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
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
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
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
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
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
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
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
VIEW CAMERA LUBE
It is important that your view camera work and work smoothly without glitches in the field. Nothing is worse than having some issue when you are out working. I spend a lot of time maintaining our cameras. I feel it is better to do this before we go out, than to have problems that require work in the field. Nothing is worse than wasting time on repairs when you are out.
A high-quality Microcrystalline Wax is one of your best friends when it comes to keeping your view camera clean and working smoothly. See my previous post titled “Wax On. . . Wax Off” for more information about waxing the camera.
But, waxing the camera is only part of keeping it functioning smoothly. You need lubrication for the metal parts. Metal rails, guides, and locking knobs need lubrication to keep them working freely. Nothing is worse than having a threaded part to seize up in the field. The best lubrication for metal parts is a dry lubricant. One that goes on wet but dries leaving a slick lubricant that does not get on your hands and possibly on your lenses or film. A dry lubricant also does not attract dust and dirt.
One of the best lubricants I have found is a product made for lubricating bicycles. Pedro’s Ice Wax 2.0 is a natural wax-based dry lube for use on bicycle chains. It is also an excellent choice for the metal-to-metal parts of the view camera. It works on brass, steel, and aluminum surfaces equally well. The manufacturer says it is a Hydrophobic wax coating that repels water and provides protection from wear and contaminants. It goes on wet and dries leaving a lubricating film that keeps parts moving freely.
Just a drop or two worked into the metal-on-metal surfaces is all you need. And it lasts for a long time. It is also good for all threaded locking knobs to keep them free and to prevent them from seizing up. A little Microcrystalline Wax plus some Ice Wax, and you should be good to go. . . go to the field that is, without any glitches to slow you down.
JB
FILM DIAGONAL
Sometimes it is necessary to know the diagonal dimension of a particular film format. This is especially true when trying to determine if a lens has a large enough image circle in order to adequately cover a certain film format. Modern lens manufacturers publish specifications that will tell you the maximum format the lens is designed for. But, with older lenses this information is sometimes not available. If you can determine the image circle of the lens, then you can determine which film sizes will work with the lens.
For example, say you are contemplating buying a lens and you know the image circle is 325mm. Looking at the table below you will immediately see that 325mm is the exact diagonal of a sheet of 8×10 film. This lens would probably work. But, you would have absolutely no movement available when using the camera. This lens would adequately cover 4×10 and would have generous coverage for 5×7 and 4×5 formats.
Here are a few common film sizes and their diagonal dimension;
If you need to calculate the film diagonal of any format, here is the formula.
A = Film Height
B = Film Width
C = Film Diagonal
Keep in mind that the actual image area is slightly less than the film dimension due to the hold-down guides that keep the film held in place in the holder. This calculated diagonal measurement is plenty close enough to determine adequate image circle of any lens.
Hope you find this information helpful!
JB
SPOTTING MICROSCOPE
If you are like me, you really hate having to spot prints. You especially do not like spotting negatives. I struggled for years trying to come up with a good way to spot prints. The problem is getting a good look at what you are working on, with enough detail to accurately guide that hair-fine spotting brush to just the right spot. I used a loop. . . tried magnifying glasses. . . used
a magnifying viewer for some time, but nothing gave me a really good view of what I was working with.
Somewhere along the way someone suggested using a stereo microscope. What a stroke of genius!
After doing some research it became clear that a high-quality inspection microscope, with magnification in the 8x to 10x range was prefect for spotting both prints and negatives. A good stereo microscope with zoom was exactly what is needed. The ideal setup would have a long boom stand so you can swing the head out over the work area, and for spotting prints you need an illuminator. I was able to find an entire microscope package including a zoom stereo head, eyepieces, long boom stand with heavy base, and illuminator on eBay.
The microscope head that I have has a zoom range of 0.70 to 3.00 x. Using a set of eyepieces that are 10x, I have a zoom range of 7.0 to 30.0 x. This is perfect! Most of the time 7x is fine, but if I have a really tiny pinhole I can zoom in even more. The microscope illuminator is necessary for working with prints, while you will need a light box for working on negatives. This is why you need a good, adjustable, boom with a heavy base.
It takes a little getting used to, but a stereo microscope is the Rolls Royce of spotting magnifiers. Well worth the expense. This type of microscope setup is used in manufacturing quality control to inspect small parts and comes up in the used market frequently. Searching out a good microscope will save you a lot of headaches and make that unpleasant chore of spotting a little more tolerable.
JB
TRAVELING WITH FILM
I have received several inquiries as to how we handle film when traveling. Our photographic outings typically last anywhere from two weeks to well over a month. We each shoot several different formats and we usually shoot a lot of film. We do not process film on the road since it is not practical to work with LF and ULF film anywhere but in our darkroom. So the question comes up, how do you handle several hundred sheets of exposed film when traveling?
First I have to say we keep meticulous notes on every negative we make. Everything from exposure, to location, to time of day is recorded on a small digital voice recorder. Every sheet of film gets an entry detailing all pertinent information. Search here on the jbhphoto.com BLOG for previous posts about our record keeping in these entries; “KEEPING NOTES” and “PRINTING NOTES & CATALOG.”
We only have room to haul just so many film holders in each format. So it is always necessary to carry fresh film and to reload holders on the road. Depending on how much we shoot on any particular day, we may reload every evening, or we could go several days before having to reload. Obviously we carry fresh film and empty boxes. How much film? The rule of thumb is to carry twice what you think you will shoot in any format. How do you know? Experience is the only answer to that question. If in doubt, throw in another box just in case. All I can say is we have never ran out of film on any trip. We always come home with unexposed film.
When reloading becomes necessary it is important to be able to sort the exposed film into groups that require the same developing time. We have printed sheets for unloading film. When it comes time to reload, we go through our audio notes and record the film holder numbers into columns that denote the development of each sheet of film. Once we have the sheet filled out, it is just a matter of locating the holders and arranging them in piles before unloading.
We do not practice anything very exotic when it comes to film development. We expose with the intention of one of three development times for any particular situation. Each sheet of film is exposed to be processed either Normal, Normal +1 ½, or Normal -1 ½. That is it. . . we need three sets of empty film boxes for each format, each labeled for the appropriate developing time. As we load more film we empty more boxes that are then used to unload more exposed film. We carry labels that we print off before we leave and affix them to the boxes as needed. The labels denote film developing time and that the box contains exposed film.
We also carry a handful of large rubber bands. All boxes, whether exposed or unexposed are held closed with two rubber bands. This is insurance against a box coming open or accidentally opening the wrong box. In our scheme, any box with rubber bands on it contains film. . . Do Not Open!
We carry a large Harrison tent, but I hate using it. So, we also carry spring clips, small nails, a hammer, tape and blackout material to cover windows as needed. We can nearly always find a bathroom or other room that is easily transformed into the temporary darkroom for film handling. We also carry a small folding table which comes in handy at times. Dust is always a problem when loading film. We carry a small field service vacuum, see the BLOG entry titled “DUST. . . A Four Letter Word!” Every holder is vacuumed, inside and out, every time we reload.
When traveling and shooting LF and ULF you have to be creative and prepared. This entire process is much more difficult to explain than it is to put into use. You just need a little forethought and planning. Traveling with film is not that difficult.
JB
DUST. . . A Four Letter Word!
Yes, the number one adversary of the LF photographer is DUST! Dust is a four letter word in the world of photography. Seems we are always fighting Dust. It gets into everything. The one place you absolutely can not tolerate the pest is on your film. A tiny speck of dust or lint in your film holder will always find its way onto that one area of smooth even texture.
So, the question is how to battle dust? One thing to do is, as mentioned in my previous post titled “Wax On. . . Wax Off” is to wax your equipment. Waxed surfaces are easier to keep clean. Also, vacuum out all of your bags, cases and packs regularly. Before every outing, take the time to disassemble your camera and clean it. Remove the bellows and vacuum out all of the folds, inside and out.
Next comes your film holders. Before you begin loading, dust the table top. I like to go over the surface with a damp cloth just to be sure. Your best friend when it comes to your film holders is a good vacuum. We travel and have to deal with film loading in all sorts of, less than desirable situations. Our number one tool is a small portable vacuum.
I first saw these small commercial vacuums being used by copy machine techs years ago. The vacuum they carry is a small, self-contained, field service vacuum and the most popular seems to be one made by 3M. We searched around and bought a 3M SV-497AJM vacuum on that auction site years ago. One of the best purchases we have made for sure!
A little searching on the Internet turned up this from 3M, “Designed by 3M Corporation for its own office products service department, this durable, reliable vacuum cleaner set the standard for all others. Designed specifically for cleaning toner from copy machines, it also is great for cleaning printers, floors or just about anything else a field engineer might encounter.” The unit is self contained with hose and attachments housed in the top and is 17″ x 6.5″ x 7.5″ weighing 9 pounds.
Our 3M field service vacuum has logged many miles with us over the years and we would not consider travel without it. It is also great to have around the darkroom to help keep dust under control.
JB
WAX ON. . . WAX OFF
Well. . . that was a cheap shot, but maybe it got your attention. Care and maintenance of your photo equipment is something that is important. Take care of your equipment, and it will take care of you. We use a lot of gear that is made of wood. We spend a lot of time outside in harsh environments. But, all of our equipment needs protection from the elements. We wax everything. Wood, metal, plastic. . . they all get a generous application of wax.
Wax keeps moving parts moving smoothly and a well waxed surface is easier to keep clean. Dirt and contaminants do not stick to a waxed surface. A slick, waxed surface is easier to keep clean. Also moisture is not as much a problem. I can say that we wax most everything except the lenses.
So, what kind of wax should you use on your expensive equipment? We use only the highest quality Microcrystalline waxes on our gear. Microcrystalline waxes are far and away, the finest wax you can use.
They offer excellent resistance to moisture, food acids, alcohols, moderate temperatures and are pH neutral naturally. Another benefit is that they will not show fingerprints on treated surfaces. Microcrystalline waxes also dry crystal clear, never yellow, leave no chalky residue and resist dust as well!
What brand of Microcrystalline wax do we use? RENAISSANCE WAX-POLISH has been the #1 choice of museums, art galleries and institutions for the preservation of precious items for over forty years. Professional conservators, retailers, restorers and private individuals throughout the world depend on RENAISSANCE WAX to protect their collections and for in home use.
All I can say is, this stuff is great and highly recommended. It is SAFE to protect all of these Materials:
Wood; raw & finished. Leather, Parchment & Paper. Metal; Silver, Silver Plate, Gold, Copper & Copper Alloys (Bronze, Brass, Tin, Zinc, German Silver, Nickel), Lead & Pewter, Iron & Iron Alloys, Tin & Tin Alloys. Damascus; Stone, Marble, Onyx, Limestone, Granite, Brick, Tile, Terrazzo, Obsidian, Alabaster; Gems, Glass, Porcelain, Holloware, Bone, Ivory, Horn, Shell & Mother-of-Pearl, Gutta Percha. Dammars; Gilding & Gold Leaf, Patinas. Enamel, Lacquer, Japanning, Cloute, Pose d’Or, Pique Point, Varnish, Marbleizing, Stains & Artificial Graining. Plastics, Formicas, Paints, Polyvinyl Acetates, Esters of Polymethyacrylic, Polycyclohexanones, Fiberglas Epoxy Resins, and much more!
Guess you can say that we are sold on Microcrystalline RENAISSANCE WAX. You can find it at most woodworking supply stores and on line. A quick Google search will turn up a lot more information. Well worth the cost and time it takes to apply. A little “Wax On. . . Wax Off” and you are good to go most anywhere.
JB
COVER YOUR BACK?
Do you cover the back of your view camera with the darkcloth before you pull the darkslide? I certainly do!
Have you ever experienced these pesky little light leaks along the edge of the film that seem to come from nowhere? Gremlins?
Not really. They are caused by any number of things that can go wrong in LF. A holder that has a small leak only when the slide is out, one that does not fit tight in the camera back, a light trap that is worn, or maybe you stress the holder as you remove or replace the darkslide. Thing is, it always seems to show up on that one piece of film you really want to print. Light leaks were seldom a problem as long as we were shooting 4×5, but when we moved to larger film sizes it became more evident. I will say, without reservation, as the film size goes up, the problems multiply exponentially!
The good news. . . the solution is simple, and for us, solved 99% of the light leak problems. Leave the darkcloth on the back of the camera while exposing the film. This way, even if there is a problem with the holder seating or the light seal being broken when removing or replacing the slide, you greatly reduce the probability of a leak.
It has become a habit to clip the darkcloth to the camera back once it is setup, and it remains there till the exposure is finished and the darkslide is back in the holder. We both use small, inexpensive, plastic spring clamps available at the local hardware store, to clip the darkcloth to the camera back. Simple, quick, easy. . . and. . . it works!
JB
WHERE DO I START?
The question comes up every now and again about getting started processing and printing B&W film in the wet darkroom. Seems that as more and more people come to photography via the digi-snapper route, they eventually become interested in that antiquated art form known as Film. I have said this so many times, have been cursed and belittled by some for my comments, but here it is again. Digital is not a replacement for film. It is simply another art form. There I have said it one more time. If you don’t get it, too bad. Get over it.
Now, back to the subject for today, how to get started processing and printing film in the wet darkroom. The question is, where and how do I start? What do I need? Is it hard to do? There are many answers to these questions. You can take a class, find a workshop, or study with someone that is willing to teach you. Or, my favorite method of doing anything. . . find a good book and learn on your own.
If you choose my method the next question is, what book? There are many good books on getting started with film. Also, there are a lot of good web sites on the Internet that will help you. My recommendation is to start where I did over thirty years ago. I found a great book that is geared to the rank beginner. This book does not outline anything that is set in concrete, but if you follow it you will process a roll of film and make prints. Wherever you go from there is up to you. This is where I started and I can say it worked the first time and though I do not use much of the techniques or materials in the book anymore, this was the launching pad for me to move to more advanced techniques. Some of the materials and chemicals are no longer available, specifically the chapters on color, but the basic B&W techniques still apply. This book is a bare-bones, get you started text.
OK. . . enough of my book review, time to get down to brass tacks. First I have to say that the book I recommend is long out of print. But, the good news is the title is readily available on the used market and it is not expensive. I found several copies on the Internet for $1.00! If you are interested in getting started in the wet darkroom, here is a good place to begin. It worked for me, I am sure it will work for you also. Here it is;
“DO IT IN THE DARK”
by Tom Burk
H. P. Books 1975
ISBN 0-912656-28-X
This is one place to start. . .
JB
THE VARIABLE CONTRAST COLD LIGHT
The dual grid, Variable Contrast Cold Light head (VCCL), is a great device for your enlarger if you print on black & white VC papers. These heads allow you to dial in any contrast grade your VC paper is capable of producing. You have continuously variable contrast at your fingertips. And, yes they do work. The trouble is, every paper is different. Setting the dial on the head to any random equal setting may or may not produce a grade #2 contrast. Worse yet, what two settings should you choose?
When you start using a new VCCL head you are now faced with a quandary. How do you calibrate this thing so you have some idea what paper grade you are actually getting? Did you know you can calibrate a VCCL head to a known standard? You can know what settings of the blue and green grid will give you an equivalent grade #2, or #3, or anything within the range of the paper!
Yes you can calibrate a VCCL head, and here is how it can be done. Look at the article “USING BTZS TO CALIBRATE YOUR VARIABLE CONTRAST COLD LIGHT HEAD” originally published in the Sep/Oct 2007 issue of View Camera Magazine in the ARTICLES area of our web site.
DON’T SCRATCH YOUR SINK
If you build you own darkroom sink or use a commercially available unit, you need something to protect the floor of the sink from scratches and abrasions. It has been a common practice to construct wooden Duck Boards for the bottom of the darkroom sink. These work well, they protect the sink, and allow water to drain, but wood is hard to waterproof and keep from warping.
I have heard of people using plastic lighting grids or plastic rods in the sink, but I have never tired them. I have constructed and used the usual wooden Duck Boards for years. Then I found something even better.
Dri-Dek® is sold as an anti-fatigue flooring for use in commercial work areas such as industrial manufacturing or commercial kitchens. It comes in 12” interlocking squares or rolls. This is a soft, flexible Vinyl that is perfect for the floor of a darkroom sink.
We installed Dri-Dek® in our sink two years ago and it has been an excellent investment. Water easily runs through and under the lattice work, it protects the sink floor, and it provides a soft, yet firm surface on which to work. Note, that the Vinyl does stain when exposed to some chemicals, like Amidol and Pyro, but it has remained flexible and I would not hesitate to recommend it to replace those old, warped wooden Duck Boards.
For more information about Dri-Dek® click HERE.
JB
WHERE, WHEN & HOW
They say one image is worth a thousand words, or something like that. I have been asked numerous times to describe the making of some of my photographs. It is strange that I can remember a lot of the details of the moment. I can recall the feel of the place, and the excitement of being there in my mind’s eye. This coupled with my field notes detailing the date, time, and technical information, recreates a somewhat in depth story of the making of a photograph.
I have just started what I plan to be an ongoing project. I will take selected photographs and try my best to tell the story of how the completed interpretation was created. Hopefully there will be something of interest for everyone interested in all aspects of photography. Each installment will cover the making of one photograph, both artistically and technically.
I invite you to stop by the new “WHERE, WHEN & HOW: The Creative Interpretation” area of our web site.
Enjoy,
JB
BELLOWS RIBS. . . RAILROAD BOARD???
I have had a lot of really positive feedback on my recent text titled Bellows Building. I would like to thank everyone for the kind comments. There have been several inquiries for more information regarding Railroad Board, exactly what it is and where to purchase.
Railroad Board is the best material for bellows ribs. It is a smooth, thin, Bristol-type board, colored on both sides, that is used for signs, posters, mailing cards, tickets, tags, and so forth. Thicknesses are 4 ply (about .017″ or .43 mm) and 6 ply (about .022″ or .56 mm) and is available in 22″ × 28″ sheets. I recommend 4 ply for small bellows smaller than 8×10 and 6 ply for larger bellows.
You can purchase Railroad Board by the sheet or in bulk packages from Dick Blick. I would recommend black material and here are the stock numbers and the direct link to their on line CATALOG ;
13105-2002 Black 22″ × 28″ 4 Ply
13105-2102 Black 22″ × 28″ 6 Ply
Hope this answers any questions and good luck with that camera rework and bellows building project.
JB
Dry Mounting Photographs
To dry mount or not. . . that is a question? This debate seems to roll on forever. Sort of like Ford or Chevy? Is there really a correct answer? I have made my choice.
For me there is nothing that comes close to a properly dry mounted photograph. Once I made my choice, all I had to do was learn the process. I worked out a method that gives me what I like, and if you are interested in dry mounting your photos and have never learned the process, I have a little booklet that details my procedure.
This is not the only way, it is just my way. . . and. . . if you are interested, it is FREE!!! Take a look HERE for “DRY MOUNTING PHOTOGRAPHS” pdf download.
SHEET FILM NUMBERING
How do you identify sheet film? You put unique numbers on the film holder, but how can you identify which sheet of film came from any particular holder? You may be able to identify the film by taking notes and knowing the subject. But, what if you make several exposures of the same scene, say using different filters? How do you know which filter was used on each sheet?
We hit this impasse many years ago and I came up with a simple solution that has worked for us for years. All you have to do is file a notch code into the film loading flap. We have used this system to number over one hundred 4×5 holders. Want to learn how to modify your film holders? Take a look at “A QUICK & EASY SHEET FILM NUMBERING SYSTEM” for the details.
Hope you find this helpful. . .
JB
PRINTING NOTES & CATALOG
The next step is printing, and yes, we keep notes on the printing process. As each print is worked out in the darkroom, we have printed sheets that
we use to record the process. We make our own print planner sheets using the computer to document every step in the darkroom. Our print planner sheets have spaces to record all pertinent information for the creation of a finished print. It includes the negative number and date, along with the print date, printing paper, developer, enlarger settings and such. The print planner sheet also has a series of boxes to record exposure manipulations. . . burning and dodging. That way if we ever need to go back and reprint, we have a record of exactly how we made the first prints. These sheets are filed in a three ring binder and labeled for future reference if needed.
I am sure this all sounds extremely complicated, and I have to admit that if you ever get behind on the record keeping, it would be near impossible to ever catch up. The secret is to continually and consistently keep the records up to date. When we are on the road, the first order of business in the evening, after dinner, is to update the day’s notes and log. Once we get home, the next order of business is to get the film notes done. This has to be done in order to sort the film before development. Our catalog database allows us to keep track of what we have in the way of photographs and serves as a place to search for information when needed.
If you continually keep up with your film notes and records you will always have a way to see where you have been and maybe an aid to where you go next. Is it worth it? We would not do it if we thought otherwise!
JB
August 18, 2010 | Categories: Commentary, Film, How-To, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »