to concentrate on those that are not a struggle to print.
It is easier on you and more productive, and less frustrating, to make negatives that are well seen and easy to print. A mastery of craft will make everything work more smoothly, but never let anyone tell you that you should not, can not, crop your photograph. Just don’t go there! Cropping can be your best friend.
JB
DON’T LAY IT ON THE GROUND
Strange how many questions we get about what we do, why we do it, and always how do you do certain things. I never mind answering questions. This is how one learns, and I feel that sharing what you know is very important. We have no secrets. . . no secret methods. . . secret places. . . secret formulas. . . or anything that is in any way secret.
Funny how after our last trip, and sending out our Utah Snapshot Album, I received several questions about our camera packs. One that came up several times was how do you hang the pack from your tripod? We are pretty picky about our camera gear. It is imperative when you are a film photographer to keep any and all foreign materials as far from your gear as possible. I just could never set my backpack down in the dirt, let alone the mud, or snow. HERE is another post on this subject.
We tend to photograph in remote locations. We are always climbing over rocks, and are knee deep in mud or snow. One of the first packs I used was a really well-made and versatile Art Wolfe design that was perfect for a 4×5. The pack had a small webbing loop at the top and I soon found myself hooking it to one of the knobs on my Zone VI tripod. Worked great!
Things were fine until we moved up to larger cameras and larger packs from f64. They say necessity is the mother of invention. So we modified the larger f64 backpacks with a hanging strap similar to the Art Wolfe design, since it was not a standard option from them. Later when we designed and built our own packs the hanging loop was a standard, must have, feature. As our packs got larger and heavier we eventually changed over to Ries tripods and suddenly there was another problem. . . no good place to hook the pack. This was 
a challenge. When I need to think about something, I usually take a nap. I do my best thinking when asleep.
I dreamed up a simple modification to the Ries tripod head that allowed me to add a hook to the under side of the crown. I fabricated a small aluminum block and a hook made of 3/16 steel rod. The rod has to be heated and bent into shape, then quenched to harden the metal. The block uses a 6-32 set screw and a press-fit pin to hold the hook firmly in place. The hook assembly is attached using two 8-32 flat head machine screws drilled through the tripod crown.
I have added this modification to both our ‘J’ and ‘A’ model Ries tripods and they have preformed flawlessly for years. Ries tripods are extremely well-made and will support well beyond their factory weight ratings. I have hung a 45 plus-pound pack from my ‘A’ model for years now and never had any issues. . . except sometimes heaving that heavy pack onto the hook when in a difficult position.
Take a look at the photos to get a better idea of how I made this modification. I just did a complete rebuild of my 40 year old Ries ‘A’ model and it now has a new coat of paint and the legs have been refinished. It will not stay this nice looking for long. A tripod takes a beating in the field.
The running story around here is that we don’t own much of anything that hasn’t been taken apart and modified in some way. If you work with LF and ULF, you soon learn that there are very few off-the-shelf options available. If you need something, it is probably not made and you will either have to improvise, modify, or build it yourself.
This is how we solved the problem of keeping our pack off the ground. There are those times you just have to make a few modifications.
JB
REWORKING MY RIES ‘A’ MODEL
It is really great to be able to fix, repair, and restore your equipment yourself. I have always been a doer. . . I like to maintain and work on my own equipment when I can. On our last trip to Utah I noticed that my very old and trusty Ries ‘A’ Model tripod was beginning to show signs of use. I have no idea how old this one is, but I would guess it was manufactured in the late 1970’s or so. I have had it for years and it was no where new when I purchased it. The legs have taken a beating, needed a little work and a refinish. The top crown paint was chipped and peeling and the previous owner had not used a friction washer between the head and the crown, so the crown top was pretty scared up and needed some attention also.
What I had in mind was a complete strip down of every part of the tripod, remove all old paint and finish, repair dings and dents as best as possible, refinish everything, then reassemble. It’s not that hard to dissemble a Ries tripod. Take care not to damage anything and maybe take a few quick snapshots before you start, just in case you don’t remember exactly how it all fits back together.
I completely disassembled the legs, removing all of the hardware so I could sand and refinish the wooden legs. The most difficult things to remove are the drive pins that hold the leg locking rods to the underside of the crown and leg swivel guides. An appropriate size punch makes short work of the pins and an arbor press takes care of the guides.
At this point I have the entire tripod completely disassembled. With the application of a little elbow grease, I completely sanded down all of the wooden leg parts, smoothed over the dings, scrapes, and dents, and shot three coats of spar varnish on all six upper and three lower legs. Next I stripped the old paint from the tripod crown. Took a few tries and some scrubbing with a brush, but soon I had nothing but bare aluminum. Since the crown top surface was scored, I chucked the head in the lathe and resurfaced the top. Next came a fresh coat of black self-etching primer and a bake in the sun for a day. There is nothing like a day or two in the Texas sun to really cure paint. . . even in winter.
The leg swivel guides did not fare well being removed from the crown, so I machined a new set. Once I had the new guides pressed into the crown I also made a new set of friction washers.
At this point it was just a matter of cleaning up a few odd parts and reassembly of the entire tripod. I did not need to do any work on the A250 head since it is much newer than the legs so it was only a matter of adjusting the leg tension and my tripod was ready for action.
That is the entire process in a nutshell. The tripod, though it will never look factory new, is now ready for another trip.
JB
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
BEER & RODINOL
When I first began working with B&W in my own darkroom I only had a 35mm camera. So I shot many rolls of 36 exposure Tri-X. At one time my favorite developer was Rodinol. Not very expensive, easy to use, keeps forever and I liked the negatives. What else could you ask for?
My procedure for film was simple. I would line up my chemical containers in the correct order. Fill them with the proper liquids and adjust the temperature. Then I would head to my closet darkroom to load the film into the developing tank. I used a 16oz tank that held two reels and I usually did two rolls at a time. I loved the Rodinol because it came in a stock syrup and was mixed something like 1:200, if memory serves me correctly. I would measure the stock using two small syringes since it only took a few milliliters to make up the developer. I would lay the syringes, once loaded, next to the container marked developer which contained distilled water. I always have used presoak, so once the film was in the presoak, I would empty the syringes into the developer container and stir up the developer. Not much to it, simple and easy. Usually took me about forty five minutes from start to hanging up film to dry.
Now this one particular Saturday myself and a few friends went out and I shot two rolls of film that day. Later that evening we returned to my place for a few beers and by about 8:00 everyone headed home. I had this bright idea that if I processed the film from the day it would be dry and I could print it Sunday. Nothing to it, just get out the notebook, measure and slosh. . . processed film!
There was nothing very special about this film run, except the slight fog in my head from the beers and maybe a little to much sun. Everything went as usual. Once the film was washed I unrolled the first strip to find it completely clear end to end. The second roll was the same. What the @#$%^*? My first thought was the camera quit working. As I sat there perplexed I looked at my processing line and what do you think I saw? There next to the empty container for the developer lay my two syringes with the stock Rodinol still in them. I had failed to mix the developer. I learned right there that plain distilled water will not develop film. I also immediately enacted a strict rule in the darkroom; NEVER MIX RODINOL AND BEER!
JB
March 24, 2012 | Categories: Commentary, Darkroom, Film, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, Rodinol, ULF Photography | Leave A Comment »