Fine Art Photography

A LITTLE SELECTIVE BLEACHING

Selective bleaching is a technique that uses a very dilute solution of Potassium Ferricyanide, which is brushed on specific areas of a print to lighten the tone and increase contrast.  It must be done very judiciously and anyone practicing this technique must be prepared to ruin a few prints.  But, with a little patience and practice, bleaching is a powerful tool in the darkroom.  Selective bleaching can open up an entirely new avenue of expression.  Here is an example from a recent printing session.

First, here is the subject;  a blind cave between two large sandstone fins in Arches National Park.

 

Selective Bleaching

Next, the printing session;  the negative printed quite easily, without any manipulation.  It is quite interesting, but lacked depth and was somewhat depressed, especially at the bottom.  Also the wood and cracked mud needed to be lighter to draw the eye and enhance the feeling of depth.  Here is a side by side comparison of two prints, one before,  the other after selective bleaching. . . (this is a quick snapshot of the wet prints on the viewing stand before toning)

Selective Bleaching

Finally, the finished print;  we selenium tone every print we make, not only for permanence, but for the slight tonal shift and deepening of the contrast of the image.   Here is the finished dry print.  Note the change in color and contrast after selenium toning.

Selective Bleaching

I will not get into the technique employed, since selective bleaching is deceptively simple and is beyond the scope of this short article to adequately explain.  As I said before, be prepared to ruin a few prints.  This is another tool you can add to your arsenal of darkroom techniques. . . remember, it is always about the finished print.

JB


 

Posted by JB Harlin in Darkroom, How-To, Photography, The Darkroom Workshop

ROLLING YOUR OWN FIXER

Zone VI GoneThey say the more things change, the more they stay the same.  Whatever that means.  It seems like only yesterday I standardized my chemicals for printing and started using Zone VI Fixer.  That was over twenty years ago.  But you know, things do change, and they are not the same.  We are down to our last box of the old standard Fred Picker Fixer and it is time to start rolling our own from bulk chemicals.

Actually, I started researching this over a year ago and we have obtained several hundred pounds of Sodium Thiosulfate in anticipation of this day.  This is the principle chemical used in fixer and though not difficult to acquire, it is expensive to ship.  Sodium Thiosulfate Pentahydrate is used in water treatment to remove chlorine.  It is available from many pool supply sources.  Also, check the Internet and eBay, there are sellers there that will ship to your door.  You will need about two pounds per gallon of fixer.  We go through anywhere from half a gallon to a gallon of fixer during a typical printing session, so we need a lot of the raw material.  But, this is the price you pay when you work in the wet darkroom and we believe it is more than worth the effort.

The next question is what formula should I use.  Since we are only talking about paper fixer, then there is no reason to even consider a formula suitable for film.  We just need a good, dependable fixer for processing fiber base papers.  Now we get into the discussion about acid vs. alkaline fixer.  Boy, does that ever stir the pot.  Almost like asking film or digital. 

Well, I want to change as little as possible and using a running water stop bath instead of acetic acid is just not what I want to mess with.  I did not want to change anything, or at least, I wanted to change as little as possible.  So, it was immediately determined that an acid fixer was best for us.  There are many formulas out there, and everyone has their favorite.  I have tested several and settled on what we intend to use.

Also, we needed a formula for plain hypo for second fixing bath and pre-selenium toning.  I found what I needed there also, thanks Ansel.

So, if you are interested in what we use, I have added our fixer choice to the Formulas Area of this BLOG.  Drop by and take a look.  The formulas we have chosen work fine, are simple, easy to mix, and does the job as needed. Obviously, I am not a chemist, and I am not into discussing chemical formulas.  For me, working in the darkroom and mixing chemicals is only a matter of finding a recipe that reliably works, sticking with it, and getting on with making photographs.  I don’t care much about the innards of chemistry. . . I’ll leave that to the chemists.

Things do change, and they are not the same, but who cares, as long as the results are the same.  Fred Picker said, “different is not the same.”  I miss ol’ Fred! 

JB

Posted by JB Harlin in Darkroom, How-To, Photography

D/FW LF GROUP OUTING; Cedar Hill State Park, Sat 10/20/2012

It’s been a long HOT summer. . . Time to break out the cameras. . .  Let’s go back to Cedar Hill State Park!

Cedar Hill State Park

NOW, IF I CAN JUST REMEMBER. . .

Sunrise is at a much more reasonable 7:25AM  —  Sunset will be at 7:04PM.  Park is open 6:00am to 10pm.  There are several wonderful spots that will be good for both times of the day. 

Some of us are planning on spending the day at the park.  We will do lunch around noon, there are restrooms and picnic areas in the park.  You can either bring your picnic basket or head into town.

As usual, we will have a variety of cameras in play. . . everything from LF to handheld digital.  We will be working on more details as we plan this outing.  Stay tuned for more info.

See y’all there!

Posted by JB Harlin in D/FW LF GROUP, Events, Photography

A GREAT STORY

Story

Posted by JB Harlin in Commentary, Photography

A 4X10 TREASURE

4x10 Film HolderThere are times when things fall into place. . . then there are those times when everything seems to just fall apart.  My Mother used to say, “even a blind hog will pickup an acorn every now and then.”  We struck on some good fortune recently and found something extremely rare.   I found six, in-the-box, never-used, Lisco Regal 4×10 medical film holders.  In case you didn’t know, Wisner designed his 4×10 camera around these extremely rare and difficult to find film holders. 

Susan started out with the Wisner 4×10 camera and a handful of holders, since we have forever been searching for more holders.  She has found Wisner-style holders off and on and has collected a good assortment, but we are still on the lookout for more.

This group popped up on one of the photo chat sites and I couldn’t resist asking questions.  The seller said he purchased them from another person that acquired them from a medical supply house and they were pristine.  Pristine is an understatement!  I still can’t get over how these holders look.  The boxes were shelf worn, but the holders were absolutely un-used and still had the warranty cards.

It is strange how things sometimes happen, and here is one of those times I stumbled upon an acorn.  These holders have found a good home and will be well cared for and put into service doing what they do best. . .  holding film!

Happy hunting everyone!

 JB

PS  Just in case anyone asks, NO these 4×10 holders are not for sale. . . But. . .  we do have some new, in-the-box, Fidelity Elite 4×5 holders and some lightly used, with-the-box, Toyo 4×5  holders for sale.  Drop by our For Sale area to take a look.  Thanks!

Posted by JB Harlin in Film, Photography

Photographer Print “Throw Down” WHAT A GOOD TIME!

Print Throw Down

We had a fun afternoon today at the Sun To Moon Gallery and were delighted to be invited to participate in their second annual Photographer Print “Throw Down.”   We had a great time and a great crowd, sharing photographs and stories about what we do and why.  Already looking forward to next year!

JB

Posted by JB Harlin in Photography

Photographer Print “Throw Down” and Get-Together Saturday, June 30th

Hello fellow photo enthusiasts. . .  we have been invited to participate this weekend at the Sun to Moon Gallery Photographer Print “Throw Down” and Get-Together.  If you are looking for something to do this Saturday afternoon, inside out of the heat, drop by.  Susan and I will have several of our prints displayed.

WHERE: Sun to Moon Gallery

WHEN: Saturday, June 30, 2:00 – 4:00 p.m.


Sun to Moon Gallery

1515 Levee Street
Dallas, TX 75207
214.745.1199

http://www.suntomoon.com/pages/Tri_framesets/gallery_tri_fs.html

Posted by JB Harlin in Photography

RABBIT, BUTTERFLY, WEATHERED WOOD. . . CEDAR HILL STATE PARK

Haven’t had a lot of time to write lately.  We have been working on several remodeling projects here at the house.  We did have a D/FW LFG outing back Saturday May 26th.

This is a really great place for the B&W LF shooter.  We had a few  courageous people join us to brave the heat and wind.  One thing is certain, we will be returning once the weather cools down some.  I would say after the first fall frost would be a great time to return.  Special thanks to David for arranging this outing, lunch and the tour of his darkroom. .  . plus, showing us some of his photographs.

Hopefully fall will come early this year!

JB

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Posted by JB Harlin in D/FW LF GROUP, Photography

CONTACT PRINTING & AZO

Contact Printing AzoI 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

Posted by JB Harlin in Darkroom, How-To, Photography

THE 2012 ILFORD ULF FILM RUN BEGINS NOW

It is that time again. . . time you get your order in for this year’s Ilford ULF film run.  The ordering window opens on Monday 30th April and will run until Friday 22nd June 2012.  More information and a list of dealers HERE.

 

Ilford

Posted by JB Harlin in Film, Photography