- Genderfluid
- Jun 18, 2009
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my mom is a slut
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The darkroom at nyu has the best enlarger I've ever used; now that i've started using it, my prints have genuinely improved and I can't imagine working on anything else. It's a Zone VI LED enlarger. Instead of having a lamp, or two lamps, it has two banks of LEDs, one green (for soft light) and one blue (for hard). Each can be adjusted anywhere from 00 to 99 in terms of their brightness, leading to ridiculous amounts of control over brightness and contrast, and it makes it incredibly easy to split filter. Do one exposure at 99-00 (maximum soft light) and then one at (00-99) maximum hard light, and then burn if needed with anywhere from (99-33) to (33-99). It's a genuinely wonderful machine.
One catch: it's not available for sale any more, and neither are parts. If you can find one, that's awesome.
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Oct 12, 2011 13:00
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- Genderfluid
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my mom is a slut
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Paul MaudDib posted:
I read about someone making his own somewhere out of a block of aluminum. If you've got a mill, you're set. Might still be possible with just a drill press, a hacksaw, and some ingenuity. Superbright LEDs are cheap, then you need some way to diffuse it a bit and possibly a way to cool the head.
Honestly I've even thought about trying to build one with dual blue and UV lights. Get an enlarger lens that's corrected from UV to at least blue if not the whole visible spectrum (so the blue and UV focus at the same distance), focus in blue, switch to the UV for printing. You could print silver-chloride like Lodima with something like that.
after some googling, there's a german company that makes LED banks up to 8x10 in blue and green. http://www.heilandelectronic.de/htm...tlicht_main.htm
here's the text from that site roughly translated
quote:They wanted to use long Splitgrade ®?
But not replace your old enlarger, not convert the color head or not to allow the estimated Kondensorbeleuchtung you give up?
Then we have a solution for you. Replace the existing lighting system with little effort by our modern cold-light source. We supply the correct adapter with the same.
After intensive research, we have decided not to simply copy the technology to date, the noble gas-filled tubes. The Saviour cold light source consists of hundreds of high-intensity light emitting diodes (LED's) of the primary colors red, green and blue. This has many practical advantages over the previously known cold light sources.
No significant drift of light - stable light from the first second of
For the focus you have nearly white light available
No shock sensitivity
Arbitrarily adaptable to any enlarger
Function integrated red light, red light to change from direct exposure possible
Any size format achieved
In comparison with traditional halogen lamps opal or the LED light source produces only about 25% of the heat with an otherwise identical exposure effect. Randlichtabfall by the light source is now a thing of the past.
The life span of LEDs is several thousand hours, changing lamps are no longer valid. The cold light source is directly controlled by the Split Grade ® controller.
We adjust the size of the light surface and the adapter customized to your enlarger, are currently available sizes: 6x9 cm / 4x5 inch / 13x18 cm / 8x10 inch. Special versions are also possible, ask and ask us!
Technical data:
Supply: 230 V AC (+ / - 10%)
Available sizes: 6x9 / 4x5 inch / 13x18 cm / 8x10 inch
Consumption: Depending on size (see above) about 25 W / 50 W / 100 W / 200 W
Light density: blue: 0.5 cd / cm ², green: 0.7 cd / cm ², red: 0.4 cd / cm ², White: 1.5 cd / cm ²
Light Drift: <0.1 f-stops
Technical changes without prior notice.
http://www.heilandelectronic.de as of 14 August 2007
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Oct 12, 2011 13:36
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- Genderfluid
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my mom is a slut
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Just started printing using 16x20 Ilford Warmtone Semi-matt. It's such a gorgeous paper, but at $4.20 a sheet it'd better be.
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Oct 26, 2011 14:28
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my mom is a slut
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Dr. Cogwerks posted:
Selenium toning with warmtone paper = 
I've never toned before, is it really worth the effort.
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Oct 29, 2011 18:18
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my mom is a slut
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mysticp posted:
It's more than worth the effort. Just do it in a well ventilated room and wash the print thoroughly. It's essential if you want to produce an archival print.
Well, just ordered some Ilford selenium toner. Looking forward to seeing the results.
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Oct 30, 2011 21:28
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- Genderfluid
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my mom is a slut
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so what do you like to listen to in the darkroom. i'm a fan of classical stuff http://www.youtube.com/watch?v=PLFVGwGQcB0 it kind of goes with the quiet zen feeling.
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Nov 4, 2011 20:46
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- Genderfluid
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my mom is a slut
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Reichstag posted:
I've been considering this methodology for printing with a metronome: http://www.michaelandpaula.com/mp/onprinting.html
It's not so much an issue of not being able to see or hear a timer, it's that if I'm enjoying the music I'm not fully concentrating on printing, so I get sloppy.
I worked for Michael and Paula two summers ago. Michael's kinda insane (as in, he believes he's part of a secret order that protects the world from evil energy) but he is a wonderful printer. Coolest thing that he does: he develops negatives by inspection.
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Nov 5, 2011 17:25
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- Genderfluid
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my mom is a slut
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post pics of the other stuff and we'll tell you what it is
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Nov 12, 2011 02:20
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my mom is a slut
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Bergger sent me 25 sheets of 20x24 Glossy instead of Semiglossy, but I don't have time to send it back and get the semi shipped since I'm printing on friday. #firstworldproblems
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Dec 6, 2011 22:39
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my mom is a slut
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atomicthumbs posted:
Fun: finally figuring out how to print with split filtering correctly and making some absolutely beautiful prints.
Not fun: getting paper out of its dark bag when someone bumps the light switch with their shoulder. ~60 sheets of MG IV FB down the drain 
honestly unless the paper was strewn around, if you had discarded the top 10 sheets or so you probably would have been fine save for some blackened edges which can be trimmed after drying. keep this in mind next time this happens, which since you seem to be working in a group darkroom with an easily accessible switch will probably not be too far from now.
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Dec 10, 2011 09:27
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- Genderfluid
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my mom is a slut
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Paul MaudDib posted:
One issue seems to be the bow my fiber paper has acquired in its package. I think it might be bowing up in the middle a tiny bit, which could also provide inconsistent focus.
All fiber paper does this. A good easel is just as important as good focus when it comes to fiber at any size larger than 8x10, since the bow will start to seriously impact focus beyond that.
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Jan 7, 2012 14:52
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- Genderfluid
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my mom is a slut
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With rare exceptions, I make one stop test strips, which are at least 5x7. I find that the increased image area per exposure is far more helpful than having a bunch of useless exposures that are unreadably light or dark. Usually I'll do 8/16, but I'll go as low as 6/12 and as high as 15/30, anything above or below that and I'll adjust the aperture to get in that range - I always start at f8 or 11 to give myself some latitude in this.
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Jan 10, 2012 09:31
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my mom is a slut
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RC paper should be as good as fiber in terms of image quality. The difference is in texture and archival stability.
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Jan 16, 2012 01:40
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- Genderfluid
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my mom is a slut
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Paul MaudDib posted:
What if anything can I do to flatten my fiber paper before I print? I mentioned it's bowed in the bag, by quite a bit. On its own the paper probably has at least a centimeter of bow. It seems like this could be enough for the center to bow out of the plane of focus in the easel.
I haven't done any science on this. It's possible the easel (8x10 Speed EZ-EL) actually does keep it flat, or at least flat enough to be reasonably sharp. The school darkroom also has 4-blade easels, which might do a better job of keeping it flat?
As long as your easel is making borders on the paper, holding it down flat, you should have no problem. For 8x10 I'd have .5 or .75 inch borders on the long side and then adjust the narrow side to fit.
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Jan 22, 2012 08:44
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- Genderfluid
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my mom is a slut
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It's not warmtone, is it? If it's just regular multigrade, contact ilford and send them the pictures you posted and they might get you a refund or a discount on your next order or something.
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Feb 11, 2012 23:21
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- Genderfluid
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my mom is a slut
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QPZIL posted:
I really want to do some alternative process prints like palladium or platinum, but the chemicals are so expensive, and there's a chance I'll kill myself from the fumes 
most alternative processes aren't really suitable to a home darkoom for various reasons (price, toxicity, etc). have you looked into albumen or salt prints? those are fun. also carbon printing.
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Feb 16, 2012 20:49
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- Genderfluid
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my mom is a slut
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If you have some ventilated space, I really really recommend selenium toning. It makes your pictures truly archivally stable and gives richer blacks. It's kind of incredible how you put a print in this liquid and it comes out looking better.
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Feb 27, 2012 23:27
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- Genderfluid
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my mom is a slut
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I use Ilford Selenium. 1:20 dilution for 5 minutes.
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Feb 28, 2012 06:17
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- Genderfluid
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my mom is a slut
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mysticp posted:
That's great paper. It's almost the industry standard in fiber paper now.
I have a place in my heart for Bergger. I just wish it wasn't so expensive
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Feb 29, 2012 00:16
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- Genderfluid
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my mom is a slut
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eggsovereasy posted:
So I did a few prints just to try out this fiber paper and evidently I'm a philistine as I can't tell a difference between the same print on fiber and rc. Maybe I have to wait for it dry to really appreciate it?
Rc has come a long way. You should wait for it to dry, but the difference is only really apparent (at least to me) for some prints, and even then some difficult areas within those prints. The main advantage of fiber is its archival stability
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Mar 1, 2012 05:57
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- Genderfluid
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my mom is a slut
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Buceph posted:
A public darkroom has just opened up in my city. I can only develop in my room (it has a sink and running hot water) and it's a real hassle to setup all my dark room equipment. It generally takes me about an hour and a half either side to setup and take down all the equipment so I figured I'd check out this public dark room.
They're charging €12 for an evening in there and that includes chemicals. You only need to bring your own filters and paper. I'm wondering what questions I should have for them, what I should be looking out for and etiquette for sharing a dark room with other people (apart from not answering your 3million candlelight brightness smartphone in there.)
I did an intro course in printing last October, but haven't done much at home because it's such a hassle. I see myself printing more in this place, plus it's literally one minute from work. I just don't want to look like a moron in there, or damage my own or even worse someone else's work.
As far as etiquette in public darkrooms, just don't be a dick. ask if you need to borrow something like a grain magnifier and i guess don't overcrowd the chemicals? don't worry darkrooms are pretty relaxed places
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Mar 14, 2012 23:15
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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nielsm posted:
Enlarger lenses: Am I right in thinking that a shorter focal length will project a larger image onto the baseboard? (But usually be unable to cover as large negatives.)
yes
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Mar 19, 2012 01:31
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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eggsovereasy posted:
So I bought and have been using Ilford Multigrade because that's the only thing they had at my local store that didn't come in a 5 gallon jug. However, I don't print a whole lot and it seems to turn brown very quickly (which I thought was a sign of dying developer?). Ilfords documentation says it should last six months in a half full bottle which I thought should be fine. Is brownish developer not as big a deal as I'm making it out to be?
What paper developer do you guys use? I just want one that's easy to deal with (like a liquid concentrate) and lasts a long time.
Bromophen is great
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Mar 23, 2012 05:26
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- Genderfluid
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my mom is a slut
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In fine art circles that's the most common technique used for making platinum prints. The loss of quality compared to a contact print from a negative is noticeable until you get up to 16x20 or so, by then you're standing far enough away that you shouldn't really see anything.
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Apr 26, 2012 18:21
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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MrBlandAverage posted:
How noticeable are we talking? I mostly just see it as a way of possibly having greater control over my output than normal. Also I have some unprintable (but still scannable) negs I could print this way.
Nothing crazy, I'd avoid it for 8x10 but if you're doing 11x14 give it a try
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Apr 26, 2012 19:46
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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If I was really paranoid, I'd do develop-stop-fix-hypo clear-wash briefly-hypo clear-wash well. I'm guessing something like 2m and 10-15m with constant flow water, or like 30s/30s/30s + 1m/3m/3m/3m with a roller setup. Do the hypo clear stages with two separate batches of hypo clear, so that it's fresh. The first pass should take away most of it, letting the wash do some good. Then you hit it with a send hypo clear and the second wash should go much faster since the majority is gone.
initial wash 4 minutes hypo clear 2 minutes second wash 30 min or an hour. the darkroom i use has one of those vertical washers with the plexi compartments.
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Jun 5, 2012 17:16
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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The only scanning you should be doing in film photography is of your finished darkroom prints.
TRAP SPRUNG.
You get way better results from negatives
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Jul 7, 2012 06:38
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- Genderfluid
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my mom is a slut
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In regards to what? What's your final product?
Dynamic range, detail, and the ability to control tones and colors in post are made much easier when scanning from negatives. I scan color negatives to make digital inkjet prints.
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Jul 7, 2012 17:21
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- Genderfluid
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my mom is a slut
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Do you feel the same way about B&W?
I don't really have enough experience scanning b/w. I'm scanning with the ultimate intention of printing, and for the most part i stick to gelatin silver for b/w. however, i don't see why it would be different
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Jul 8, 2012 05:58
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- Genderfluid
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my mom is a slut
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It's not that I care about 1 developer taking 6 vs 8 minutes or anything like that. I just hate the whole process, from the moment I pop the film canisters until the time I hang the negs to dry. The only reason I do it myself is because I know I can control the results better than the local labs. Also because I'm a cheap bastard.
If both of those could be taken care of, I'd go straight from shooting to printing.
I never get tired of pulling out the negs and squeegeeing the photoflo
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Jul 14, 2012 08:05
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- Genderfluid
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my mom is a slut
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Oooh, alt process talk!
Cyanotypes are probably the best place to start with alt process, it is cheap and non-toxic and pretty forgiving. After you get the cyanotype process down the next progression is do either Van Dyke or Gum Prints. Gum printing uses a lot of the same techniques and equipment as cyanotypes, I'm a little hazy on Van Dykes at the moment. Gum printing is next on my list.
As far as getting away from that blue goes, that is a whole separate skillset you have to learn and it can be maddening. You can bleach with ammonia (highly diluted, I don't like it because it can destroy paper and it reeks. You can sort of circumvent this by using Windex) or sodium carbonate (washing soda, you have to thoroughly let it dissolve or the granules will splotch your print), cat piss, or hydrogen peroxide (it's ok but it pretty much just oxidizes your print and I prefer to let it oxidize for a day naturally). For toning, your options are pretty much either tea or straight up tannic acid or buying a toning kit (which is probably tannic acid). Get the cheapest, shittiest Lipton black tea you can find because it will have high concentrations of tannic acid or buy tannic acid from a brewing supply store.
Where it gets lovely is that you can use any combination of the above and it will all be different. You can:
oxidize -> bleach -> tone -> bleach
or
bleach -> tone
or
tone -> bleach
or
just tone
or just bleach
It doesn't look like a lot but if you plug in your bleaching options:
ammonia
sodium carbonate
piss
hydrogen peroxide
lemon juice or other citric acid
into the aforementioned bleaching and toning flow you can go crazy trying to get consistently toned prints if you have a set that you all want to more or less look similar. Bleaching continues after you remove it from the bleaching bath so that is also a random factor as is the strength of tannic acid diminishing after subsequent prints and cross contamination of baths (bleaching -> washing -> toning can produce different results than bleaching -> toning).
Tannic acid (and thus, tea) reacts with the iron salts in the print. You can get split-tone combinations of violets, reds, blue-black, purples, darker blues, and yellows out of the above processes.
There is a third option, coffee, that I've been using this past month. I don't know the whys of how it works but letting your print oxidize for at least a day and soaking it a tub of coffee for 4-6 hours without bleaching will also "tone" the print. I don't know if it is archival like tannic acid but it is an easy fire and forget method of getting away from the blue at the cost of flattening your highlights and midtones.
Examples:
ammonia, tea and sodium carbonate:
Through A Window Dreaming by thisquietreverie, on Flickr
raspberry tea and soaked in coffee:
Crying Through Hoses by thisquietreverie, on Flickr
coffee, Irish breakfast tea and Bostick & Sullivan toner:
The Prisoner by thisquietreverie, on Flickr
unbleached, straight up coffee bath for 6 hours:
Memories I Don't Have Anymore by thisquietreverie, on Flickr
As you can see there are tons of options if you find the blue offensive. You can churn out cyanotype prints with ease all day but be prepared to make a lot of test prints and to spend a lot of time learning how to tone to your liking.
I've never used a contact printing frame, I print between a sheet of glass and a sheet of lexan held down by 99 cent clamps from Home Depot, it works fine for my raggedy-rear end prints and ghetto setup.
I think this was the thread where I said I would write up my cyanotype making process so here it is. This isn't a scientific explanation from an expert, this is my own rambling process that may or may not involve best practices. Use at your own risk.
Negatives:
I don't print my own, ink and transparencies are too expensive for my volume and use. Because I slice and recombine, I lay out all my elements in photoshop and save the jpgs to a flash drive and take them to Fed-Ex Office for printing on transparencies. I think it is something like 80 cents a sheet and I print small to get the best density. If you try to print a single 8x10 photo on a transparency from Fed-Ex Office you're probably going to be disappointed. Think in 5x7 or 4x6 or smaller if printing at Fed-Ex Office. As far as preparing the density of your negatives goes, it is a learned skill and I make it up as I go along.
Paper:
I use Strathmore 300 series Bristol Vellum as my paper. You'll have to experiment with different paper to see how much tooth you like and how much sizing you have to do and how the paper holds up to being washed and how it holds the cyanotype solution. The traditional two bottle cyanotype formula is way more forgiving with regards to paper than the new Mike Ware formula. Still, there are lots of paper out there that doesn't take to the cyanotype solution very well. You can google up a list but I stick with the Strathmore 300 Bristol Vellum (not Bristol Smooth) because you can get it on the cheap at Hobby Lobby or Michael's.
Sizing:
Sizing means altering the paper substrate to change how it holds the cyanotype solution. I size with unflavored Knox gelatin, 1 packet to three cups of water. I let it sit in a pan for 15 minutes, stirring occasionally. Bring to a boil, stir and let it boil for 3-5 minutes. Turn off the heat and let it cool down some. Make sure it is stirred and doesn't have big chunks of gelatin floating around in it. When it is cool enough stick your finger in, stick your finger in it and check to make sure the water is sort of sticky. I use a small furniture painting brush to size.
Because sizing sort of sucks, lay out as much paper as you have surface area in your house to spare-I usually do around 8 sheets of 11x14 or more at a time. Dip your sizing brush into the pot of gelatinized water but only the very tip, a little bit goes a long way and shake off the excess. Brush your paper in alternating strokes to cover the entire sheet. You can view the paper at an angle that lets you see how well you're covering the paper. Brush the poo poo out of it until it's spread as evenly as you can. You can usually do this with a couple of tiny dips into the gelatin-water pot. If you need more than two dips you're probably putting too much on.
After you've coated all the surface area of the paper, set it down to dry for around an hour. Anything you put on top of the paper is gonna stick there so don't do that until it is completely dry. Your paper is going to curl some so keep an eye on it and make sure it doesn't curl on itself (if it does, you've gotten it too wet and put too much gelatin on it). After you've coated all your paper and they've dried for an hour or so you can check them for stickiness. If it's highly sticky, you've used too much. If it feels sort of sticky and "different" but dry, flip it over and mark the back so later on you know which side is sized. Because I do smallish prints and cut up my paper later I draw multiple little "V"s on the back (for vellum) so I know later which side is sized and what kind of paper it is.
I usually put my sized paper under heavy books for a few days to help flatten them out some.
Coating:
My cyanotype kit from Bostick & Sullivan came in two bottles that you added water to and two eye droppers. I keep it all in a ziploc bag because your bottles will invariably get messy and stain things. The first thing you do when you get your kit is to put a piece of masking tape around the tube of one of the eyedroppers, this is to mark which one goes into "Solution A".
I mix in a brownie pan. Equal amounts of Solution A and Solution B. Remember to use a method like the one above to keep from contaminating the bottles. Stored separately, the cyanotype solution is good for a long time. Always mix small, I usually start with 3 drops of A and 3 drops of B into a corner of the brownie pan, this will cover a lot of paper. You can use a lot of different brushes to coat with, paintbrushes work great for imparting actual brushstrokes to your print. I personally usually use a little cheap foam brush, it adds nothing in terms of brushstrokes but it doesn't soak up the cyanotype solution either and is easier to clean.
There is no real trick to coating. Some paper needs more cyanotype solution than others, some even require multiple coats. Strathmore 300 Bristol Vellum, sized like above, needs a single coat and the excess brushed away and its good. Try not to coat more paper than you'll use within a week or so. Coated paper, kept in a darkbox will be good for quite a while but there still seems like there is a "sweet spot" for printing. I'm terrible at estimating how many prints I will be able to get to but again, I make raggedy-rear end unpretty things so I can get away with it.
I coat at night and with all the lights on but I try to do it quickly and get the coated paper into a darkbox as soon as I can. Fed-Ex Office gives out darkboxes for free. Just go into one and find one of their shipping center kiosk things and get some Fed-Ex branded shipping boxes. I tried to buy some once but they wouldn't take my money, so I guess they're free for the taking. Let your coated paper sit and dry in a darkbox for at least 24 hours before use. The night after coating I will take the paper out of the darkbox, cut them to size and put them into a darkbag (I use one from those sunprint cyanotype kits you get at Hobby Lobby/Michael's) and put the darkbag into the darkbox. The darkbox goes back into your closet or project drawer or whatever. Prematurely exposing your coated paper leads to haze and that sucks so take measures to keep your paper away from daylight.
Exposing:
I print in the garage. Some people use the sun or a fancy UV box but I just use a reptile UVA/UVB light that I bought at Petsmart. I'm sure there are better alternatives you can google up and make or buy but this doesn't take up a lot of space and it works.
This: http://www.petsmart.com/product/ind...oductId=2752615
I tape my paper down to an 8x10 sheet of lexan (Home Depot, ~9 bucks) then tape my preassembled negatives over it, cover it with an 8x10 sheet of glass from a cheapo picture frame (Michael's) and clamp the whole thing together with 8 hand clamps from Home Depot (always expose through glass, lexan scatters UV light. I use cheap picture frame glass because it isn't UV coated like house glass can be). You can use a fancy contact printing frame but because I print under a constant, known light source I pretty much have gut-knowledge of exposure times even when the density and number of negatives I'm printing through changes. You can always assemble test strips if you're feeling fancy.
I print around a foot from the light for an hour thirty to two hours. In the sun you can do it in as little as ten minutes in the Texas summer. I don't know about UV boxes. When your print solarizes it is done. This is sort of a difficult thing to describe, it is something you learn by doing. Make a lot of test strips and print them to see what you should be seeing.
Cyanotypes "print" by washing in water, so after exposing them stick them in your sink for a while and you'll see your image come back or you'll burn gloriously and all your cyanotype solution washes off the paper. Eventually you'll get more of the former. After you wash all the unexposed, yellow cyanotype solution from the paper pat it dry between a couple of paper tiles and leave it laying around your house to dry. It will oxidize over the next day or so and darken. Then you can get to toning or leave it as-is. If your cyanotypes ever catch a lot of sunlight and fade or lighten, stick 'em in between the pages of a book for a couple of weeks and they'll recover.
This bigass wall of text should get you started and hopefully not annoy the film guys. An alt process thread would be interesting but I don't know how many people here futz around with it. I'm exploring monoprints right now and making my own cheap plates to grunge up paper:
Grunge Plate Detail 03 by thisquietreverie, on Flickr
This is one of the best/most informative posts ive ever seen in the dorkroom and you are cool
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Jul 19, 2012 06:48
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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All home processed at room temp, details:
Negative:
4x5 Kodak Portra 160
Rollei Digibase C41 kit, dev @ room temp
Print:
Durst 138, using 240/240 condensers
150mm @ f/22, 12s, 50M 50Y 0C
Rollei Digibase RA4 kit, dev 2.30min @ room temp
Expired Kodak Supra III paper
I've really liked all your home developed color stuff, how long did it take you to get it right/how often does stuff come out hosed up
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Aug 9, 2012 03:22
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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The possibilities are endless~~~
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Aug 11, 2012 07:24
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- Genderfluid
- Jun 18, 2009
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my mom is a slut
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Liquid Light is on my list of things to experiment with, have you used it or have any tips?
Do it on cool stuff. I had a friend saw eggshells in half and expose images on the inside of the shells it owned
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Nov 20, 2012 03:58
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