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

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

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

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

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

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

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

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

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

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