We are pleased, and honored, to have been invited to join a local, yet small, group of large format photographers this year. We have had numerous outings throughout the year around the area and had a really good time getting out to shoot some film and talk shop with a great group. Thanks to Eugene, Michael, Bob, Glenn and others. We are looking forward to more photographic adventures in the new year!
Our local large format photo group has proven to be a great test bed for new cameras. Moving to a new, lighter KB Canham 8×10 has served to lighten the load on the old back and should allow for even longer excursions into the wilderness. But the really exciting thing is the new ultra-light 11×14 camera and custom backpack designed by Susan. Now there is no excuse not to shoot 11×14 out of sight of the vehicle.
It is always fun to get out and shoot and our little informal group has made several trips into the field this year. Above is a photo of the 11×14 on its first outing. What a great time we all had. Thanks Michael for allowing me to use your cheery face in the photo!
JB
December 14, 2010 | Categories: Photography | Leave A Comment »
As much as I try to not talk continually about the gear, it seems that I always end up talking shop anyway. So, here I go again talking about another project. Having built two vertical pano cameras for Susan I promised myself no more camera building. Well, I do not seem to listen to myself all that well. I have this thing about big negatives. I have chosen the 8×10 to be my every day format. But there are times that I envision something just a little larger. In reality, my favorite format is 11×14, but the camera I have been using weighing in at about 24 pounds limits its usability. The idea of a more user friendly 11×14 has been rattling around in my head for some time.
I spent a lot of time looking at various camera designs with particular interest in the lighter, more back friendly, cameras.
The nice thing about building your own, is you can pick and choose the features and design that best suits you. This is exactly what I did, and I ended up with a camera that is a conglomeration of designs.
The end result is what I call the Ultra-Light 11×14. Here are the specs;
FORMAT — 11X14
FILM BACK — Horizontal/Vertical
BELLOWS — Max: 36.0” Min: 5.5”
FRONT SWING — Limited by Bellows
FRONT SHIFT — +/- 2.0”
FRONT RISE — +/- 3.0”
FRONT TILT AXIS — Limited by Bellows
FRONT TILT BASE — Forward: 45º Back: 90º
REAR TILT — Forward: Limited by Bellows Rear: 35º
REAR SWING — +/- 10º
GROUND GLASS — Acrylic
WOOD — Cherry
FRAME — Composite & Aluminum
FOLDED — 18” x 19” x 6”
WEIGHT — 13.5 lbs
The most important thing here is the last item, Weight! Once all of the camera was finalized, Susan had to build a pack to haul everything. Took several weeks, but I now have a complete 11×14 packable camera system. The pack carries the camera, three lenses, accessories, three film holders, and weighs in under 45 pounds!
Now it is time to get out and get back to what is important, making photographs. This, I hope, will be my last camera building project.
JB
P.S. Take a look at my previous post titled, “THE VIEW CAMERA IN THE FIELD” November 25th, for another photo of the Ultra-Light 11×14 with pack on its second outing.
December 6, 2010 | Categories: DIY, Photography | Tags: 11x14 View Camera, Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
Don’t forget to send your wish list to Santa. . . You never know???
Have you been naughty or nice?
JB
December 4, 2010 | Categories: Photography, Uncategorized | Leave A Comment »
This Is How We Work With A View Camera.
There is always a lot of discussion on how best to carry LF gear in the field. Seems that most people like to carry their camera in a backpack. That is our favorite mode of transportation in the field for sure. We like the backpack idea so much that Susan builds our packs to custom fit our cameras and accessories. All that we have learned about camera packs has been worked out the hard way. We have copied the features of commercial packs that we find useful and modified as required.
It seems that most people plop their pack down on the ground when they get ready to shoot. That is fine, unless you are in mud, water, or knee deep in snow. I have never liked the idea of setting my pack on the ground. And, yes I know, there are those that carry a tarp, but that is way too much trouble for me. I want to find my subject, plop down my tripod and then get to work without having to look for a convenient and safe place to put down the pack. This thinking led to a modification to both the tripod and the pack. Susan added a webbing loop to the top of the pack and I added a hook on the bottom of the tripod crown. This allows us to hang the pack from the tripod, keeping it out of the dirt and making it very accessible.
We both have worked out a system that allows us to carry everything we need and work efficiently in most any situation. The packs we use have a large compartment in the bottom for the camera and a separate top compartment for lenses and accessories. The custom packs also have room for several film holders.
This is how we do it and it has proven to be very efficient. However you choose to work in the field, the most important thing is to have everything you need with you, well protected, and easily within reach.
JB
November 25, 2010 | Categories: Film, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
Susan and I have used a Zone VI B&W viewing filter for years. This nifty little round device not only shows you the relative tonal relationship between different areas of a scene, it also acts as a framing device.
Zone VI 4x5 Viewing Filter
So, what is a B&W viewing filter? In reality it is a Wratten #90 monochromatic filter. The gel version of these filters are available from the usual photographic suppliers. They are a gelatin filter and fragile. Several companies manufacture monochromatic viewing filters. Tiffin has a version for B&W, but we prefer the Zone VI filter. It is rugged, mine is over 15 years old and still going strong. The fragile filter is mounted between glass and encapsulated in a round molded plastic enclosure. The filter comes with a cord so it can hang around your neck ready for use at any time.
So, what does the B&W filter really do? What it does not do is turn a scene to B&W. The filter shows you the approximate tonal relationship between different areas of a scene as recorded by B&W film. It will show you if there are any mergers of tone within a scene. For example, the filter will show you if a building will tonally merge with the sky, thus indicating the use of a filter to darken the sky for separation. It will also give you a good idea of how different colors will look in B&W. I have found that nice little green moss on a tree trunk will merge with the bark and disappear. The viewing filter will show you this with just a glance. Once you get used to using this handy, yet simple little device, you will not want to be without it.
The Zone VI version also serves as a framing device. The 4×5 version has the same proportions as a 4×5 or 8×10 negative. By learning to hold the filter at the correct distance from your eye, you will soon be able to approximate what focal length lens is required on your camera for a specific framing.
One other thing, the filter forces you to close one eye to use. Remember, the camera has only one lens, one view, one perspective. You may be surprised, but try closing one eye while you are looking at a possible photograph. You just may quickly learn that once you remove the 3-D effect of using both eyes, the photo just may not work. Try it!
This is just another tool. It may work for you, maybe not. The only way to really know is to try it. The Zone VI B&W Viewing Filter is no longer manufactured, but you see them used all the time. Check the Internet. This just could become a regular part of your equipment complement.
JB
November 9, 2010 | Categories: Commentary, Film, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
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
October 25, 2010 | Categories: Film, How-To, Photography | Tags: Film Holders, Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
name [neym] (noun)
1. a word or a combination of words by which a person, place, or thing, a body or class, or any object of thought is designated, called, or known.
What is in a name? Interesting question for sure! 
There are times that a name has little meaning, other times it can be the key to an empire. Companies spend untold sums of money in the creation of a name for their products. Their chosen names are trademarked and protected by law. Some names are household words and are part of our everyday life. There are times when a name is extremely important.
There is a revolution brewing in the world of photographic art. The digital vs. analog debate is raging on, and at times is near a war rather than a debate. There are people aligned on both sides and most have made their choice. I can say without hesitation that I have made my decision and I plan to stay the course. It matters not what your preference may be as to the photographic medium you choose. The choice is a very personal and serious decision. You need to be comfortable with your selection and dedicated to its use.
The problem is there needs to be a clarification of terms used in photography today. The various forms that photography has taken on in these more modern times has lead to a lot of misunderstanding and confusion. The general public, along with even those in the fine art photography world, have trouble understanding and defining exactly what modern-day photography has become.
There is this grand misnomer that digital is a replacement for film. There was even a wide spread rumor that film was dead. This is nothing but a pure deception. . . little more than a marketing ploy by people in the photo industry that do not have a clue as to what photographic art is about. Do not buy into the farce that film is dead.
But I digress from my original topic. . . now back to the question at hand. 
What we need is to be more specific about photographic art. Gone are the days that the word photograph was assumed to mean a procedure based on film and the wet process. Photography has branched out into a more complex art form. Digital photography is a new art form, not a replacement. It is a new way of making images. Because of this new medium there is a lot of confusion pertaining to the process. Each medium has its own peculiarities, strengths, and weaknesses. . . each needs a name. We need to be more specific in the description of the imaging process. After much thought, I have defined three areas that encompass photography today.
1. Traditional Photography
This process has numerous subcategories which are all based on an imaging process that uses film, a wet darkroom, and chemical processes from start to finish. Simply, the way photographs were made before the introduction of digital imaging. This also includes the numerous alternative processes that are still practiced today. This is my choice for the creation of all of my photographs, thus for me using film and the 100% wet darkroom process, my finished print on gelatin silver paper, would be identified as a Traditional Silver Gelatin Photograph.
2. Hybrid Photography
This process is new and is comprised of those that mix traditional and digital together. Some choose to shoot film and then use digital means for the finished product. There are also processes that incorporate digital means to produce a negative that is ultimately used for a wet processed product. This is a very popular art form today and it needs its own definition. . . hence, the term Hybrid. For example, if you are a platinum printer that uses digital negatives, your print should be labeled Hybrid Platinum Photograph.
3. Digital Photography
This is pure digital from start to finish. A digital camera is used to capture the image, computers are used for post processing, and a digital printer is used for the finished product. A Digital photograph is 100% digital in its creation from start to finish. If you work in this medium and use an inkjet printer the print should be labeled a Digital Inkjet Photograph.
This is how I choose to define photography in the modern world. There are three distinct categories of imaging and each should be properly defined. It should be obvious as to which art form I practice. From now on when asked, I will say I am a Traditional Photographer and my prints will be labeled Traditional Silver Gelatin Photograph. Just that simple!
This is my choice and has absolutely nothing to do with anything other than it is what I feel correctly reflects the different types of photography. If you have chosen to be a digital photographer and work in that medium, why be ashamed of it? Same if your work is produced by the hybrid method. Why not be proud enough of your chosen medium to accurately define it and not hide behind the general, and now somewhat vague, idiom of Photography? Just keep in mind that none of these three categories are the same and none is a replacement for any of the others. Each is simply its own art form and they all fall under the general category of Photography.
So, what is in a name? What you call something can mean a lot, especially when you are trying to define your craft. What is your choice. . . TRADITIONAL. . . HYBRID. . . DIGITAL. . . or. . . some combination of the above? Doesn’t matter, just define your chosen medium accurately.
JB
October 17, 2010 | Categories: Commentary, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
Back in February 2009 I posted an entry titled “WHO USES PYRO?” and ended it with this statement, “I have about reached a conclusion as to which formula best suits what we do. . . and. . . I may just write about what I found at a later date. . .”
One thing I can say for certain is that for us, and let me be very clear about this, I repeat, FOR US and the way we work, most any staining developer out performs any non-staining developer we have used. It was just a matter of finding the right developer that suited us and one that would allow us to produce prints that have the presence and feel that best suits our vision.
After working with several of the more popular staining film developer formulas we have finally chosen our favorite. There was a lot of research and comparisons, followed up with field testing in order to ascertain what best fit our needs. I defined the main criteria and judged each developer on how well each performed in each area. Here is a short list of the main points:
• the formula had to be published
• we considered how we work
• what we expect from the negative and developer combination
• ease of use
• consistency of the developed film
• stability of the developer formula
• stain color
• general stain and stain density
• the look, feel, and overall print quality
• last, but not least, the cost
I prefer to always be able to mix my own chemicals from scratch. This became my first issue, since I do not want to depend on the availability of the developer from an outside source. I am a strong believer in vertical integration. Also, if I want, I can modify the formula, and I always know who to blame if something goes wrong.
One thing I have learned is that Pyrogallol is cranky. Nearly all of the formulas we tried that were based on Pyrogallol, at one time or another, under certain circumstances, gave inconsistent and sometimes unpredictable results. The problems could have been caused by any number of variables. We tray process all sheet film using the shuffle method. Some of the Pyrogallol formulas showed signs of aerial oxidation in the tray at the end of the developing cycle, while others did not. The biggest problem was that every Pyrogallol formula we tried, performed erratically and at one time or another, produced an occasional unevenly developed negative. One formula was especially sensitive to wash time. The longer you left the film in the washer, the more the general stain increased and the film went from a near neutral color to deep green. Never did understand what caused that. I am sure it was something that I did, but I do not like to have to deal with something that is that sensitive to slight variations of process.
One thing I did learn was that Pyrocatechin is a much more stable and user friendly developing agent. The Pyrocatechin formulas showed little to no aerial oxidation in the tray after a processing run. No matter what I did, the negatives have not shown any uneven development or any other problems. I prefer to have the confidence that even if something is a little different during processing, it will not cause inconsistent results with the finished negative. In other words, I like to have a little wiggle room.
One other quick observation has to do with the general stain color. I know there has been a lot of discussion about the stain color and again this is what we have found to work best for us. Through our experimentation we quickly learned that green negatives do not work well for us. We print on numerous different papers, and use both graded and variable contrast materials. There is no one magic paper! The right paper is the one that works for any particular negative you are printing. We have found, that for us, the more neutral to brown stained negatives work the best. That is just us. . . if you find otherwise, then use what works for you.
With all of that behind us and a notebook full of test data, I can say it is time to stop the experimenting and get on with what is important, creating photographs. We have now chosen our favorite standard film developer. Pyrocat HD by Sandy King has proven to be the best choice for the way we work. What else can I say. It works. . . works consistently. . . and meets all of our expectations.
I would like to thank Sandy King for all of the research and work he has put into this formula. If you are not familiar with Pyro developers and Pyrocat HD, click HERE to learn more.
JB
October 3, 2010 | Categories: Commentary, Darkroom, Film, Formulas, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, PyroCat HD, ULF Photography | Leave A Comment »
Contrary to popular belief boys and girls, FILM IS NOT DEAD! And I have the proof to boot! One question that everyone has is, where do you get film for that camera? Or, even more disturbing, I thought they didn’t make film any more? Then, where do you get film processed? And finally the most frustrating of all, why would you want to mess with film?
Well, I am not going to address all of this, but I am going to shout from the roof tops again, FILM IS NOT DEAD! Something great has just happened and I am jumping up and down with excitement. Keith Canham, owner of KB Canham Cameras has just announced at Photokina this year that he is now partnered with Kodak to coordinate orders for LF and ULF film. Keith will now take orders for any current Kodak film, in any size! Let me say this again. . . any current Kodak film, in any size!
Plus, just to reinforce the idea that film is not dead, Kodak also announced a new color film. Think about this now. . . Kodak is still developing new film emulsions. They are still doing R&D and improving film! Need I say this again. . . FILM IS NOT DEAD! Here is a portion of the announcement;
Kodak Introduces new Film at Photokina
Yes, a new film: Kodak Creates World’s Finest Grain 400 Speed Color Negative Film with New KODAK PROFESSIONAL PORTRA 400
ROCHESTER, N.Y., Sept. 14, 2010 – Eastman Kodak Company today introduced their new KODAK PROFESSIONAL PORTRA 400 Film, featuring the finest grain structure available in a 400 speed color negative film. The new film incorporates KODAK VISION Film Technology, plus Antenna Dye Sensitization in the cyan and magenta emulsion layers to achieve its unbeatable fine grain.
Yes, a new fine grain color negative film from Kodak. . . and. . . you can get it in any size you can dream of! Here is more information from Photokina on the Kodak BLOG.
Also. . . don’t forget, Kodak is not the only game in town. Ilford offers their B&W film in LF and ULF sizes. Plus there is imported sheet film in many sizes from places like Freestyle Photographic Supplies and others.
Think I am excited. . . well, yes I am! A very special Thank You to Keith Canham and Kodak for your support!!!
I just have to shout this one more time; FILM IS NOT DEAD!
JB
September 26, 2010 | Categories: Commentary, Film, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
We would like to thank everyone that joined us last evening for the reception for our show at the Langdon Center in Granbury. We had a great crowd. Got to visit with old friends and met some new ones also. We made a few quick snapshots before everyone arrived. We had the vertical 8×20 and the 11×14 cameras on display. We also had a slideshow of our travels last year in the snow in Utah.
There were refreshments and an excess of talk about art and photography. We also had a guest of honor, Tucker the Cat.
Thanks again to everyone!
JB & Susan
September 25, 2010 | Categories: Events, Photography | Leave A Comment »
A special Thank You to all that came out and joined us to celebrate Fall Gallery Night. We had a great crowd at the Adobe Western Art Gallery. . . refreshments, friends (New & Old), a ULF Camera, photos. . . who could ask for more?
We would also like to remind everyone that our exhibition “THROUGH THE LENS OF THE VIEW CAMERA” runs through September 30th at the Langdon Center in Granbury, Texas. There are 36 of our prints on display and the Artist reception will be the 24th 6-9p.m.
As always, thanks for your support,
JB & Susan
September 13, 2010 | Categories: Events, Photography | Leave A Comment »
We are excited and extremely honored to have been selected to be included in the 2010-2011 edition of the “Langdon Review of the Arts in Texas.” The “Langdon Review of the Arts in Texas” is an annual publication of Tarleton State University providing an overview of the year’s most exciting cultural accomplishments in Texas.
Our essay titled “Through the Lens of the View Camera” along with 14 of our photographs appear on pages 140 through 150. If you would like to purchase a copy, follow the link below. We were also honored by being invited to present our talk titled “Big Cameras, Big Film” Thursday evening of the Langdon Review Weekend. Thanks to all that attended, we enjoyed having the opportunity to meet each and every one.
We would like to send our heart felt gratitude to everyone at Tarleton for their support and for allowing us to participate in this years review and celebration.
JB & Susan Harlin
PS We would like to remind everyone that our exhibition “THROUGH THE LENS OF THE VIEW CAMERA” runs through September 30th at the Langdon Center. There are 36 of our prints on display and the Artist reception will be the 24th 6-9p.m.
September 12, 2010 | Categories: Events, Photography | Leave A Comment »
Saturday September 11th 6-9 p.m.
Please join us at the Adobe Western Art Gallery in the Fort Worth Stock Yards for a reception in conjunction with Fort Worth Gallery Night.
We will have one of our Ultra Large Format Cameras on display and will be available to talk with everyone about our art and craft. Join us for an evening of art and photography.
Adobe Western Art Gallery
2324 North Main Street
Fort Worth, Texas. 76164
817-624-4242
www.adobewesternart.com
www.jbhphoto.com
September 11, 2010 | Categories: Events, Photography | Leave A Comment »
Years ago I found myself with access to a violin. I love the sound of a violin. There is something about a beautiful, single note when played by an accomplished violinist. There is a richness. . . a richness of sound. . . a deep resonance, with harmonious overtones in just a single note. I thought this can’t be that hard, you just draw the bow across the string and out comes the sound. Not quite for me though. I even resorted to reading a little in the beginner’s book on bow technique. But, no matter how hard I tried, it always sounded like someone dragging a heavy metal chair across a concrete floor. It was immediately apparent that I really did not want to learn the technique that bad. That was the end of my effort with the violin.
So, what does this have to do with photography you ask? Well, maybe nothing. . . maybe a lot. . . depends on your point of view and interest. No
matter what the commercial says, there is no easy, quick way to anything. . . and. . . believe it or not, you can never have it all, and there is no free lunch! Life is about choices. If you spread yourself too thin, you will never achieve anything. If you sort of think you are interested in LF or ULF photography, you are setting yourself up for failure. LF, and especially ULF, is not easy, not foolproof, and is hard work. There are many pitfalls that will frustrate and test your patience. If it can go wrong, it will! You have to really want to work with LF or ULF. You have to be able to find your way through all of the little things that will ruin your every effort. If you are determined, and if you really have the desire, you can, and will master the craft. Persistence and patience will pay off in the long run. But, if you are looking for instant gratification, find another interest.
I would never recommend that anyone jump into LF or ULF photography. It is just not for the faint of heart. . . those that are not dedicated enough to invest in the time it takes to master the process are doomed to failure. Sort of like playing the violin. I am really glad I didn’t buy a violin just to find out I actually didn’t want to learn to play the thing. If you only have a casual interest, you just may be better off letting someone else do the fiddlin’ around.
JB
August 27, 2010 | Categories: Commentary, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
In the last entry I talked about making film notes in the field. That is the first step in the process of record keeping. I didn’t mention the last step which is negative storage. Each negative is marked on one edge with a unique number, then inserted into a clear sleeve then into an archival envelope. Each envelope has the negative number written on the upper edge. The envelopes are then placed into archival boxes, which are labeled with the contents. Also, the smaller film is proofed on our standard paper. These proof sheets are punched, and filed in binders. That pretty much sums up the negative end of the process.
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.
We also keep a computer data base which contains our catalog of available photographs. This database contains all of the information from the film and printing notes. The master catalog database also contains information on the number of prints available, price, and exhibition information.
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 »
I have written quite a bit about LF and ULF photography here on the jbhphoto BLOG since we started back in January of 2009. A lot of it is my rambling about this or that, and sometimes I tend to repeat myself. Oh well, must be old age??? One thing that I do not remember writing about is keeping notes. We are both meticulous about keeping records of our travels and detailed notes on the film we shoot.
We do several things when we go out on an extended trip. One is to make a lot of snapshots. They are an excellent way to keep track of
the places we visit and are used to plan future trips and serve as a visual reminder of the places and things we discover. We also keep a daily diary/travel log of what, when, and where we were on a particular day. I have to admit that Susan is better at the diary than me, but at the end of every day before we drop off to la-la land, we try to type a few paragraphs. We keep this on a laptop computer and entries continue till the trip is over. It is a great resource, along with the snapshots, later when trying to come up with exactly what happened on any particular adventure.
But, the most important notes are those that pertain to the film we shoot. I experimented for some time when I first started shooting sheet film and eventually came up with a record keeping scheme that works. We have both used this method for many years and it has given us detailed records that, when needed, are invaluable.
When I first began seriously trying to keep film notes I started off with a small notebook. For me though, having to fumble with pen and paper was just not working. So I came up with the bright idea of using a small voice recorder. This worked great! I would record one entry for each exposure and later transcribe the information into a notebook. We both used a micro-cassette recorder for years, until mine just flat quit working. It was worn out and had to be retired.
At this point the digital voice recorders were available and they opened up an entirely new way of record keeping. With the digital recorders it is even easier to keep up with the daily notes. We make one entry for each exposure. The digital file is date and time stamped and it is easy to upload them to the laptop computer. This we do every evening along with updating the daily travel log.
Originally we transcribed each film audio entry into a notebook by hand, but starting about three yeas ago we began typing this information into a computerized form. This form has spaces for Negative Number, Film Holder Number, Development, Image Orientation, f Stop, Shutter Speed, Notes, Filter, Lens, GPS and Date and Time.
This is a somewhat complex way of keeping film data, but it has proven to be well worth the effort, especially when you need to recall the what, when, or how of a particular photo that you made years back. I can go to my film notes and tell you most anything about a particular negative, including the weather.
Keeping notes is also a way to track mistakes. If a particular negative did not turn out as expected, you have all of the information that can provide a clue as to what went wrong. I also record information on my audio entries about location, the light, temperature and anything else that might affect the image, or the photographer. Your notes can be a lifeline to help you track problems.
Detailed records of each sheet of film are not hard to keep up with if you are diligent and keep the process current. Next time I will talk a little about keeping notes in the darkroom. . . and. . . yes, we also keep pretty detailed records of the prints we make.
JB
August 9, 2010 | Categories: Commentary, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
Almost forgot about the other little project we undertook a few months back. Susan found a KB Canham 4×10 and it ended up in our possession. Because we strive to keep our equipment as homogeneous as possible, the new camera required a few modifications just like my 8×10.
Everything around here seems to end up in the shop before it hits the road. So, here is another little story about camera modification. Take a look at the article WHY MODIFY ANOTHER CAMERA? to see what happened this time.
The good news is we took the cameras on a little outing a few weeks ago and the negatives were just fine. No light leaks, nor any other strangeness. Guess this one is ready for the road. Time for fall, then winter, and much cooler weather to get out and haul some equipment around.
JB
July 28, 2010 | Categories: DIY, Photography | Tags: Canham, Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
Seem things continue to change at an alarming rate. Several years ago, maybe 12-15 to be honest, I bought some supposedly daylight balanced fluorescent lamps for the kitchen fixture. They put out this really annoying, kind of brownish light that I just could not stand. They were eventually banished to the garage where they finally burned out and were discarded. It was back to the old standard Cool White fluorescent lamps and that awful color cast they generate. Fast forward to our current world and I saw some information about a Compact Fluorescent (CFL) lamp that is 5,000k and touted to be Full Spectrum. Wow! Now that is more what I was looking for.
I bought a CFL lamp that is dimmable, 5,000k and Full Spectrum for another project I was working with. I was so impressed with the light that I searched out some four footers for the kitchen fixture. Once installed I was really impressed with the fact that the room no longer had that sick green/blue light I have become so accustom to from the run-of-the-mill Cool White lamp. The kitchen light looked so good compared to the ones in the darkroom, I knew they were next.
I did take the time to look at a few photographs under both lights and the difference is remarkable. It is always difficult for me to judge print color cast under fluorescent light. These new Full Spectrum lamps deliver a much more natural light that I really like. If you haven’t looked into these new generation lamps, you might just get a pleasant surprise.
Little else to say, other than the latest batch of Full Spectrum fluorescent lamps are impressive and I really do not want to go back to Cool White. . . Man!
JB
July 18, 2010 | Categories: Commentary, Darkroom, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
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
July 11, 2010 | Categories: Film, How-To, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
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
June 16, 2010 | Categories: How-To, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, Microcrystalline waxes, RENAISSANCE WAX, ULF Photography | Leave A Comment »
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
June 3, 2010 | Categories: Film, How-To, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | 1 Comment »
What are you looking for? A new camera? Pieces and parts? A new lens? We are cleaning out our equipment closet and it is time for some things to go to someone that can use them. The excess equipment we no longer need may be just what you are looking for.
Drop by the new area on our web site FOR SALE and take look. There just may be something you really need. And you will be helping us with our spring cleaning!
JB
May 20, 2010 | Categories: Photography | Tags: Canham, Film Photography, Fine Art Photography, JB & Susan Harlin, Ries Tripod, ULF Photography, Wisner, Zone VI | Leave A Comment »
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
May 17, 2010 | Categories: Darkroom, Film, How-To, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »
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.
May 3, 2010 | Categories: Darkroom, How-To, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography, VC Paper, Zone VI | Leave A Comment »
THE B&W VIEWING FILTER
Susan and I have used a Zone VI B&W viewing filter for years. This nifty little round device not only shows you the relative tonal relationship between different areas of a scene, it also acts as a framing device.
Zone VI 4x5 Viewing Filter
So, what is a B&W viewing filter? In reality it is a Wratten #90 monochromatic filter. The gel version of these filters are available from the usual photographic suppliers. They are a gelatin filter and fragile. Several companies manufacture monochromatic viewing filters. Tiffin has a version for B&W, but we prefer the Zone VI filter. It is rugged, mine is over 15 years old and still going strong. The fragile filter is mounted between glass and encapsulated in a round molded plastic enclosure. The filter comes with a cord so it can hang around your neck ready for use at any time.
So, what does the B&W filter really do? What it does not do is turn a scene to B&W. The filter shows you the approximate tonal relationship between different areas of a scene as recorded by B&W film. It will show you if there are any mergers of tone within a scene. For example, the filter will show you if a building will tonally merge with the sky, thus indicating the use of a filter to darken the sky for separation. It will also give you a good idea of how different colors will look in B&W. I have found that nice little green moss on a tree trunk will merge with the bark and disappear. The viewing filter will show you this with just a glance. Once you get used to using this handy, yet simple little device, you will not want to be without it.
The Zone VI version also serves as a framing device. The 4×5 version has the same proportions as a 4×5 or 8×10 negative. By learning to hold the filter at the correct distance from your eye, you will soon be able to approximate what focal length lens is required on your camera for a specific framing.
One other thing, the filter forces you to close one eye to use. Remember, the camera has only one lens, one view, one perspective. You may be surprised, but try closing one eye while you are looking at a possible photograph. You just may quickly learn that once you remove the 3-D effect of using both eyes, the photo just may not work. Try it!
This is just another tool. It may work for you, maybe not. The only way to really know is to try it. The Zone VI B&W Viewing Filter is no longer manufactured, but you see them used all the time. Check the Internet. This just could become a regular part of your equipment complement.
JB
November 9, 2010 | Categories: Commentary, Film, Photography | Tags: Film Photography, Fine Art Photography, JB & Susan Harlin, ULF Photography | Leave A Comment »