tag:blogger.com,1999:blog-80666544828041312942024-03-13T16:18:14.305+00:00TwelveSmallSquaresA blog dedicated to film photography and darkroom techniques including lifestyle articles and technique tutorials.Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.comBlogger95125tag:blogger.com,1999:blog-8066654482804131294.post-85984078582128450262014-11-29T10:00:00.004+00:002014-11-29T10:00:54.932+00:00Website UpdateHi everyone. Just a quick update - the new website at www.twelvesmallsquares.com has been up and running for a month or two now and it's going great. I appear to be getting good traffic and people seem to be reading my blog which is always nice. Hopefully some (well, hopefully all) of you subscribed to this blog have moved over to follow the new site as that's where i will be posting from now on. Anyway, hope you are all well and enjoy your shooting & printing.Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-19384558453826244522014-10-04T10:46:00.001+01:002014-10-04T10:46:07.452+01:00New Website!It is with great joy that i have launched <a href="http://www.twelvesmallsquares.com/">www.twelvesmallsquares.com</a>, a site which has galleries for my work and contains a better blog platform that blogger. Itis likely that all my future blog posts will be on the new site, i am going to see how it oes over the coming weeks. I would like to thanks everyone who has supported this blog since its launch a few eyars ago. I hope that you continue to follow me over on the new website where i will continue to upload tutorials and article exlaining how i make my prints. I really appreciate all the feedback i have had on my articles and prints and i hope you have found my tutorials useful. I will be keeping this blog open for people's reference and will transfer many of the articles onto my new site over the coming months.<br />
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Thanks to you all for your support!Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-6644248573333769762014-09-27T11:01:00.001+01:002014-09-27T11:01:24.190+01:00Where is Dave?! I'm acutely aware that i haven't updated this blog in (let me check....) 2 months! You may think this is due to laziness, busyness or other such issues but i'm afraid it's not. I have in fact been building a website for my photography. The good news is it is almost done so i can get back to printing and writing tutorials/blogging. The new site does have a blog function so i am currently deliberating whether to maintain this blog or just start new on my new site. I have already transferred some of the tutorials from here onto the new site in preparation for it's launch. I will be moving a lot of the articles over to, especially the ones where i explain how i made certain prints because they seem to go down well with people. I will, of course, keep you all informed as to whether i will be maintaining this blog or using my new one, but in the meantime please have patience whilst i get this site built and launched.<br />
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Thanks all for coming back here every now and then to have a read, i really do appreciate it so much and it's nice to read comments from you all about my articles. Until we speak again, happy printing!Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-80100558494700079142014-07-30T09:55:00.000+01:002014-07-30T09:55:43.216+01:00Fortune I have had both good and bad fortune lately. I thought things were really looking up when i found this stash of photo paper ridiculously cheap (i won't tell you how much i got it for because you will hate me forever and never read this blog again). I saw an advert that someone was getting rid of some darkroom gear so i message them to see if they had any paper. They said they had a few odds and ends so i took a punt and we arranged a price. When the package arrived my head nearly exploded! Inside was an almost full pack of 8x10 Fotospeed Lith paper, a pack of Oriental Seagull, a few packs of Ilford MGIV RC VC, a pack of Kentmere Fineprint VC, some Ilford MG FB WT in 9.5x12 and 12x16, a pretty full pack of Kentmere Art Document, Some Foma papers in 12x16 and a full pack of 16x20 and some Fotospeed Fotolinen which i haven't been able to find much out about yet. And on top of that they sent me some unused Moersch Easylith! What an absolutely fantastic bundle to get in the post!<br />
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Naturally i got into the darkroom as soon as i could and that is when misfortune struck. I decided to do some lith and try out some of these new papers. I have used Fotospeed Lith and Art Document before but i tried some again (after all, everyone loves 9.5x12, right), and i also tried some of the seagull as i believe it is great for lith. Unfortunately none of the prints turned out particularly well. I think i chose the wrong negatives and they came out looking dull. But, on the bright side at least i learned how the papers act in lith so i can know what results to expect next time.<br />
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The Nab shot is from my recent trip to the east coat, and the one of the boulder is from an old negative i dug out - i am thinking both of these probably deserve a bit of time trying to get a good fine print out of. I have struggled with the nab shot in the past but i put that down to being in a 'funny mood'. Perhaps another session in the darkroom will reveal if i can make anything of it. The boulder shot has great detail in the sky so i may try and make a moody print out of it with lots of lovely cloud contrast. As for the castle shot, i found that on a recent walk with the dog and it would make a great print except for the face that the development messed up. I'm not sure if you can make it out but there are loads of white dots all over the print. For some reason i rated Ilford Pan F+ at 25iso and in Rodinal that doesn't work out too well. Looks like i will have to return there with some FP4+ and re-shoot.<br />
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I haven't really done much else lately. I have been toying with doing some zone system testing to determine the best ISO and development times for my setup. It is something i should have done ages ago but, as you should know by now, i am somewhat lazy and it feels like i'm wasting film (even though i know i'm not). No doubt i will write a tutorial all about it (if it is successful). I really do need to get better at getting work done and getting this blog updated more regularly.Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-41181279626988228132014-07-14T13:00:00.000+01:002014-07-14T13:00:01.557+01:00The Power of Selenium I've spoken many times on this blog of how much i enjoy working a negative until i get the final print that i want. I love working out the dodging and burning for different areas of the print and thinking about the toning i want to do to complete it. That being said, this print was an absolute killer. Once again it is from my recent holiday away to the eats cast of England to enjoy the pleasant life of a fishing village for a week. I have been here many times before and fancied some new spots to shoot so i had a quick look around online before i headed out. A little bit of research revealed a somewhat hidden bay on the coast complete with rock shelves and nabs (a nab is an outcrop of rock which the sea has not eroded - think stack). Perfect! We ended up going there for a day midweek and had a fantastic time walking the dog and relaxing on he sand and rocks. Of course, i had my Bronica kit with me and was going a bit trigger happy. I took this shot low to the ground with a nice shapely rock in the foreground and a distant nab and cliff in the background. The sky seemed good so marvelous, i could burn that in as much as need be upon my return to the darkroom.<br />
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After i developed etc i setup a flat print (after determining the best overall exposure using split grade test strips) i got a flat print exposure. And it looked rubbish. So, off i went exploring my dodging and burning options - sheet after sheet after sheet after sheet of paper was used (i was using Slavich Unibrom for it's cold tone and nice heavy weight). I got a print i was semi happy with and decided to tone (after a wash of course). I copper toned for a short period then put it into selenium - after a few minutes large white spots started to appear (this is where we learn to selenium tone before copper) so i scrapped it, deciding it didn't look right anyway.<br />
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No amount of dodging and burning that i did made the print look right. I wanted something dark and i just wasn't getting it. Perhaps i'm just not at the skill level to do that kind of print yet - hopefully one day i will be. It's prints like these that really test me!<br />
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<tr><td class="tr-caption" style="text-align: center;">This is the best i got alas.</td></tr>
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After hours of trying and eventually running out of Unibrom i knew it wasn't happening - i just couldn't get any "pop" out of the print. I decided to clear my mind and approach it from a lith point of view. Sometimes, if i'm honest, lith feels like a bit of a cop-out. I suppose that's because i'm not spending hours configuring dodging and burning charts, i'm just picking an exposure and slapping some paper in a tray. There is more skill to it than that, and there's nothing wrong with dodging and burning for lith - a fact i had to reassuring myself with.<br />
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Now one of mankind's oldest questions - which paper to use. After much deliberation i decided to go for Fotospeed Lith paper as i knew it would give me a dark feel and suitable colouring. So, i picked my exposure and developed until the sky had good detail. After snatching, fixing and washing i was left with this:<br />
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Good, i thought, but not quite there. The shadows are a bit...green..! As is usual with my lith prints i like to see how they react to selenium toner. In this instance i chose a dilution of 1:5 as i knew it would give more of a colour change than a weaker ratio. I popped the print into the tray and it went nuclear! The shadows got absolutely obliterated, the sky darkened dramatically and almost all detail was lost in the foreground rock. I felt crushed - all that hard work wasted. I decided to let it dry and think about my next step.<br />
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After a few days of moping about and being busy with work i went back to look through my prints and you know what - i decided i liked the final print i got. I was suitably dark and it was moody. It probably isn't going to go down in history as one of my greatest prints but i like it so i decided to leave it there and move on to another negative. But then again - looking at the above photo of my pre-toned print, i'm liking that as well...<br />
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One thing we learn - never underestimate the power of selenium!<br />
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<br />Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-17490149992944664122014-07-13T15:41:00.000+01:002014-07-13T15:41:17.974+01:00Keep on Rolling Rather excitingly i have a new paper to use for lith - Kodak Polycontrast III. <br />
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I found it on a classified listing and as you can see - it's a big roll! I haven't used paper on a roll before but £10 for this 40inch wide, 100ft long paper seemed too good an opportunity to miss! I'm hoping to get into the shed this weekend (if Jess let's me - the sun makes her want to go out and do things) and give it a try. A quick dip into the internet has revealed that it is indeed lithable so i'm thinking of either buying or making some huge trays and making some mega lith prints! I will, of course, keep you posted on how it goes.<br />
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<br />Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-31215833558305626552014-06-16T17:28:00.000+01:002014-06-16T17:28:00.626+01:00A Break From the Norm By now you're probably fed up of seeing me post landscape after landscape. I'm sorry but that's pretty much all i've been shooting lately. Not even a shipwreck has crossed my path in the last couple of rolls i've shot. I did, however, shoot a test roll when my wife got her new Pentax 67 (yes, i have converted her from digital - jackpot)! There was one frame on it that i decided would potentially look good lithed. <br />
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So, i loaded up the enlarger, focused, chose some ancient Foma Neobrom 211N paper and set about making a test strip. Imagine my surprise when the print actually developed well. This paper is old. Really old. It's in a paper packet and even the lightproof sleeve is paper! Surprising, then that it developed so well. In fact, it developed so well i decided not to lith it and just make a straight print. Fortunately the paper i had was the right grade (2 i think) and so i chose an exposure, burned each edge for 1 stop extra to provide a nice border and developed in Ethol LPD 1:4. The keen-eyed among you may note that this is a cold tone paper and i'm developing it in warm tone developer. Deliberate! The final print gave of a lovely sharp silvery tone which was a delight to behold (until i obliterated it with toner that is). As always my hand ended up reaching for the selenium toner. I gave it a few minutes in 1:5 toner until it started taking on a warm brown tone, then i slipped it into some bleach (after a wash of course) and gave it a slight sepia hit in the highlights. This resulted in the final print:<br />
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Yes - rectangular, not square! It's not one of my greatest images but i think it's ok. Sometimes it's nice just to be able to blast out a quick print without having to go round and round sheet after sheet after sheet of paper (speaking of which - i have a post coming up soon which covers an absolute demon of a print).<br />
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So what do we learn? Sometimes it's nice to print something simple and easy to give yourself a confidence boost and to get those juices flowing again!Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-77979105083858428312014-06-10T17:07:00.002+01:002014-06-10T17:07:16.107+01:00The Thoughtful Cliff So despite saying in my previous post that i was going to update more i haven't updated in over two weeks! Sorry! But, good news - i have made my first print from my recent holiday to the north east coast of England, and here it be:<br />
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<span id="goog_370867192"> I shot this on a very sunny day in the town of Saltburn. It is printed onto Ilford MGIV FB Warmtone paper using Ethol LPD diluted 1:4 and toned using selenium 1:9 and a bit of sepia. This is my first time using a non-neutral developer and i have to say i loved it. If you are unfamiliar with LPD it is a wonderful developer which allows you to change tonality (not contrast) using dilution e.g. use it 1:1 for cool tones and around 1:4 for warmer tones (obviously tonality will depend very much on the paper you are using too). </span><br />
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<tr><td class="tr-caption" style="text-align: center;">I like to think of the clouds as little thought bubbles coming out of the cliff. </td></tr>
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<span id="goog_370867192"> I'm pretty pleased with this print, i really feel like i am starting to get into a rhythm and personal style with my printing.</span><br />
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<span id="goog_370867192"> I made this print using the split grade printing technique, as i have done with so many others. I did a soft exposure test strip, selected the best exposure for highlights (remembering to go a bit heavy as the sepia toning i had planned would lose a little highlight detail), then i did a hard exposure test strip and selected the best exposure for that (again, taking into account the added density that selenium toning would yield). It's always good to have a good think about toning either before printing or during proofing so that you can account for any lost/added density that may result form the toners you use (that reminds me - i should really do a few tutorials covering toning). I knew with this print that i wanted a selenium/sepia split so i deliberately overexposed the highlights and very slightly underexposed the shadows.</span><br />
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<span id="goog_370867192"> So, after making a base print of my combined soft and hard exposures it was time to think about dodging and burning. The cliff was looking pretty blocked up so i did a bit of a burn on the soft exposure and a dodge on the hard exposure - this evened out the contrast a little whilst maintaining the "pop" of the cliff. Then i did a very slight hard exposure burn on the sky to add a little extra depth to the clouds (the use of a grad filter at the time of exposure had already helped darken the sky to a pleasing tone). Then i did a bit of an edge burn around the sides and base of the print to draw the eye into the centre (i did this on both the soft and hard exposure). I think this really works on the base of the print as if the sand was all the same mid tone the eye would be drawn off the bottom of the image.</span><br />
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<span id="goog_370867192"> To finish off the print i did some very very light bleaching (followed by a fix) of the cloud highlights and the band of light across the sand (i used potassium ferricyanide/potassium bromide bleach from a sepia kit diluted 1:9). This helped add a bit more "pop" to the highlights but i had to be carfeul that this combined with sepia toning would not cause any highlight detail to be lost.</span><br />
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<span id="goog_370867192"> After a good wash (in my newly constructed print washer) i bleached back the print until the upper midtones were just starting to be affected and then toned in standard sepia toner. After a quick wash i then transferred the print into selenium toner mixed 1:5 for a few minutes which added a nice dark purplish hue to the print. I then did a final wash and left the print to dry before scanning.</span><br />
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<span id="goog_370867192"> I'm really pleased with how this print turned out and i am loving Ethol LPD as a print developer. I'm going to try some coldtone papers with it soon and a stronger dilution and see what effects i can get. In the meantime i've still got plenty more frames to be printing from my trip away.</span><br />
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<span id="goog_370867192"> I hope some of you have found this post useful and, as always, keep printing.</span>Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-37690596058681060122014-05-21T19:48:00.003+01:002014-05-22T12:09:29.805+01:00How To: Make a Print Washer on a Budget Ah the early stirs of summer, the time when a man decides to re-open his toolbox and turns his mind to possibility.<br />
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I'm tired of washing my prints in the kitchen sink. It's just too small and i can't leave it alone because the prints sink to the bottom, block the tap; the sink fills and my kitchen starts to flood. And woe betide me if i decide to print some 12 x 16 paper!<br />
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Suffering from the same problem? Lo, read on to see how you can make an inexpensive (really, it cost me about £20 in total) print washer.<br />
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First off, materials. Here's what you will need:<br />
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<ul><ul><ul><ul>
<li>Plastic storage container (any size you like),</li>
<li>2 x 2 metre lengths of plastic waste pipe (any diameter you fancy),</li>
<li>Some 90 degree joints that will fit your pipe (get about 8),</li>
<li>Hosing/tubing (approximately 2 metres),</li>
<li>Drill</li>
<li>Saw</li>
<li>sandpaper </li>
<li>Glue gun/silicon sealant
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So how do we build this washer i hear you cry? Keep reading:<br />
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<u>Step 1</u><br />
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Grab your storage box (mine cost about £11 and can easily fit in 12 x 16 prints) and drill 2 holes roughly the same diameter as your waste pipe just an inch or so below the top of the container towards the left and right hand side. To do this you may have to use a hole cutter (its like a round saw which you mount on your drill). Unfortunately i didn't have a hole cutter the right size so i drilled my holes bigger.<br />
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<u>Step 2</u><br />
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Cut a small section off your pipe and feed it through the hole on your nearest side, push on a 90 degree joint (making sure you sandpaper down the edge you have just sawed) and then attach a vertical section of pipe which extends just shy of the base of the container.<br />
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<u>Step3</u><br />
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Now do exactly the same with the other hole, but this time saw the tip of the pipe at about 45 degrees to get a spout.<br />
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<u>Step4</u><br />
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Now go back to your first length of piping and measure along the base of your container then cut a length of pipe just a little less than the length you measured. Smooth off the sawed edges of the pipe with sandpaper and attach it to the pipe you already have.<br />
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At this stage i tried attaching a length of hose to cover the base of the container but it didn't quite work out. Instead, keep attaching lengths of pipe and joints until you get good all round coverage along the base of the container. You dont need to cap off the last piece, this will serve as an outlet for the water which flows through the system.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Jp_QQw0i2qw/U3zvxzcyNsI/AAAAAAAAFWU/vrXOaDGdHPA/s1600/20140517_170639.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-Jp_QQw0i2qw/U3zvxzcyNsI/AAAAAAAAFWU/vrXOaDGdHPA/s1600/20140517_170639.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Not like this!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Like this!</td></tr>
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<u>Step 5</u><br />
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Now take your drill and (using a small drill bit) drill holes every 2 inches or so apart along the entire length of the tubing which is sat in the base of the container.<br />
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<u>Step 6</u><br />
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Retreat to the bathroom (or wherever you're planning on setting up this washer) and check out your taps. If you have the kind of taps you can just push hosing onto then all well and good, connect a length of hosing from the first piece of piping onto your taps. This will mean water will flow in, down the vertical length and through the loop you have made in the base of your tub; flowing out from the last length to be picked up by the second vertical pipe which will act as a siphon.<br />
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Now, my taps are mixers which means i cant push any hosing over them. But, i can unscrew the shower and push the hosing onto the screw attachment (yay).<br />
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<tr><td class="tr-caption" style="text-align: center;">Like so!</td></tr>
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<u>Step 6</u><br />
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Attach a length of hosing onto the second pipe and point it plugwards. Turn your tap on and you should see water spurting out through the holes you have drilled and the container will start to fill.<br />
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You should see some good agitation in the water as the container starts to fill (which is exciting isn't it).<br />
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<u>Step 7</u><br />
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Now, remember i drilled my holes for the pipe inlets bigger than the pipe? I'm going to need to seal that up. Take some plastic (e.g. from a bottle) and cut out a square which more than covers the holes you cut. Cut out a hole as close to the diameter of the pipe as possible and use a glue gun or some silicon to attach the plastic to the container, with the pipe running through it. If you don't do this then the water will just leak out of the holes you made and the second pipe won't act as a siphon.<br />
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<u>Step 8</u><br />
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Once that's all done you will have to ma the tap for a while to get the right flow. Keep adjusting the amount of water coming out of the tap until what's going in matches what's heading out of the second pipe. It helps to drill a small hole in the top of the second pipe and stick a match in it. The match can be used to increase and decrease outflow. Preferably you don't want the water to flow out over the top of the container.<br />
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<u>Step 9</u><br />
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The final step is to make something to support your prints. It should be easy enough to source some acrylic or perspex sheets, cut them to size, attach them to some rods and put that in the tank. As i already have a Paterson drying rack, however, i decided to use that. These are cheap and come up relatively often on Ebay.<br />
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And that's about it. It's not the most hi-tech thing ever created but it's cheap and cheerful and should wash your prints sufficiently (i can't guarantee that of course). It's certainly better than flooding my kitchen!<br />
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The way it works is that the water flows in and goes through the loop at the base. The drill holes allow water to spurt out which agitates the water, causing motion around the prints. The water picks up the fixer and, as fixer-laden water is denser than clean water, it sinks to the bottom of the container. It should then be picked up by the outflow pipe and siphoned out down the drain. Science! I haven't technically finished mine yet as i haven't sealed up the original drill holes so my siphon isn't really working but it will. IT WILL I SAY! Just for fun, here's a super-entertaining video of mine showing this mega-agitating washer in action (caution: may cause your mind to blow, it's that exciting):<br />
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So that's it. A print washer for those of us on a budget. Those hundreds of pounds you have now just saved can go on something better like film, paper, chemicals or (woe of woes) rent! As always keep printing and ill see you again soon.<br />
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<br />Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-60628314715298768752014-05-13T21:20:00.002+01:002014-05-13T21:20:50.803+01:00Back on it! I don't know what's more shocking - the fact that a) I am actually writing a blog post, or b) that I shot 3 rolls of film whilst away on holiday last week. I'm lazy, i've come to accept that now but it's not really good enough is it. I don't shoot a tremendous amount of film because i'm not one of those people who can go out and fill up a roll of film faster than a teenager can go bankrupt in Primark. I do, however, like to shoot as much as possible when the location and/or composition permits it. Hence, last week whilst away celebrating my 3 year wedding anniversary I shot 3 rolls along the eastern coast of England in the Whitby/Scarborough/Staithes area (yay for me). I have hardly shot anything lately due to a potent mix of lack of inspiration and general laziness. It's all change now though as i have got at least 6 good shots which i want to print (and we all know how I love to print). Surprisingly most of the shots are even well exposed which is pretty much a first for me, i'm terrible at metering. <br />
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Even better Jess (my loving wife in case she's reading) got me some Ilford FB Warmtone paper and something I have been coveting for some time - Ethol LPD! For those who don't know, LPD is a paper developer available in liquid or powdered form with the unique (as far as I am aware) property of being able to change tonality through dilution, i.e. a ratio of 1:1 will give a cool tone to the paper and a ratio of 1:4 warmer tones This obviously depends on the paper being used - you won't get warm tones from a cooltone paper, but you can imagine the possibilities now open to me! Thus far i have only used neutral developer on all my papers so I am looking forward to playing around with some dilutions and see how toning is affected. Needless to say I am eager to print (but then again the Lord of the Rings extended edition bluray boxset is keeping me pretty much glued to the TV this week).<br />
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As for this blog, well, i'm determined to update it more often. I have a few DIY projects in mind including making my own print washer so no doubt I will put that in a tutorial for you all to read and maybe try out for yourselves (if it's successful that is). Sorry i haven't written much lately but rest assured, i'm back on it with renewed vigour. In the meantime keep printing (or scanning if that's how you like to live your life) and watch out for some Yorkshire prints coming up on here soon.Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-18073944297134028392014-03-22T15:00:00.000+00:002014-03-22T15:00:11.969+00:00Finishing in the Mountains & Digging into the past My previous post was regarding the prints i made from a roll of film i shot whilst away on holiday in Glencoe, Scotland... and so is this post! This week has been one of those wonderful weeks where Jess has had a lot on in the evenings, so i've been pretty much left to my own devices. An we all know what that means don't we - key out, gate open, electric cable in, red light on!<br />
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On the roll i shot there were two more prints i wanted to make. I may end up printing some of the other frames at some point in the future but at the moment i don't find the "subjects" particularly interesting on one of them and the other one is ever so slightly out of focus (dammit)! <br />
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I started off in my usual manner on my first print - test strips, proof prints etc but after an hour or so i couldn't seem to get a decent looking print. I knew i wanted to lith print the other two so i decided to try and lith this first one as well. I mixed up some LD20 (15A, 15B, 10 old brown and make it up to an 800ml solution). For the first print i decided to dig into my mini-stash of Orwo BN118 which is a paper i know nthing about except i have used it on a few prints previously and it tends to give a nice brown colour overall with not very much infectious development (much like Agfa Brovira which i'm a huge huge huge fan of). Previous prints i have made on this paper didn't really have many highlight tones so i was interesting to see how it would handle the sky in this shot. I did a test strip, determined the correct exposure, added 3 stops, exposed and started developing. Eventually i pulled the print, stoppped, fixed and rinsed as usual, gave it a little dunk in selenium toner (1:9) and this is what i got:<br />
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Not the greatest print i've ever done i reckon but a good start. The paper has handled the highlights well (not that there are tonnes) and the shadows are nice and gritty. To be honest the composition and light on this shot isn't the best but not much i can do about that now is there?!<br />
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My next print was one i took on the road to Glencoe. There's a huge layby on a sweeping bend of the road which was practically made for tourists. I was there for about 45 minutes and i think at least 5 coach loads of people came and went in that time, compact cameras a-flashing. I found myself chuckling when i pondered how their images would turn out. For some reason people's holiday photos just amuse me - "here's a lovely landscape with my wife stood in front; here's an interesting statue with my daughter in front, here's a hedge with my brother in front". Bizarre how most people seem to think shots are improved by having family members stood in front of them. I think it may stem from my parents who overload on holiday photos, every single one having my mum or dad stuck right bang in the middle of the scene! Anyway - back on track! I did two exposures at this scene, one standard and one using a cheapo 10 stop filter i got off ebay/amazon (i can't quite remember). After inspecting the contact sheet i decided to print the long exposure one (seriously, the exposure was like 8 minutes or something - i'd give you an exact figure but my notebook is buried in the under-stairs cupboard and going in there is an undertaking that requires at least half a day and a hearty breakfast, neither of which i have), predominantly because the sky had a better looking shape and also because there was a huge drying mark on the standard one. I decided to use my precious precious supply of Fotospeed Lith paper for this print. This paper is long gone but i got 20 sheets on ebay months ago and i'm saving it for very special prints and this felt like one of those. In my mind i pictured something dark with emphasis put on the lake and sky. I chose an exposure accordingly and started to develop. When the time seemed right i pulled the print, processed and selenium toned in 1:9 again. This caused a boost in the blacks as usual which resulted in some slight loss of detail in the foreground landscape - i expected this though and it was what i wanted. I wanted the foreground to look almost blocked up so as to add further emphasis to the lake (which took on a lovely pale lilac type colour). Here's the final result:<br />
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I think it works well and i like the pale pastel tones taken on by the highlights. Now if only Fotospeed would bring the lith paper back out (only 16 sheets left)! On your screen you may be seeing some brownish areas in the dark foreground, that's just come from scanning - the print wasn't entirely flat and so some light got in, a bit of a pain but i'm not going to rescan and edit it all over again - just imagine everything in the balck areas is entirely black!<br />
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For regular readers of this blog (if indeed there are any) you may pick up on the vibe that i begrudge wasting chemicals - they're expensive and i want to squeeze everything out of them that i can. Some would coll that anal, i call it thrifty! I knew that would be power for at least one more print in the lith developer so i hit the negative folder hard in search of something to print from my past. I eventually stumbled upon roll of film i shot at Whitby Abbey a few years ago on my honeymoon (7th May 2011 - a real man remembers when he got married) and realised i had never really printed from it (at that time i was still scanning all my negatives - terrible)! The whole roll was pretty much a write-off mostly due to lack of ability to not chop the tops of images off when using a Diana camera. One shot looked great though (even if it is from the exact same angle that everyone seems to take pictures of Whitby abbey from) so i decided to lith it and see what we got. I spent a few minutes pondering what paper to use (because as you should all know by now paper choice has a massive effect on final print in lith). As i was feeling somewhat devil-may-care a decided to use a sheet of my even-rarer-than-fotospeed-lith tapestry paper. This is a textured "art" paper that liths incredibly well and when put into selenium toner will give at least 3 colour splits. I have used one sheet before to create a watercolour style effect - see <a href="http://twelvesmallsquares.blogspot.co.uk/2013/06/tapestry.html">here</a> for details. I decided to give it a go with this print as it was somewhat heavier on the shadows and lower midtones than i have previously lithed on this paper, i was interested to see what i would end up with. I determined exposure, processed and dipped into the selenium toner (1:9 again) and as expected colours kept changing from the shadows up through to the highlights. I kept the print in the selenium until i got a nice cool grey in the lower mids and lovely pale pastel yellows and lilacs in the tones of the sky. When using this paper previously i would paint the toner onto areas i want to alter the colours of but i thought this print looked fine as it was so i left it to dry (keeping in mind that when wet it is a yellowy colour but would dry-down to a salmon pink tone). Once dry i was pleased with how it looked:<br />
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Again - scanning problems! Because this paper is heavily textured it wouldn't render the blacks actually black so they have the kind of look you get when you're trying to scan through dense colour film. Again, just imagine that the shadow areas are solid black! <br />
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So, a successful darkroom session from which i learnt the following things:<br />
<ul>
<li>I hate scanning</li>
<li>Lith printing continues to rule</li>
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All i need to do now is actually go out and shoot some more film (it's been 2 months since i've even touched my camera - naughty me) so i can crack on printing. Perhaps in the meantime i should go back through my old negatives and see if there's anything i've missed. until next time - happy printing! Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-31225883987544579962014-02-24T21:05:00.000+00:002014-02-24T21:05:22.316+00:00Starting My Glencoe Prints<span id="goog_1078964479"></span><span id="goog_1078964480"></span> As mentioned at the end of the previous post i have been working on some prints from my recent trip away to Scotland. What with Blogger being such a temperamental website i haven't been able to upload any images for ages, but now, finally, i can! I have made two prints of the roll i shot so far and i really feel like they have been a huge step forward for me in my printing. I put a lot of time and effort into realising in print form what i saw in my mind at the time of exposure. In this post i will show you how i created each print and hopefully this may give you some ideas or maybe even some inspiration.<br />
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Making these prints i really got to grips with my new(ish) f-stop timer. I'm pretty sure i used every function on there - dry down compensation, split grade mode, dodging and burning programming <br />
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So, to the first print...<br />
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<u>Cottage in Glencoe</u><br />
Over the week i was away it transpired that i only had one day midweek in which to get over to Glencoe and take some pictures. I could spend a year up there and never run out of things to shoot, it's a truly remarkable place! Unfortunately when i woke up the weather was terrible. The cloud layer was super-low and didn't really have any form, it was just a grey mush. I decided to head out anyway, sod it, it might clear up later. As i got up to Rannoch Moor i hopped in and out of the car a few times to grab a few shots and move further up the road. Jess had lovingly decided to come with me and we brought Ellie (our puppy) along too, and she loved it. I've never seen a dog run so fast and be so excited to be outside!<br />
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As we made our way down the Glen we went around a sweeping left hand bend and i saw a large smooth valley which was catching the sun nicely. I parked up in a convenient layby, grabbed my gear and started walking, waving bye to Jess as she had decided she was tired and didn't want to step foot out of the car again! It turned out i was walking through a bit of a bog but i didn't mind as clever me had remembered to wear my waterproof sock liners (get some, thank me later). I took some time setting up the shot and finally exposed the frame (which i haven't yet printed). Then just off to the left a white cottage caught my eye, it was really standing out from the murky grey of the clouds so i decided to head closer and see if it was a workable shot. I found a nice vantage point, focused, metered and then exposed.<br />
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Upon my return home i developed the film (in Rodinal of course) and left it to dry. A few days later i freed up some time and made a contact sheet. I spotted quite a few frames which i liked the look of but this one seemed to be the best on the roll so i decided to have a go at it first.<br />
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I couldn't get into the darkroom to print for a while but Jess decided to go visit a friend for the day and so i took that as a sign to go print! I haven't really had a decent chance to fully get to grips with all the functions of my recently acquired RH Designs Stopclock Pro f-stop timer. i decided to put it through it's paces today and do some split grade printing. I setup the negative in the enlarger, focused, set the contrast grade to 00 and did my soft test sheet. I used to just use offcuts of paper for making test strips but i have found that because i am doing lots of dodging and burning to my prints these days a whole sheet makes it easier to deduce times for all parts of the image. My test sheets tend to go from around 5 seconds up in 1/6 of a stop intervals, if i need anymore i will just do a new one.<br />
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I chose the strip with a base exposure of 8.98 seconds because it gave tone to the snows on the mountain top. I knew i would want the cottage walls to be lighter but more on that later.<br />
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Next i did my grade 4 1/2 test sheet (i can't do grade 5 with the colour filters on my enlarger).<br />
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Again i chose the 8.98 second exposure time as it gave me good, deep blacks. I was happy with the contrast overall so i turned my attention to dodging and burning. I knew i wanted to lighten the cloud somewhat and darken the foreground to really made the cottage stand out. This is where offcuts of paper come in really handy - any dodging and burning times i cannot figure out from the test sheets i made earlier i can deduce using small strips of paper placed in the relevant parts of the image. <br />
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After much trial and error i got the dodging and burning times i wanted. During the soft exposure i dodged the sky for 3/4 of a stop and the trees to the right of the cottage received a 1/3 of a stop burn. Then the right, left and bottom edges of the print received an extra 1/4 of a stop each. Then i switched to the grade 4 1/2 filter and dodged the sky 1/3 of a stop. The trees received another 1/3 of a stop burn (if you don't do the same dodging/burning on the same part of the print with both filters then you change the contrast) and the bottom edge of the print received an extra 1/3 of a stop. The right edge then received 1/6 of a stop to balance it out whilst the cloud received 1/6 of a stop burn in a series of small up and down gradations of a rectangular piece of card. This added a slight gradational effect to the sky. Finally each corner got an extra 1/6 of a stop just to add a slight vignette. This left me with this:<br />
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I was close but the cottage wasn't quite popping enough. I brushed some dilute potassium ferricyanide/potassium bromide bleach over the cottage which lightened the highlights slightly and added extra pop. I re-fixed and then toned in selenium1:5 for 2 minutes. This gave me this print:<br />
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<a href="http://3.bp.blogspot.com/-yvzu9kzCtd4/UwJY7w4eDyI/AAAAAAAAEvk/LR-349dILKg/s1600/glencoe+cott+db+sel006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-yvzu9kzCtd4/UwJY7w4eDyI/AAAAAAAAEvk/LR-349dILKg/s1600/glencoe+cott+db+sel006.jpg" height="640" width="632" /></a></div>
The selenium has added extra pop (I love selenium) but i wasn't quite happy with the print. I decided to go crazy and dig out the few sheets of warmtone paper i have, I felt that this print was worthy on going onto this expensive paper! I made an identical print and set the drydown compensation to 5% (drydown is the effect of fibre prints going darker when dry - a pain)! This time i fully toned in selenium (4:30). I did try pulling the print from the toner around at 2 minutes but it looked strange being a warm reddish colour all over with a grey sky on top. After all this work i was left with my final print which i think is my best print yet:<br />
<br />
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<a href="http://2.bp.blogspot.com/-T1qsspS9UHU/UwJZHUg5FzI/AAAAAAAAEv0/0up4Gx0-470/s1600/glencoe+cottage+final.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-T1qsspS9UHU/UwJZHUg5FzI/AAAAAAAAEv0/0up4Gx0-470/s1600/glencoe+cottage+final.jpg" height="640" width="638" /></a></div>
<br />
<u>Kinlochleven Island</u><br />
<br />
I decided to keep going and work on another print i thought could be good. This was taken whilst exploring around Glencoe. I went up a random road and ended up at the village of Kinlochleven. A lovely place that i'm pretty sure i could live in happily! It was raining pretty heavily when i was taking this but it was worth it as you'll see.<br />
<br />
As before i decided to split grade print. I setup and made my soft test sheet:<br />
<br />
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<a href="http://4.bp.blogspot.com/-I1rR8euBkgo/UwJZKwRN7XI/AAAAAAAAEv8/D2qppZBBe8I/s1600/kinloch+00+ts001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-I1rR8euBkgo/UwJZKwRN7XI/AAAAAAAAEv8/D2qppZBBe8I/s1600/kinloch+00+ts001.jpg" height="638" width="640" /></a></div>
I chose a base exposure time of 4 seconds and proceeded to make my hard exposure:<br />
<br />
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<a href="http://2.bp.blogspot.com/-O_K6UbxliRY/UwJZRLDDEbI/AAAAAAAAEwE/WwV6WnGFvzc/s1600/kinloch+4+half+ts001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-O_K6UbxliRY/UwJZRLDDEbI/AAAAAAAAEwE/WwV6WnGFvzc/s1600/kinloch+4+half+ts001.jpg" height="640" width="614" /></a></div>
<br />
For the hard exposure i chose a base exposure of 16 seconds. I made a flat sheet of the two exposures together and came up with this:<br />
<br />
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<a href="http://4.bp.blogspot.com/-JsDfy6tloS4/UwJZVZUhsRI/AAAAAAAAEwM/rTVnegT7CqU/s1600/kinloch+flat001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-JsDfy6tloS4/UwJZVZUhsRI/AAAAAAAAEwM/rTVnegT7CqU/s1600/kinloch+flat001.jpg" height="640" width="618" /></a></div>
<br />
Good but it needs some work. The top left corner is a bit dark and i want the final print to be darker and more ominous. I got to work figuring out what dodging and burning was required. During the soft exposure I added and extra 1 1/2 stops to the foreground and and extra 3/4 of a stop to the right, bottom and left edges of the print. I then switched to the hard exposure and dodged the top left corner for 1/3 of a stop and dodged the mountains in the distance on the right for 1 1/6 stop to balance them with the mountains on the right. I then added 1 5/6 to the sky and 1/2 a stop to the foreground. The top half of the sky then received and extra 1 1/2, the right corner got +1 stop and the bottom left and bottom right corners received an extra 1/3 of a stop. I then locally bleached the sky directly above the island with potassium ferricyanide/potassium bromide to emphasize the light coming from there.<br />
<br />
After a dip in selenium i got this print which is much moodier and ominous:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-Q1Q5kwGo2L4/UwJZbPsW6cI/AAAAAAAAEwU/eQwgLa151b4/s1600/kinloch+db+sel002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Q1Q5kwGo2L4/UwJZbPsW6cI/AAAAAAAAEwU/eQwgLa151b4/s1600/kinloch+db+sel002.jpg" height="640" width="626" /></a></div>
I then switched to warmtone paper and made an identical print which is my final print (unfortunately when scanning i somehow cropped the very top of the print off - error):<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-zCxj-J6zMsQ/UwJZelTvRAI/AAAAAAAAEwc/N8yqRCbqeI8/s1600/kinlochleven+final.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-zCxj-J6zMsQ/UwJZelTvRAI/AAAAAAAAEwc/N8yqRCbqeI8/s1600/kinlochleven+final.jpg" height="582" width="640" /></a></div>
I learnt a lot making these two prints. Firstly, it really pays to imagine what you want your final print to look like when you are exposing in camera. Secondly, it's good to make your test strips and rough prints then rest and come back to the final print at a later date, otherwise you rush to get it all done in one session and you don't get the best print you could have done. Thirdly, never underestimate the power of bleaching. Fourthly, warmtone paper is worth every penny. Fifthly, selenium toner remains the greatest thing in the world. Sixthly, Scotland is one heck of a place! Seventhly, and perhaps most importantly - never be afraid to get your camera out when it's mirky, grey, grim and wet.<br />
<br />
Well i hope that's been interesting for some of you who read this blog (if indeed anyone does read this blog). I hope that my experiences will help you in some way. As always if you have any questions or comments then please feel free to get in touch - i love hearing from you all about your own printing and photography and i love learning new things from you all. Happy printing!Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-21332595468686414992014-01-31T13:46:00.000+00:002014-01-31T13:46:37.612+00:00Thankyou Eddie!<!--[if gte mso 9]><xml>
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<span style="mso-spacerun: yes;"> </span>Have you ever had a
moment of pure coincidence, where you were in the right place at the right time
for something great to happen?<span style="mso-spacerun: yes;"> </span>I had one
a few months ago – it was early May and Jess and I were out celebrating our 2<sup>nd</sup>
wedding anniversary (how time has flown).<span style="mso-spacerun: yes;">
</span>We had had an expensive month what with moving house and Jess changing
jobs so we didn’t really want to go away for a break.<span style="mso-spacerun: yes;"> </span>We decided to just have some nice time off to
relax and enjoy each others company.<span style="mso-spacerun: yes;"> </span>We
had a few outings, one of which included a shopping trip to Manchester.</div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Even though i’m a
manly man with a manly mans beard, i do enjoy a shopping trip.<span style="mso-spacerun: yes;"> </span>And when you get to spend it with your
beloved even better (see how i am laying on the affection – although soppy this
will earn me darkroom time at a later date).<span style="mso-spacerun: yes;">
</span>We wandered round for hours, pottering around the usual shops, enjoying
our time together.<span style="mso-spacerun: yes;"> </span>When you live in
Preston, Manchester is like shopping heaven – which brings me to the focal
point of this tale.<span style="mso-spacerun: yes;"> </span>Manchester houses
the closest analogue camera/darkroom store to where i live, namely the Real
Camera Co (yes i am aware Calumet have a store in Manchester also, but it isn’t
in the city centre is it).<span style="mso-spacerun: yes;"> </span>Whenever i am
in the area i make a point to pop in, even if i don’t need anything.<span style="mso-spacerun: yes;"> </span>The chance for me to go into such a store is
a such a rarity that to pass it up seems foolish.<span style="mso-spacerun: yes;"> </span>No amount of googling or apugging can ever
make up for seeing cameras in the flesh.<span style="mso-spacerun: yes;">
</span>Hasselbalds, Mamiyas, Bronicas, leicas, Graflexes etc <span style="mso-spacerun: yes;"> </span>are all lined up ready to be drooled over.<span style="mso-spacerun: yes;"> </span></div>
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<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>They also have a
nice little book section to peruse through.<span style="mso-spacerun: yes;"> </span>I
decided to have a pick through as darkroom books are always a treat to have and
you never know, there may be a few hidden gems.<span style="mso-spacerun: yes;">
</span>Eventually i stumbled upon a book called Creative Elements by Eddie
Ephraums.<span style="mso-spacerun: yes;"> </span>I wasn’t familiar with his
work but i bought the book anyway as it was on a couple of pounds and it seemed
interesting.<span style="mso-spacerun: yes;"> </span>Only when i got home and
started reading did i realise the magnificence of what i held in my hands!<span style="mso-spacerun: yes;"> </span>If you are unfamiliar with this book i
recommend you go onto amazon immediately and fork out the paltry sum of £2.04
so that you too can own it.<span style="mso-spacerun: yes;"> </span>Unlike other
darkroom books Ephraums takes a number of his own images and talks you through
what he did from setting up the camera, developing the film and creating
the final print.<span style="mso-spacerun: yes;"> </span>He includes his dodging
and burning charts, and most importantly he reveals his mistakes throughout the
process.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"> </span>The best part of
this book, however, lies in what Eddie shows us can be done with a "mediocre" negative.<span style="mso-spacerun: yes;"> </span>Almost every developed film has at least one
frame (be it landscape, portrait or whatever) that is dull, flat and
lifeless.<span style="mso-spacerun: yes;"> </span>Whilst we usually pass these
by in favour of “superior” negatives, Ephraums shows us that these frames
should not be so forgotten.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"> </span>Take, for example,
the following three frames (sorry about the quality, they are just mobile phone
pictures taken straight from the book):</div>
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<a href="http://3.bp.blogspot.com/-X7sHqL7FxOs/Ue0Z81D380I/AAAAAAAACNQ/As7_48l_k4U/s1600/20130722_123429.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-X7sHqL7FxOs/Ue0Z81D380I/AAAAAAAACNQ/As7_48l_k4U/s400/20130722_123429.jpg" height="400" width="300" /></a></div>
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<a href="http://3.bp.blogspot.com/-rrK852D594E/Ue0Z9iRScOI/AAAAAAAACNU/wx2Dwu0qoOs/s1600/20130722_123447.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-rrK852D594E/Ue0Z9iRScOI/AAAAAAAACNU/wx2Dwu0qoOs/s400/20130722_123447.jpg" height="400" width="300" /></a></div>
<br />
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<a href="http://2.bp.blogspot.com/-Zt3aji1rHfc/Ue0Z-bNuP9I/AAAAAAAACNg/Bn1rMOsYXNI/s1600/20130722_123459.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Zt3aji1rHfc/Ue0Z-bNuP9I/AAAAAAAACNg/Bn1rMOsYXNI/s400/20130722_123459.jpg" height="400" width="300" /></a></div>
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If i had these shots on a negative, i'd probably play around with them for a while but then end up moving on to something else. Now look at what Ephraums did with these shots (again, sorry about the quality):</div>
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<a href="http://4.bp.blogspot.com/-x0DUnC_3fog/Ue0aZRP9jVI/AAAAAAAACN0/Kx1nCZfHJYk/s1600/20130722_123434.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-x0DUnC_3fog/Ue0aZRP9jVI/AAAAAAAACN0/Kx1nCZfHJYk/s400/20130722_123434.jpg" height="400" width="300" /></a></div>
<br />
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<a href="http://3.bp.blogspot.com/-apB42_o2heQ/Ue0aaEXac7I/AAAAAAAACN8/QwqV_Y5D1Jc/s1600/20130722_123451.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-apB42_o2heQ/Ue0aaEXac7I/AAAAAAAACN8/QwqV_Y5D1Jc/s400/20130722_123451.jpg" height="400" width="300" /></a></div>
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<a href="http://4.bp.blogspot.com/-cQVkPpBbTOA/Ue0aazT4P2I/AAAAAAAACOE/Gf8_gjKL0s4/s1600/20130722_123502.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-cQVkPpBbTOA/Ue0aazT4P2I/AAAAAAAACOE/Gf8_gjKL0s4/s400/20130722_123502.jpg" height="400" width="300" /></a></div>
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A complete transformation! By effective use of dodging & burning, creative choice of paper grade and use of toning & bleaching, Ephraums is able to completely change the look and feel of the image.</div>
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<br />
And that is something i hadn't really come across before. Naturally i had read and seen may examples of dodging and burning etc at work, but i had never considered how they could be used so extensively in completely changing an image. Which i guess is where 'art' and 'expression' come into photography. This revelation led me to look back over my old negatives. Unfortunately the reason most frames on my old negatives didn't get printed was because of scratches, fingerprints and blemishes on the emulsion. However, i remembered the roll of film i had recenty shot on a day out with a friend.<br />
<br />
We had gone up to Ribblehead so that i could take some photos and he could paint the majestic viaduct. The weather was grey and overcast with sunny spells so i didn't hold out much hope for getting any great photos. But still, it was nice to be out for a day with a close friend. We took an appropriately oversized picnic, set up our chairs and took in the beautiful scenery. The moors of the Forest of Bowland and Yorkshire, although quite bleak, are beautiful places which are often overlooked by many in favour of the Lake District.<br />
<br />
Unfortunately the viaduct was very popular with walkers that day so i couldn't get a clear shot. Also some moron thought it was fine to drive his van down the footpath and park right in front of the viaduct, thus saving himself 5 minutes of walking time. I didn't really visualise having a bright white van in the foreground of my final print! On another note, why oh why do people use trekking poles when walking along the flattest and widest footpaths in the world? The only time you need to use trekking poles are if your walking up a mountain. And i mean a mountain, not some little hump in the Lake District! Anyway, i decided to leave Daniel painting and go for an explore of the local area. I found a few small caverns and limestone pavements, but nothing that i fancied shooting. I looked to the horizon and saw a distant hill, small and long, with fields in the foreground and some nice clouds in the sky above it. I thought "what the heck", setup my tripod, composed and exposed. I only shot two frames that day which felt wrong, but at least i had a good time doing it.<br />
<br />
Fast-forward a week or so and my film is developed and dry (i used up the rest of the roll a few days later on a day out with Jess). By the way i promise i don't just go out all the time - i do some work too! Anyway, the film was dry and i did a quick contact sheet. A few frames looked promising so i stored that information in my head for when i got a chance to print.<br />
<br />
Friday. Jess is out at a wedding all day and it looks like she's not getting home until late. That means i've got at least 2 hours after work for some quality me time. Into the darkroom i go. I didn't really fancy doing any lith printing and i was in a landscape mood so i reached for the Ribblehead and Bowland negatives. I decided to give the hill shot a try, even though it looked a bit dull and uninteresting. Everything was a flat grey and seemed a bit "meh". I decided to have a quick thumb through Ephraums book to get some inspiration before i cracked on. A few test strips and proofs and i was in the area with my base exposure. I did a few more strips for dodging and burning and then tied it all together onto one print. A bit more work required. A little more dodge, a little more burn and then suddenly a decent-looking print started to appear. A few sheets later and i had a print i was very happy with indeed.<br />
<br />
I decided to switch from RC to FB paper as i wanted the look FB gets with the sepia-selenium toning i had in mind. I adjusted my exposure accordingly and compensated for drydown. A few minutes later i had the print in my hand and it looked good.<br />
<br />
I ran into the kitchen and set the tap running whilst i set up my toning gear. I previsualised sepia and selenium for the final print so i laid out my trays. After the wash i slid the print into the bleach for around 8 minutes, pulling it just as the shadows were starting to lose density. I didn't want to bleach back the whole way because then the selenium would have nothing to work with. A quick rinse and then into the sepia for a few minutes. The print turned a lovely sepia tone, better on the FB paper than it would have been on RC. Once toning was complete i did another wash and then put the print in the selenium. I used a mix of 1:9 as i only wanted a slight colour shift. The shadows went a deep brown and the sepia highlights and midtones turned from a yellow to a deeper, richer brown which was exactly what i wanted.<br />
<br />
After leaving the print to dry i was left with exactly what i wanted;<br />
<br />
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<a href="http://farm4.staticflickr.com/3702/9328624734_cb9000bb2d_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://farm4.staticflickr.com/3702/9328624734_cb9000bb2d_b.jpg" height="636" width="640" /></a></div>
Compared to the original flat print the final print is so different and i'm really happy with it.<br />
<br />
So what do we learn from this long and winding tale? Never ignore a seemingly dull or uninteresting negative. With a little work and dedication you can breathe new life and energy into an image. Plus, everyone loves seeing a complicated set of dodging and burning plans written down don't they?! And it feels good to really work at a print and shape it.<br />
<br />
All that is left for me to say is "thankyou Eddie", without your book i may never have unlocked the potential of many of my negatives.Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com6tag:blogger.com,1999:blog-8066654482804131294.post-90407137834246417992014-01-31T13:40:00.000+00:002014-01-31T13:40:32.540+00:00How To: Make a Black & White Print Part II - Making the Print<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
I’ve finally gotten around to making this article! Sorry it’s taken so
long, i’ve been having a hectic time lately with going on holiday and a death
in the family but now, at last, here’s part two of my black and white printing
articles - making the print.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
So, you’ve followed some (if not all) of the advice in <a href="http://www.twelvesmallsquares.blogspot.co.uk/2013/01/how-to-get-set-up-for-black-and-white.html">Part
I</a> and you’ve got together all the gear you need. Now it’s time to
make your print. Lets start right at the beginning and take our time...</span><span style="font-size: 10.0pt;"></span><br />
<br />
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Step
1 – Prepare the chemicals</span></u><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
You should have three chemicals – developer, stop and fixer (if you’re using
fibre paper you should probably have some hypo clearing agent but that’s not
overly critical); and you should have three appropriately sized trays. I
say appropriately sized because there’s no point printing 16”x 20” if your
trays are only 5”x 7”. A good rule of thumb is to use a tray one size
bigger than the paper you will be printing on, then you will have lots of room
to get your tongs in and pull the paper out.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Lay your trays out side by side on a flat surface and mark then from left to
right “dev”, “stop”, and “fix”. Now it’s time to mix your chemicals
(preferably with distilled/deionised water but tap water is ok as long as it
isn’t too hard). Your chemicals should come with mixing instructions so
follow these. For example i use Ilford Multigrade developer which should
be mixed 1:9 with water. Some people struggle with understanding ratios
so let me try and shine some light onto the matter. 1:9 means mix 1 part
chemical to every 9 parts water (making 10 parts in total). In an 8”x 10”
tray i like to use 600ml, so 600 ÷ 10 (1+9) = 60. So you need 60 ml of
chemical in a 600ml solution. That’s 60ml developer + 540ml water.
If the ratio was 1:19 (as it is for the stop bath i use) then that would be
30ml chemical + 570ml water. I hope that makes sense, if not then comment
on this article and i’ll try and help you out as best i can.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Once your developer, stop and fixer solutions are all mixed pour them out into
the appropriate trays. Get three bottles and label them up ready to pour
these solutions into once your darkroom session is finished; you can reuse
these chemicals for quite a while before exhaustion. </span><span style="font-size: 10.0pt;"></span><br />
<br />
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
One thing i should say is to make sure that your chemicals aren't near your
enlarger or where you store your paper. Spillages can happen easily and
you don't want to ruin your paper by splashing it with chemicals. Most
darkrooms have a "dry" side and a "wet" side which are
separate from each other. If you are working in a bedroom its good to put
some plastic sheeting down to protect walls and (in my case) a chest of drawers
from splashes. Silver is a hard stain to remove!</span><span style="font-size: 10.0pt;"></span><br />
<br />
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Step
2 – Prepare the negative and load the enlarger</span></u><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
When you’re choosing a negative to make your first print with it is best to
choose a well developed negative with good average contrast. The last
thing you want to be doing on your first attempt to print is to try and burn
through base fog and be dodging and burning all over the place. If it
helps try scanning a few frames of your film onto your computer and pick the
shot that looks best without too many adjustments. For this tutorial i
will be printing this negative which is a picture of my wife on a bike riding
through a park.</span><span style="font-size: 10.0pt;"></span><br />
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<span style="font-size: 10.0pt;"> </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> Once you have chosen your negative
you need to make sure it is as clean as possible. Use a soft brush to
gently wipe both sides of the negative to remove any dust and particles that
may be laying on the surface. Do the same for your enlargers negative
holder (it’s good to get into the habit of doing this regularly). Glass
cleaning wipes are handy for this and i keep a small box in my darkroom
especially for holder cleaning.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Now slot the negative into the enlarger holder emulsion side down. To
find the emulsion side hold the negative up to the light – it should be dull.
Alternatively, look for the writing on the negative edges - if it’s the right
way up you’re looking at the non-emulsion side. Align the negative as
straight as you can inside the holder to save problems later.</span><span style="font-size: 10.0pt;"></span><br />
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<br />
<span style="font-size: 10.0pt;"> </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> Load the holder into your enlarger
and clamp it (most enlargers have a little handle that keeps the holder in
position). </span><span style="font-size: 10.0pt;"></span><br />
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<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Step
2 – Setup the image</span></u><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Once the negative is all loaded turn off your room light, put on your safelight
and start up your enlarger (to operate my enlarger i have a Paterson timer on
which i can set the exposure time. If you are using a colour head make
sure all filtration is off. Open up your lens to let the maximum amount
of light through – this makes it easier to focus. Make sure you are using
a lens of appropriate focal length. A 50mm lens is good for 35mm negatives,
and 80mm for 6x6 (see part I of my black & white printing guide).</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Now, the distance from the light source in your head to the base determines the
size of the image (as does focal length of your lens i.e. if you use an 80mm
lens on a 35mm negative the head height of the enlarger to make an 8”x 10”
print will differ from that when using a 50mm lens). The greater the
distance between the two the larger the image. I am going to be printing
8”x 10” so my head won’t need to be too high up the enlarger column. Some
enlargers have a size scale printed on the column – if yours does then set it
to 8” x 10”. Mine doesn’t so i have to do it the old fashioned way.
I do this by taking my enlarger easel and setting the blades to a few mm under
8”x 8” (my prints are all square as i shoot 6x6 film). I then place the
easel under the enlarger and adjust the height of the head until the image
covers the 8”x 8” area created by the intersection of the easel blades. </span><br />
<br />
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<span style="font-size: 10.0pt; line-height: 115%;"> </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"> </span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"> Take your focus finder and place it in the centre of the image cast by the
enlarger. Whilst looking through it adjust the fine focus of your
enlarger until the <i style="mso-bidi-font-style: normal;">grain</i>
not the image is in sharp focus. The grain is a constant in your negative
but your image is not – it may be blurred and out of focus so by focusing on
the grain we are ensuring that maximum sharpness is achieved. </span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-jx8vF_esS4E/USNZ5PKbVeI/AAAAAAAAAr0/FNAgG0yVptM/s1600/IMG-20130218-00819.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-jx8vF_esS4E/USNZ5PKbVeI/AAAAAAAAAr0/FNAgG0yVptM/s400/IMG-20130218-00819.jpg" height="300" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Focusing may well have made the image size to big or small for the print we
wish to make so adjust the head height again and focus. Keep doing this
until your image is sharply focused at the right size. Now lock your head
(normally there’s a screw knob that prevents the head from being able to move).
Move your easel around until the image is aligned as you want it. This is
the point at which you can straighten any wonky horizons. Personally i
don’t like to crop my shots but that’s just my ethic, you can do what you like.
Once this is done you should have a nice sharp image which covers your print
size and slightly overlaps onto your easel blades. At this point turn off
your enlarger, turn on the room light and we’ll look to the paper.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Step
3 – Choosing paper and setting grade</span></u><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Now it’s time to choose your paper. When you gain a little more
experience in printing you will start to see that different papers and finishes
suit different types of image. I have a variety of papers in my darkroom
that i have on hand depending on the final print i want to achieve. As
this is your first print just use whatever paper you have managed to get a hold
of. In this example i am using Ilford’s MG IV RC VC (resin coated
variable contrast) glossy paper which is a good “industry standard” paper
(Kentmere’s VC Select is also a very good and slightly cheaper alternative which
i also use).</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Once you have settled on a paper it’s time to choose a grade to print at.
Paper grade determines the contrast of your print. Grade 00 is very flat,
low contrast whilst grade 5 is very high contrast. Most well exposed,
well developed negatives with good overall contrast will print nicely at about
grade 2. If your negative is of a low contrast scene then printing at a
higher grade will help and vice versa. Personally i like my prints to be
of a slightly higher contrast so i tend to print my well exposed, well
developed (hopefully at least) negatives at grade 3. Of course, your
artistic interpretation of the negative can change this "rule".
For example, i recently took a shot of a boat on some very still water. I
wanted the sky and water to be very light and the boat to be a dark value
almost black. If i had printed at grade 3 then the water and sky would
have been a light-mid grey and the boat black. By printing at grade 5
however i increased the contrast so the bat stayed black and the sky and water
were much lighter. Once you get more experience in printing you can make
decisions like this to change the outcome of your final print. Throughout
this process and even when shooting the photo you should be thinking about how
you want that final print to look. For now though we will choose a middle
grade contrast to print at.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Included in your pack of paper should be a data sheet containing processing
information for that particular paper. Take it out the pack (with the
room light off and safelight on) and seal the paper up again. Go back to
room light and look at the sheet (these are also normally available from the
paper manufacturers website to download as a PDF files). If you are using
multigrade filters and not a colour head you can skip this step and just put
the appropriate filtration in the filter carrier beneath your lens. If
you’re using a colour head then keep reading this section. Beneath the
processing information there should be a section about paper grade (see below):</span><span style="font-size: 10.0pt;"></span><br />
<br />
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"> This (and the following) tables were taken
from the Ilford MGIV RC VC datasheet and is used to determine what group of
settings you need to use for your enlarger. Mine is made by LPL which
comes under the Kodak group (note - some papers may not ave such tables, you
may need to do a little bit of research online if not). Remember what
group your enlarger falls under and look further down the sheet and you should
see these two tables:</span><span style="font-size: 10.0pt; line-height: 115%;"></span></div>
</div>
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<br />
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<a href="http://3.bp.blogspot.com/-4Pv8c3EApmA/USNcJjEogxI/AAAAAAAAAso/CDxx3c6GRzs/s1600/table+3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-4Pv8c3EApmA/USNcJjEogxI/AAAAAAAAAso/CDxx3c6GRzs/s400/table+3.JPG" height="263" width="400" /></a></div>
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<br />
<span style="font-size: 10.0pt;"> </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> </span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span> The first table shows single
filter values, the second dual values. Personally i use dual values most
of the time but there are times when single values are better (for varying
exposure times). So, i want to print this negative at grade 3 and i need
to use Kodak settings so i need to dial in 23Y and 56M on my colour head.
Look at your head and there should be three dials – yellow, magenta and cyan.
You don’t really use cyan in black and white printing so just focus on the
yellow and magenta. Dial in the settings you have just taken from your
datasheet and turn your enlarger on. </span><span style="font-size: 10.0pt;"></span><br />
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<br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> The image cast onto your easel should have changed colour from white to a mix
of yellow and magenta. If it hasn’t look at your head – most colour
enlargers have a switch which lifts the filters away from the light source.
Make sure that the switch is down therefore putting the filters in between the
light source and the negative. Stop your lens down to 2 stops away from
max. My 80mm lens goes to f22 so i tend to print at f11 (sometimes f16 if
i need a longer exposure time). Now you are ready to...</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> </span><span style="font-size: 10.0pt;"> </span><br />
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Step
4 – Make a test strip</span></u><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Make sure your room light is off, your enlarger light is off and your safelight
is on. The only source of light in your room should be your safelight
(which you should situate at least 1m away from anywhere your paper is going to
be to avoid fogging). Open your paper and remove a sheet. Place it
emulsion side up beneath the blades of your easel. The emulsion side on
RC paper curves away from itself whereas on FB paper it curls towards itself.
Think of it as "n" and "u" - if you're using RC paper then
when the paper is the right way up it will be "n" shaped, for FB
paper it will be "u" shaped. If you are using glossy paper then
the emulsion side should be pretty obvious at it will shine, satin and matte
finished will be a little trickier. Make sure the paper is aligned and
flat in the easel. Set your exposure time on your enlarger timer to 26
seconds and get a piece of card larger than your print. Cover the
majority of your paper in the easel with this card but leave a few centimetres
free. Now, what’s going to happen is that once we set the enlarger
running we will retract the card by a few centimetres every 2 seconds until the
countdown reaches zero and the enlarger stops exposing.</span><span style="font-size: 10.0pt;"></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-zVg3IIZ1Qi0/USNhtrdq03I/AAAAAAAAAtI/vArPH7Zp-Kg/s1600/IMG-20130218-00821+arrow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-zVg3IIZ1Qi0/USNhtrdq03I/AAAAAAAAAtI/vArPH7Zp-Kg/s400/IMG-20130218-00821+arrow.jpg" height="300" width="400" /></a></div>
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<br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> Set
the enlarger running and watch the timer count down. Every 2 seconds move
the card back by a few centimetres and keep going until the enlarger stops
exposing. If you have judged it well the last 2 seconds of exposure should
be towards the far end of the paper, thus giving you good exposure coverage
across the whole print. </span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Remove your paper from your easel and go to your developing tray (which should
be away from any paper storage and your enlarger so as to avoid splashing).
Grab a stopwatch/wristwatch (NOT backlit) and as you slide the paper into the
developer start it running. Rock the tray immediately to ensure that the
chemical covers the whole print. For this paper/developer combination i
need to develop for 1 minute at 20oC (paper developing just runs to completion
- it doesn't matter if you leave the print in for a few minutes, once the print
has reached maximum developing it stops). Ensure that fresh developer
keeps moving over the paper by gently rocking the tray back and forth for the
duration of the minute. An image should start to appear at around 15 to
20 seconds (in fresh developer) and keep developing. Once you reach 1
minute (developing time will increase if the temperature is lower) remove the
paper from the developer using tongs and let it drain for 10 seconds.
Then place it into the stop bath for 10 seconds and rock the tray, drain it for
10 seconds and then fix for 30 seconds (these times will vary depending on what
chemicals and papers you use – consult the data sheets that come with your
equipment and it will tell you what times to use). After fixing place the
print in a tray of water, or if you’re lucky enough to have a sink in your
darkroom place it straight into a bath of running water. For RC papers
washing in running water for around 5 minutes is fine, for FB papers an hour is
recommended (if you wash with a hypo clearing agent then this time is halved).
Water doesn’t have to be gushing out of the tap, a gentle trickle is
fine. If you wash insufficiently then it is possible that as time goes by
your print will turn brown due to fixer which was not removed by the wash
Personally i have to run out of my darkroom to the bathroom and leave my print
washing in the sink whilst i occupy myself elsewhere for a few minutes.
Before you go running out of your darkroom however, make sure your package of
paper is sealed and packed away before you turn on your room light or you could
ruin your whole box of paper. </span><span style="font-size: 10.0pt;"></span><br />
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</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
You should now have a print with varying exposures over it that looks something
like this:</span><span style="font-size: 10.0pt;"></span></div>
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<span style="font-size: 10.0pt;"> </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;"> This is a test sheet showing various
exposures from 0 seconds to 26 seconds. You may have heard the term test
strip before - test strips are exactly the same but instead of using a whole
sheet you trim a strip off the edge of your paper and expose that as above.
This works out well for people who shoot 6x6 as you can trim and inch or two
off the same sheet you are going to be printing on to make the test strip, thus
saving on paper. For now, though, as this is your first print its best to
use a whole sheet so you can get an idea of how the whole print looks at
different exposures. As your experience grows you can go to test strips
if you choose to.</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Now what you need to do (preferably when the test sheet is dry) is analyse
which exposure is best to your eye. Look at the whole print and find
which exposure gives you the best combination of shadow and highlight detail
with good contrast throughout. Personally i like my prints to be slightly
on the darker side so i for this print i chose the 26
second exposure. If you don't think any of the exposures are long enough
try a test strip from 60 to 30 seconds, or stop your lens down to reduce the
amount of light hitting the paper.</span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Once you have decided on an exposure time turn the room light off and safelight
on and repeat the above steps but with a straight print at the exposure time
you have chosen (in my case 26 seconds). Develop, stop, fix and wash as
before and then leave your print to dry, either hung up or on a rack.
</span><span style="font-size: 10.0pt;"></span><br />
<br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Here’s
my print at 26 seconds exposure:</span><span style="font-size: 10.0pt;"></span><br />
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
Once dry really look at your print – are you happy with it? Is it too
light/dark, is the contrast too high/low? To darken simply choose a
longer exposure or use a shorter exposure to lighten. Change the contrast
using filtration and see how that effects the print. </span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
</span><span style="font-size: 10.0pt;"></span><br />
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">
It is entirely up to you how your final print will look. We have only
scratched the surface of printing in this tutorial (we'll go into more detail
in the upcoming parts of my printing guide). There are likely areas of
your print that are still too light or dark even though you have a generally
good exposure overall. In part IV of my printing tutorials we will
discuss fine tuning a print using dodging and burning. Part III, however, wil deal with an alternative printing method - Split Grade Printing. Until then feel
free to ask any questions and most of all - happy printing!</span><br />
<br />
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<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Last year I went on
holiday with Jess and some pals to Loch Awe in Scotland.<span style="mso-spacerun: yes;"> </span>We stayed in a lovely cabin by the lake and
had a thoroughly good time.<span style="mso-spacerun: yes;"> </span>We decided
to go again this year so we eventually picked a week and I booked the
cabin.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>I fancied some new
reading material for while I was away so I decided to have a search for some new
darkroom/photography books.<span style="mso-spacerun: yes;"> </span>I already
have a couple of books, Creative Elements by Eddie Ephraums, The Negative by
Ansel Adams, The Master Photographers Lith Printing Course and The Master
Photographers Toning Book - both by Tim Rudman; but let’s face it, extra darkroom
books are never going to be a burden.<span style="mso-spacerun: yes;"> </span>So
I logged onto Amazon and had a look around.<span style="mso-spacerun: yes;">
</span>There were plenty to choose from but I settled on three, all of which
are very very good…</div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Gradient Light –
Eddie Ephraums </b></div>
<div class="MsoNormal">
<a href="http://ecx.images-amazon.com/images/I/31vcAM-chAL._.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/31vcAM-chAL._.jpg" /></a> </div>
<div class="MsoNormal">
<a href="http://www.amazon.co.uk/gp/product/0952434601/ref=oh_details_o00_s00_i01?ie=UTF8&psc=1">http://www.amazon.co.uk/Gradient-Light-Variable-Contrast-Photography/dp/0952434601/ref=sr_1_1?s=books&ie=UTF8&qid=1390485387&sr=1-1&keywords=gradient+light</a></div>
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<br /></div>
<div class="MsoNormal">
Yes, it turns out that Eddie has another book!<span style="mso-spacerun: yes;"> </span>Much like Creative Elements Eddie discusses
each image in depth from in-camera capture to final print, providing dodging
and burning charts and composition notes.<span style="mso-spacerun: yes;">
</span>Then he goes on to talk about procedures i.e. flashing & fogging,
dodging & burning, fixing and washing etc.<span style="mso-spacerun: yes;">
</span>The thing about this book is that it is entirely focused on using
variable contrast (VC) paper.<span style="mso-spacerun: yes;"> </span>So Eddie
explains how to split grade print and how to use different grades to dodge and
burn different parts of the print.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>I got
this book in used but good condition for £1.74. £1.74!!<span style="mso-spacerun: yes;"> </span>It’s worth it just for that but it really is
a useful and informative book.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Black & White Photographic Printing Workshop - Larry Bartlett </b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://ecx.images-amazon.com/images/I/41RCWBMGVAL._SX385_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/41RCWBMGVAL._SX385_.jpg" height="320" width="275" /></a></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.amazon.co.uk/gp/product/0863433669/ref=oh_details_o01_s00_i00?ie=UTF8&psc=1"><b>http://www.amazon.co.uk/Larry-Bartletts-Photographic-Printing-Workshop/dp/0863433669/ref=sr_1_1?s=books&ie=UTF8&qid=1390485373&sr=1-1&keywords=larry+bartlett</b></a><b><br /></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I bought this book on a bit of a whim and it turned out to be a winner. As usual in these types of books Larry talks for a little about paper types, processing methods etc but then he goes through his printing procedure for a selection of images. He basically goes through exactly what he did from the starting negative to the final print - dodging, burning, grade choice etc. The thing i like about this book is that, even though the pictures aren't really my style (i rarely take portraits), he really shows what can be done with dodging and burning, be that whitening eyes using plasticine on wire, manipulating the tones of background walls to add mood and atmosphere to an image, or subtly changing tonality in small parts of an image to add balance. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This book i got for, wait for it, 1p!!! 1 tiny, measly, piffling pence! Worth it? Yes!! If you don't have a copy go out and buy it immediately!</div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b>Darkroom Dynamics: A Guide To Creative Darkroom Techniques - Jim Stone</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://ecx.images-amazon.com/images/I/51S1PE-TDVL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX385_SY500_CR,0,0,385,500_SH20_OU02_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/51S1PE-TDVL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX385_SY500_CR,0,0,385,500_SH20_OU02_.jpg" height="320" width="246" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.amazon.co.uk/Darkroom-Dynamics-Guide-Creative-Techniques/dp/0240517679/ref=sr_1_1?s=books&ie=UTF8&qid=1390485350&sr=1-1&keywords=darkroom+dynamics">http://www.amazon.co.uk/Darkroom-Dynamics-Guide-Creative-Techniques/dp/0240517679/ref=sr_1_1?s=books&ie=UTF8&qid=1390485350&sr=1-1&keywords=darkroom+dynamics</a><b><br /></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This book is probably my favourite of the three. I am attracted more to alternative processes than straight up silver gelatin prints (although i still have lots of love for a straight print), i think that is why i do so much lith printing. Not strictly speaking an alternative process but i love the gritty and different nature of the prints you get with lith. I think that's why i love this book so much, Stone goes into depth about ways of expanding your darkroom skills and creativity. He discusses the Sabattier effect, photograms, enlarged photograms, multiple printing, hand colouring, polaroid manipulation and so on. Have you ever considered putting drops of oil onto pieces of glass, putting them in your enlarger and making an abstract photogram? Thought not! </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This book just makes a really interesting read, and at £1.93 you can't go wrong really. I can't wait to try some of the processes out.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On a supply run to the nearest built up area to us (Oban) i decided to pop into a charity shop, and lo, i found...</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Infrared Photography Handbook - Laurie White </b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://ecx.images-amazon.com/images/I/51ZqH-thBuL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX385_SY500_CR,0,0,385,500_SH20_OU02_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ecx.images-amazon.com/images/I/51ZqH-thBuL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_SX385_SY500_CR,0,0,385,500_SH20_OU02_.jpg" height="320" width="245" /></a></div>
<div class="MsoNormal">
<br />
<a href="http://www.amazon.co.uk/Infrared-Photography-Handbook-Laurie-White/dp/0936262389/ref=sr_1_4?s=books&ie=UTF8&qid=1390482861&sr=1-4&keywords=infrared+photography">http://www.amazon.co.uk/Infrared-Photography-Handbook-Laurie-White/dp/0936262389/ref=sr_1_4?s=books&ie=UTF8&qid=1390482861&sr=1-4&keywords=infrared+photography</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I haven't had chance to have a good read of this yet but i'm looking forward to it. It seems to go into plenty of detail abut using infrared film and how to get the best out of it. Obviously it doesn't cover more recent films like Efke or Rollei infrared but the principles learned still apply. Alright for a few quid from a charity shop.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So, all in all a good haul. Remember you'll need to pay £2 or so for postage costs, but for books this good that's a paltry sum to pay. I haven't even read them all properly yet, just skimmed some interesting-looking bits but i plan on sitting down and having a good trawl through soon, i recommend you do the same.</div>
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<br /></div>
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In the meantime i'll be working on some prints from the negative i shot whilst away (if Jess should ever give me the precious gift of free time that is) and scanning some polaroids i took. See you soon.</div>
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-41614675358602119732014-01-07T14:28:00.001+00:002014-01-31T13:52:54.934+00:00Improving Records...Again!<!--[if gte mso 9]><xml>
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<span style="mso-spacerun: yes;"> </span>For some reason I am
really anal about keeping records.<span style="mso-spacerun: yes;"> </span>When I
am out with my camera I write all my aperture, shutter, metering etc settings
down in a notebook.<span style="mso-spacerun: yes;"> </span>When I develop the
film I add even more notes to the notebook, then when I’m printing I will make
notes on each print I make.<span style="mso-spacerun: yes;"> </span>Each roll of
film is given a designated number, as is each frame on the roll.<span style="mso-spacerun: yes;"> </span>These numbers are used from
loading the camera to the making final prints.</div>
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<span style="mso-spacerun: yes;"> </span>The problem I’m
having is that when I go to print I always forget to pickup my notebook.<span style="mso-spacerun: yes;"> </span>Doesn’t sound like much of a problem but in all honesty it’s
a pain in the bum having to go back into the house, dig out my camera bag and
then go back to the shed.<span style="mso-spacerun: yes;"> </span>How to resolve
this problem?<span style="mso-spacerun: yes;"> </span>Why, another spreadsheet of
course!<span style="mso-spacerun: yes;"> </span>And as usual I will be sharing
it with all my readers, I have designed it so that it (hopefully) covers
everything I’ll need to record.<span style="mso-spacerun: yes;"> </span>When I get
home after a shoot or after I have developed a film I will transfer all of my
exposure and development data onto this sheet from my notebook and store it in
the darkroom in my negative file along with the contact sheet and any print
records.<span style="mso-spacerun: yes;"> </span>That way if I go back to a
negative weeks, months and years down the line I don’t have to trawl through
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<br /></div>
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<span style="mso-spacerun: yes;"> </span>Hopefully some of
you will find this useful anyway, as always if you can think of anything to add
let me know. Follow <a href="https://drive.google.com/file/d/0B_3mxkJc-ZS4WFhYdlBUYVVlRDA/edit?usp=sharing">this</a> link to download a copy for yourself. As always i will post a link in the downloadable resources section of this blog. It's all pretty self explanatory, the only thing i need to mention is the MLU and CR boxes. These are boxes for you to tick if you used mirror lockup and/or cable release.</div>
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-44801201051115658502014-01-06T11:48:00.001+00:002014-01-31T13:52:39.915+00:00Surprisingly Pleasing Surprises<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Most of the time
when I go into the darkroom I have a pretty good idea of what I want to
achieve.<span style="mso-spacerun: yes;"> </span>This isn’t really due to any
forward planning or meditation, I just can’t get in there as much as I would
like and so I tend to have a few days between sessions where I can be thinking
about what I want to do with certain negatives.<span style="mso-spacerun: yes;">
</span>So when I went into the darkroom last week I knew what I wanted to do
with my latest negative.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>I had taken Ellie
(our dog) for a walk on the beach with Jess earlier in the week.<span style="mso-spacerun: yes;"> </span>The tide was out so there were small pools
everywhere filled with starfish, crabs, shells and seaweed.<span style="mso-spacerun: yes;"> </span>As I had a few doggy poo bags in my pocket I decided
to fill one with various shells and things from the beach so I could shoot some
still life (I hadn’t shot any film in ages and I was starting to get
twitchy)!<span style="mso-spacerun: yes;"> </span>So I filled my bag, tired out
the dog and headed home.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The next day I setup
my new Bronica body (yes, I replaced the broken one at last) on my new tripod,
setup some lights and got shooting.<span style="mso-spacerun: yes;"> </span>I
used the S-36 extension tube to get up nice and close, then added close up
filters where necessary.<span style="mso-spacerun: yes;"> </span>Side lighting
came from a table lamp shining from above and slightly to the right of “the
subject”.<span style="mso-spacerun: yes;"> </span>I used the auto prism I had
received with my new body for exposure as I (shamefully) couldn’t be bothered
spot metering it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Once done I loaded
the film into the tank and mixed up my chemistry.<span style="mso-spacerun: yes;"> </span>I developed the Pan F+ for 15 minutes in ID11
1:3, stopped, fixed and washed as usual.<span style="mso-spacerun: yes;">
</span>Unfortunately the negative came out very thin indeed.<span style="mso-spacerun: yes;"> </span>I’m assuming the developer stock solution had
expired as I mixed it up about a month and a half ago, but maybe the auto
metering wasn’t up to scratch; I don’t see why though as it was a very low
contrast scene.<span style="mso-spacerun: yes;"> </span>I don’t really use ID11
so that’s my excuse, I should have just stuck to Rodinal but I didn’t want to
waste chemistry.<span style="mso-spacerun: yes;"> </span>That’ll teach me!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>So, with dry negative
in hand I entered the darkroom.<span style="mso-spacerun: yes;"> </span>I
started, as usual, by making a contact sheet; I’ve been doing that a lot more lately
as it’s a good practice to get into.<span style="mso-spacerun: yes;"> </span>I
could see from that that there were only two or three frames I liked enough to
print so I loaded the first and made a test strip.<span style="mso-spacerun: yes;"> </span>After fiddling with contrast filters and exposure
times I settled on Grade 4 at 4.00 seconds on Kentmere VC Select.<span style="mso-spacerun: yes;"> </span>That’s a tiny amount of exposure.<span style="mso-spacerun: yes;"> </span>Normally my base exposures are in the 18
seconds mark at grade 3, so you can see just how thin the negative was!<span style="mso-spacerun: yes;"> </span>Fortunately, for this frame, all the detail I
wanted was recorded on the negative.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>What I had planned for
this negative was some second pass lith. If you’re not familiar with it please
see <a href="http://twelvesmallsquares.blogspot.co.uk/2013/06/how-to-create-2nd-pass-lith-prints.html"><span style="color: red;">here</span></a>.<span style="mso-spacerun: yes;">
</span>Basically you overexpose a print, bleach it back as far as you like then
put it into lith developer.<span style="mso-spacerun: yes;"> </span>So, I made
my overexposed base print as described above:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-h8VffiRl-I8/UsqXRiI69aI/AAAAAAAAEWI/YN8eetYxiwg/s1600/20140101_114846.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-h8VffiRl-I8/UsqXRiI69aI/AAAAAAAAEWI/YN8eetYxiwg/s1600/20140101_114846.jpg" height="640" width="480" /></a></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>Then I bleached it
back until the border shadows were just starting to be affected:</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-_s8UREEfkIc/UsqXTf_ytrI/AAAAAAAAEWU/j7EgUsmP9FU/s1600/20140102_133449.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-_s8UREEfkIc/UsqXTf_ytrI/AAAAAAAAEWU/j7EgUsmP9FU/s1600/20140102_133449.jpg" height="640" width="480" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Then I redeveloped
in lith, stopped and fixed as normal.<span style="mso-spacerun: yes;">
</span>What I found interesting is that the print did not redevelop as much as I
thought it would.<span style="mso-spacerun: yes;"> </span>Theoretically the
print should just keep developing until it is all black, but this print didn’t
and I’m not too sure why.<span style="mso-spacerun: yes;"> </span>I haven’t
really done much experimentation with second pass lith, I really should devote
more time to it. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>So here is the final
print.<span style="mso-spacerun: yes;"> </span>Note I didn’t get the usual greys
and pinks with this paper, but a paler grey and some yellowy highlights which,
although unexpected, are still pleasing to the eye: </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://farm6.staticflickr.com/5524/11749973433_6a925f4520_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://farm6.staticflickr.com/5524/11749973433_6a925f4520_b.jpg" height="628" width="640" /></a></div>
<div class="MsoNormal">
<br /></div>
<span style="mso-spacerun: yes;"></span> So what do we
learn?<span style="mso-spacerun: yes;"> </span>Sometimes what you plan isn’t
what you get.<span style="mso-spacerun: yes;"> </span>Often something surprising
can happen, and often that surprise is something good.
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-46135095315921427882013-12-20T13:40:00.001+00:002014-01-31T13:52:18.766+00:00Branching Out With Slavich Unibrom<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
I have made no secret on this blog and on various groups and
forums of the struggles I have had with Slavich Unibrom.<span style="mso-spacerun: yes;"> </span>I have had no end of trouble trying to get
even development and retain highlight detail and I have pretty much given up on
it until I can try out an alternative developer to Fotospeed’s LD20, which is all i have in my stock at the moment.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having a few hours free (a rare gift from Jess) to print I made
a lith print using some old Agfa Brovira (see previous post).<span style="mso-spacerun: yes;"> </span>I had to mix up some fresh standard developer
for the test strip so instead of letting that go to waste I decided to try some
straight up printing on Unibrom (sacrilege?) using a negative from about a year
ago when I went on holiday to Scotland.<span style="mso-spacerun: yes;">
</span>The image is of a very small plant that I discovered growing out of a
bed of moss on the edge of a forest.<span style="mso-spacerun: yes;"> </span>It
has good contrast and was well exposed so I thought it would be ideal for seeing
what Unibrom can deliver when it comes to straight up printing. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I made a test strip, chose an exposure and did a flat
print.<span style="mso-spacerun: yes;"> </span>It looked good, strong cool
blacks and good highlights.<span style="mso-spacerun: yes;"> </span><br />
<span style="mso-spacerun: yes;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8oogc4zYiSs/UrRHGfKdstI/AAAAAAAAEEw/0jd7sg79Iwk/s1600/plant+ts+lr+%25281+of+1%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-8oogc4zYiSs/UrRHGfKdstI/AAAAAAAAEEw/0jd7sg79Iwk/s400/plant+ts+lr+%25281+of+1%2529.JPG" height="395" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ignore the dust etc, my scanner is currently filthy!</td></tr>
</tbody></table>
</span><br />
<span style="mso-spacerun: yes;"> </span> It would
need some dodging and burning to get the most out of it though, and i was considering what needed to be done i found my thoughts turning to the lith
developer I had just used.<span style="mso-spacerun: yes;"> </span>It still had
some life left in it so why not try some second pass lith?<span style="mso-spacerun: yes;"> </span>I have seen some fine examples of this paper
using the second pass method and now seemed like a good opportunity to try it
out.<span style="mso-spacerun: yes;"> </span>I got out my potassium ferricyanide/bromide
bleach, bleached the print all the way back, rinsed it and then put it in the
lith developer.<span style="mso-spacerun: yes;"> </span>The colours were superb!<span style="mso-spacerun: yes;"> </span>The shadows started to build up from a dark
coppery red through to a vivid orange before finally cooling off into grey.<span style="mso-spacerun: yes;"> </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="mso-spacerun: yes;"><a href="http://2.bp.blogspot.com/-zih7ZU_K2po/UrRFtURCbDI/AAAAAAAAEDc/eKOk8mhz_7c/s1600/20131214_193202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-zih7ZU_K2po/UrRFtURCbDI/AAAAAAAAEDc/eKOk8mhz_7c/s320/20131214_193202.jpg" height="240" width="320" /></a></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="mso-spacerun: yes;"><a href="http://1.bp.blogspot.com/-ZuJ9gfDUvg8/UrRFrVHfQbI/AAAAAAAAEDU/aHHujhap05Q/s1600/20131214_185329.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ZuJ9gfDUvg8/UrRFrVHfQbI/AAAAAAAAEDU/aHHujhap05Q/s320/20131214_185329.jpg" height="320" width="240" /></a></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="mso-spacerun: yes;"><a href="http://1.bp.blogspot.com/-dqNlZdBRk_o/UrRF872Xv-I/AAAAAAAAEDs/g_bxFKXNFTw/s1600/20131214_193527.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-dqNlZdBRk_o/UrRF872Xv-I/AAAAAAAAEDs/g_bxFKXNFTw/s320/20131214_193527.jpg" height="240" width="320" /></a></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="mso-spacerun: yes;"><a href="http://2.bp.blogspot.com/-rIRhayc4RqA/UrRGWN2YdMI/AAAAAAAAEEI/6hAvI1cOakc/s1600/20131214_193903.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-rIRhayc4RqA/UrRGWN2YdMI/AAAAAAAAEEI/6hAvI1cOakc/s320/20131214_193903.jpg" height="240" width="320" /></a></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="mso-spacerun: yes;"><a href="http://2.bp.blogspot.com/-_tVO_3uufQg/UrRGWWZw6mI/AAAAAAAAEEM/NMeVfsrOXNs/s1600/20131214_194008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-_tVO_3uufQg/UrRGWWZw6mI/AAAAAAAAEEM/NMeVfsrOXNs/s320/20131214_194008.jpg" height="240" width="320" /></a></span></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-K6GlZ4Bcf8k/UrRGgeByfCI/AAAAAAAAEEU/MSB-GZ8NerA/s1600/20131214_194122.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-K6GlZ4Bcf8k/UrRGgeByfCI/AAAAAAAAEEU/MSB-GZ8NerA/s320/20131214_194122.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sorry about the orientation - blogger wont let me rotate the images!</td></tr>
</tbody></table>
<br />
<br />
Unfortunately I pulled the print too late and
lost the lovely copper tones in the foreground foliage so I re-bleached it and
tried again.<span style="mso-spacerun: yes;"> </span>Alas the print solarised (I’m
no fan of solarisation) so I made a fresh print and tried again.<span style="mso-spacerun: yes;"> </span>Unfortunately it failed this time too.<span style="mso-spacerun: yes;"> </span>It is going to take a bit of work to make
sure I keep the colour in the foreground at the same time the highlight detail
comes in.<span style="mso-spacerun: yes;"> </span>That’s something for me to
work on in my next darkroom session – maybe only partial bleaching…<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-COEix_ktewY/UrRG-mzBYbI/AAAAAAAAEEg/tatCGZQg1IE/s1600/plant+solar+lr+%25281+of+1%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-COEix_ktewY/UrRG-mzBYbI/AAAAAAAAEEg/tatCGZQg1IE/s400/plant+solar+lr+%25281+of+1%2529.JPG" height="390" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's the solarised version</td></tr>
</tbody></table>
The only drawback I discovered is that once the print goes
into the fixer the lovely copper tones disappear and turn into a pale golden
yellow – still very pleasing but something of a disappointment after the copper
tones. It's something to keep in mind for future prints though.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-aeIrgN_ROng/UrRHFD53-eI/AAAAAAAAEEo/hvMa38t9Pxw/s1600/plant+final+lr+%25281+of+1%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-aeIrgN_ROng/UrRHFD53-eI/AAAAAAAAEEo/hvMa38t9Pxw/s400/plant+final+lr+%25281+of+1%2529.JPG" height="387" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The print after the fixing bath. I need to try and get this lovely colour into the foreground more. This print is going to take some work i think.</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
But still, at least I have found a new use for my supply of
Unibrom – it’s a lovely paper and it’s a shame that I can’t seem to get it to
work for me with straight lith.<span style="mso-spacerun: yes;"> </span>As I mentioned
before, perhaps a different developer would serve me better.<span style="mso-spacerun: yes;"> </span>Until I can try that out second pass seems to
be the order of the day.<span style="mso-spacerun: yes;"> </span>I’m looking
forward to trying it out with some other negatives, hopefully this weekend.</div>
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-37557190683073368212013-12-19T10:25:00.003+00:002014-01-31T13:52:01.100+00:00Lithing Glen Coe<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
As I STILL haven’t replaced my broken Bronica SQ-A body I am
stuck without a camera.<span style="mso-spacerun: yes;"> </span>That being the
case I have hardly been in the darkroom at all lately.<span style="mso-spacerun: yes;"> </span>I managed to get an evening a few nights ago
though and decided to dig through my negative file and see if there was
something I missed.<span style="mso-spacerun: yes;"> </span>I ended up looking
at some rolls I had shot on holiday in Scotland earlier this year.<span style="mso-spacerun: yes;"> </span>I had printed most of the good frames from it
but there was one frame in particular I just couldn’t get a print I liked from.<span style="mso-spacerun: yes;"> </span>It was of some mountains in Glen Coe close to
dusk and the shadows were all blocked up.<span style="mso-spacerun: yes;">
</span>I was in a rush at the time of exposure so it’s not really the best
negative I could have got from the scene, and what’s more there are spots,
marks and scratches all over it (bad processing on my part)!<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I decided that maybe it was time to give it another
try.<span style="mso-spacerun: yes;"> </span>I went through a few sheets of
paper but couldn’t really get anything close to what I liked, and those spots and marks were an annoyance.<span style="mso-spacerun: yes;"> </span>I decided to try and lith it and settled on
Agfa Brovira as my paper of choice.<span style="mso-spacerun: yes;"> </span>With
Brovira I can get a good range of tones and it still retains great highlight
detail so was ideal for this situation.<span style="mso-spacerun: yes;"> Plus with lith marks and spots annoy me much less for some reason, maybe it's because of the gritty nature of hte final print. </span></div>
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<br /></div>
<div class="MsoNormal">
I
mixed up the developer, exposed the paper and slid it into the tray.<span style="mso-spacerun: yes;"> </span>It took about 25 minutes to get to an
appropriate snatch point, but u<span style="mso-spacerun: yes;"></span>nlike most of
my other prints I pulled it just before the shadows became too dark.<span style="mso-spacerun: yes;"> </span>There is shadow detail in this negative that
would be lost if I let the blacks fully develop – a road and the texture of the
mountainside – and I wanted them to still be discernible in the final print.<span style="mso-spacerun: yes;"> </span> </div>
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<br /></div>
<div class="MsoNormal">
I’m pleased with the final print, there are
patches of a golden yellowy tone that appeared upon drying.<span style="mso-spacerun: yes;"> </span>I’m not sure if that’s to do with the lith
process or just down to the age of the paper, I like it anyway.<span style="mso-spacerun: yes;"> </span>I’m starting to run low on Brovira so I need
to start saving it for the most important negatives, or find someone with a
huge stash for sale!</div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://farm4.staticflickr.com/3681/11448277566_9c3ace5d8c_c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://farm4.staticflickr.com/3681/11448277566_9c3ace5d8c_c.jpg" height="636" width="640" /></a></div>
<br /></div>
<div class="MsoNormal">
It just goes to show how important it is to keep going back to old negatives as well as printing new ones as your printing skills improve with time and you may be able to get more from your negative than you could when you first tried. </div>
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-87711476718772143542013-11-07T17:23:00.002+00:002014-01-31T13:51:37.934+00:00Feeding The Monkey<!--[if gte mso 9]><xml>
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After not shooting a roll in months to say my trigger finger
is itchy is an understatement.<span style="mso-spacerun: yes;"> </span>To
satisfy my urges last weekend I dug out some old 35mm film and loaded up my Yashica FR-1 and
took some randomly selected shots around the house and out and about.<span style="mso-spacerun: yes;"> </span>Mostly of Jess eating her tea (much to her
disdain).<span style="mso-spacerun: yes;"> </span>I do not like Ilford Delta in
Rodinal so I opened a pack of ID11 I got with my darkroom and gave that a
try.<span style="mso-spacerun: yes;"> </span>The negative seems to have come out
with good contrast and hopefully I will be able to do some printing this
weekend.</div>
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Now, on to the main point of this post.<span style="mso-spacerun: yes;">
</span>Due to the complete lack of recent shooting I decided to dig through my
old negatives.<span style="mso-spacerun: yes;"> </span>I decided to try and
print an image I had tried and failed before.<span style="mso-spacerun: yes;">
</span>It’s from a trip Jess and I took to Bowland back in summer <span style="mso-spacerun: yes;"></span>of an animal shelter in the hills with a
nice puff of cloud above it.<span style="mso-spacerun: yes;"> </span>The problem
is I just can’t seem to get it right using straight printing.<span style="mso-spacerun: yes;"> </span>The image is extremely low contrast due to
the fact I used too heavy a grad on the sky.<span style="mso-spacerun: yes;">
</span>I should probably dedicate more time to it I suppose (and learn to master my metering and filtration better).<span style="mso-spacerun: yes;"> </span>But for this short session I decided to try
and lith it.<span style="mso-spacerun: yes;"> </span>I have been suing Agfa
Brovira a lot lately but didn’t think it would suit this image and I didn't want to use my few remaining pieces of Fotospeed Lith.<span style="mso-spacerun: yes;"> </span>I wanted something gritty and super-high
contrast.<span style="mso-spacerun: yes;"> </span>I decided to once again try
Slavich Unibrom.<span style="mso-spacerun: yes;"> </span>Here I learn't an
important lesson.<span style="mso-spacerun: yes;"> </span>When trying to “feed
the darkroom monkey”, don’t use a paper you haven’t mastered yet.<span style="mso-spacerun: yes;"> </span>As usual I got grossly uneven
development.<span style="mso-spacerun: yes;"> </span>I tried a few sheets changing
my method slightly; a pre-soak, more diluted developer, but didn’t get anything near
the image I had in my head.<span style="mso-spacerun: yes;"> </span>I gave up
after a few hours and went inside.</div>
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The next day I was looking through a few of the prints and
found one I actually rather liked.<span style="mso-spacerun: yes;">
</span>Although the development wasn’t as even as I had hoped the image was
still quite pleasing.<span style="mso-spacerun: yes;"> </span>And at this point
we learn lesson number two – don’t immediately dismiss a print.<span style="mso-spacerun: yes;"> </span>Sleep on it (not literally) and come back to
it the next day.<span style="mso-spacerun: yes;"> </span>Don’t rush towards the
final image because you may discover something different that you prefer.<span style="mso-spacerun: yes;"> </span>It’s advice I have read in books many times
but far too often I get carried away trying to get something finished, but
maybe it’s just me that does that.</div>
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<br /></div>
<div class="MsoNormal">
So lessons learned – I need to slow down and I need to work
harder at finding my own way of taming Slavich Unibrom.<span style="mso-spacerun: yes;"> </span>For now I leave you with the image I made and
the promise of further updates soon:</div>
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<a href="http://farm4.staticflickr.com/3775/10713449214_e05808bd06_c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://farm4.staticflickr.com/3775/10713449214_e05808bd06_c.jpg" height="604" width="640" /></a></div>
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Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-87159155097190825092013-10-28T11:27:00.003+00:002014-01-31T13:51:25.629+00:00Improving the Shed Darkrom If you've been reading this blog for a while you'll know that my darkroom is in a converted shed. If you want to convert your own shed you can see how i did it <a href="http://www.twelvesmallsquares.blogspot.co.uk/2013/05/for-i-am-man.html">here</a>. My current door situation has been really annoying me however. I have strips of velcro all round the inside of the door frame to which i attach some thick blackout plastic. The problem i have been having is that on hot days the heat is melting the glue from the sticky back of the velcro strips and so the blackout sheet is falling down. It's just been a real pain to have to keep detaching and reattaching it every time i go in and out of the darkroom.<br />
<br />
When i first created my shed darkroom i had some spare chipboard sheets left over from paneling out the inside, and i had told Jess i was going to use them to create inner doors for the shed. Well, that was months ago and ever since Jess had been dropping not-so-subtle hints that she wanted that wood out of the dining room. As Jess was away at a wedding all day Saturday i decided to pull my finger out and gets these doors built.<br />
<br />
The first thing to do was measure the inner door frame, which for my shed was 1.00 x 1.65 metres. Alas my leftover sheets of board weren't the right size, i would have to make 4 pieces and hinge them together, but that's ok - better than buying new wood. So, i trimmed the bottom half of the doors into two sections, and the top half also.<br />
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<a href="http://1.bp.blogspot.com/-6pYadV2uDJI/Um481saOrPI/AAAAAAAADKY/8qNVgWdRKTM/s1600/20131026_133553.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-6pYadV2uDJI/Um481saOrPI/AAAAAAAADKY/8qNVgWdRKTM/s400/20131026_133553.jpg" height="400" width="300" /></a></div>
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<a href="http://4.bp.blogspot.com/-Cdt4OxQq1Lc/Um4811Br90I/AAAAAAAADKc/KOA2xGwHenE/s1600/20131026_133557.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Cdt4OxQq1Lc/Um4811Br90I/AAAAAAAADKc/KOA2xGwHenE/s400/20131026_133557.jpg" height="400" width="300" /> </a></div>
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After making sure all 4 sections fit together roughly it was time to lightproof the seams. I picked some weather insulation strips up from Lidl a few weeks ago for this purpose and so set about sealing up the relevant parts of the doors.</div>
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<a href="http://3.bp.blogspot.com/-lHUaTLdG5zI/Um49e6QCQ5I/AAAAAAAADKs/TfeS41cvwNE/s1600/20131026_134654.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-lHUaTLdG5zI/Um49e6QCQ5I/AAAAAAAADKs/TfeS41cvwNE/s400/20131026_134654.jpg" height="400" width="300" /></a></div>
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<a href="http://1.bp.blogspot.com/-6jj4m2Z56iY/Um49ePe4blI/AAAAAAAADKo/UqQtr4OpSE0/s1600/20131026_134703.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-6jj4m2Z56iY/Um49ePe4blI/AAAAAAAADKo/UqQtr4OpSE0/s400/20131026_134703.jpg" height="400" width="300" /></a></div>
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<a href="http://1.bp.blogspot.com/-H98t0_45MUY/Um49oXmsb5I/AAAAAAAADK4/rNWE7F7H-Cc/s1600/20131026_134706.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-H98t0_45MUY/Um49oXmsb5I/AAAAAAAADK4/rNWE7F7H-Cc/s400/20131026_134706.jpg" height="400" width="300" /></a></div>
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After applying the seal to the bottom left section of the door i screwed it into the frame (i only want the right side of the door to be openable). I did the same for the top left section, making sure i put some seal between the two so that the seam between them would be light-proof.</div>
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<a href="http://3.bp.blogspot.com/-QQyJJ_4xYR0/Um49pHbJmMI/AAAAAAAADK8/oJatb6XDcwQ/s1600/20131026_140421.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-QQyJJ_4xYR0/Um49pHbJmMI/AAAAAAAADK8/oJatb6XDcwQ/s400/20131026_140421.jpg" height="400" width="300" /></a></div>
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Next i started to fit the bottom right section. If you do end up doing this then make sure you raise the bottom section up a little, otherwise the base of the door will scrape along the floor. Once i had made sure the section fitted i screwed the hinges onto the left section, attached the right section (making sure it was raised slightly) and attached the other side of the hinge. Make sure you put some sealant between the two pieces, running down the hinges.</div>
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<a href="http://1.bp.blogspot.com/-N8LI7bs3i4E/Um49wGbVN7I/AAAAAAAADLI/7uSd10LKCns/s1600/20131026_142306.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-N8LI7bs3i4E/Um49wGbVN7I/AAAAAAAADLI/7uSd10LKCns/s400/20131026_142306.jpg" height="400" width="300" /></a></div>
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Then i did the same with the top section, making sure to push the sealant strips into all the nooks and crannies of the wood.</div>
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After going inside and shutting the door i noticed a few small light leaks on some of the seams, particularly around where the door shut. I bought some wider foam strips from Lidl and put these around the edges where the leaks were.</div>
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<a href="http://4.bp.blogspot.com/-uQFwqZ49Rgk/Um498a1URDI/AAAAAAAADLY/6CotUF-1IbY/s1600/20131026_145756.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-uQFwqZ49Rgk/Um498a1URDI/AAAAAAAADLY/6CotUF-1IbY/s400/20131026_145756.jpg" height="400" width="300" /></a></div>
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I folded some thick rubble sacks that i bought from B&Q ages ago and stapled these over the centre seam to block all remaining light.</div>
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To hold the door shut tight against the light seal i bought some clips from the hardware shop and placed three down the length of the door.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ZX1_xTImC9s/Um5D-TvwS2I/AAAAAAAADMY/bKoWgcjt8NM/s1600/10-solid-steel-wire-cabin-hook-eye-gate-stable-door-catch-latch-galvanised-692-p.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ZX1_xTImC9s/Um5D-TvwS2I/AAAAAAAADMY/bKoWgcjt8NM/s320/10-solid-steel-wire-cabin-hook-eye-gate-stable-door-catch-latch-galvanised-692-p.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(google images picture - not mine!)</td></tr>
</tbody></table>
I just noticed this morning that some of the thicker foam has started peeling away as the adhesive on the back isn't very strong. I may have to superglue it down.<br />
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So, that's the door sorted, but i still have a little wood left. I decided to turn my attention to the electrical outlet port, aka the hole in my shed through which i feed my extension cable. Up until now i had been using a sheet of wood which i roughly shoved over the hole and then from the inside i stuffed some clothes to seal up the hole. Not the best. I had a hinge left over from the doors so i cut a small rectangle of wood and attached the hinge. I smashed off the raised exterior of the vent hole so it was flush with the shed wall. Then i attached the hinged wood to the shed.<br />
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I cut a square out of the flap so that i could feed the cable through and the flap would lay flush to the shed side. I also put a foam seal around the back of the flap and attached another clip to hold the flap shut.<br />
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I should probably staple some plastic over the flap as when chipboard gets wet it tends to disintegrate.<br />
<br />
And that's it - a lightproof shed for a few hours work. The doors should also help with insulation, especially with winter so close. Hopefully this has given you some hints, tips and ideas for starting or improving your own darkroom.Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-16300775698165590142013-10-28T10:16:00.001+00:002014-01-31T13:51:14.197+00:00Substitute Graduates I'm sure (or i hope) that many of us have been in the situation where we've ordered new chemicals, they've arrived and then we've realised we forgot to order more graduates and bottles etc. If, like me, you live nowhere near a darkroom supplies shop and you need to mail order everything this causes a problem because let's face it - noone wants to pay postage costs.<br />
<br />
Well fear not for Tesco has come to the rescue! In some of the larger Tesco's they stock beer fermenting supplies. Included in this are 100ml graduates such as this one:<br />
<br />
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<a href="http://2.bp.blogspot.com/-SwKIwuRYPsg/Um436639qlI/AAAAAAAADKM/P_-vG1yjyBc/s1600/20131025_212822.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-SwKIwuRYPsg/Um436639qlI/AAAAAAAADKM/P_-vG1yjyBc/s400/20131025_212822.jpg" height="400" width="300" /></a> </div>
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It only cost around £3 but saved me from having to pay postage and wait for my order to arrive. I may even go back and buy a few more - you know, just in case...</div>
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0tag:blogger.com,1999:blog-8066654482804131294.post-30575682603812021952013-10-24T17:27:00.000+01:002014-01-31T13:50:59.411+00:00For I Am Man! Being a man i am possessed with a regular need to build and fix things. This mood tends to come in cycles where, after months of laziness, i suddenly decide to make some shelves for a cupboard, hang some mirrors on a wall or (in this case) convert a shed into a darkroom.<br />
<br />
As regular readers will know i recently moved house, downsizing from a 4 bed to a 2 bed house. Naturally the spare bedroom would have the computer in and all my guitars, instruments, amplifiers and pedals; and my large collection of cd's and dvd's. This left a minor problem - no darkroom. Originally the plan was to use the little breakfast bar area at the end of the kitchen but Jess didn't seem to happy with this. Being the devious, scheming lady that she is she suggested i get a shed - a suggestion i immediately dismissed as foolish. However, as days went by i began warming to the idea. Could a shed make an effective darkroom? I began to investigate online and saw that it could indeed be done - but at great cost. I found a few articles where people had converted a shed into a darkroom but they had gone the whole hog - electric supply, running water, insulation panels, kitchen units etc. I needed to do mine at as small a cost as possible but still make it useable.<br />
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First things first - find a shed. I went to B&Q because i needed to get some gear for decorating the new house. Special offer on a 4x6 shed - £120. I considered it for a while but then came to the conclusion that it was too small. I hit EBay and found a few but they were all too far away for me to collect. I tried Preloved and Freecycle but to no avail. Then i found one on Gumtree a mere 10 miles away. It was an 8x6 and it was listed at £175 or nearest offer. I offered £150 and got it! The next problem was how to get it home. Enter my good friend Steve who has a nice big estate car with roof racks. We went to the house, dismantled the shed, loaded it onto the roof racks and took it home. As a side note let me just say that if you ever need to dismantle a shed make sure you have an electric screwdriver. And make sure the guy you buy it off doesn't keep letting the shed walls drop onto you - it hurts!<br />
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So, after an hour or so the floor was down, the walls were up, the roof was on and the doors were attached:<br />
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The next job was to get it insulated in some way as the weather here in England is very changeable, especially this year. We've had snow follow by blazing sun followed by snow again followed by rain, it's mental! If i'm putting electronic gear inside i want to make sure the temperature is as stable as possible or damp will get inside and destroy everything. And fluctuating between hot and cold is definitely not good for photographic paper! So, what were my options? Well i could get loft insulation or polystyrene panels, or i could just use foil or bubble wrap. In the end i went kind of in the middle. The local B&Q sells this stuff - <a href="http://www.diy.com/nav/build/insulation/pipe-wrap-radiator-foil/reflector_foil/B-and-Q-Aluminium-Thermal-Foil-M-P-Insulation-Silver-Length-7-5m-x-Width-600mm-10617653?skuId=11108363">B&Q insulation</a> which is basically bubble wrap coated in reflective aluminium on each side. It's about £12 a roll which isn't too bad compared to other types of insulation, and each roll covers about 4.5m2. There is a cheaper option available but only one side is coated in foil. I decided that although more costly, the double sided stuff would be best. So, i bought a few rolls and began stapling it to the inside of the shed. The idea is that the foil would keep heat inside and reflect the heat coming in form the outside, thus keeping the temperature in the shed a bit more stable. Make sure you buy a decent staple gun - i got a £5 one from B&Q and it died the next day. An extra £5 would have got me a good sturdy metal one. So, once the insulation was stapled in i had what looked like a set from Dr Who:<br />
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Note the hole on the bottom left. I left that open to use as a vent and to run an extension cable through from the kitchen. There was no way i was going to be able to get a water and electric supply to the shed as i'm living in a rented house so couldn't do anything permanent. This hole would be ideal for putting a cable and, potentially, a hosepipe through. You can't see i<br />
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t in this photo but i also stapled insulation to the inside of the doors as there will be a lot of heat loss through there. I had about half a roll spare so i put an extra strip over each side of the roof as this is where the majority of heat loss will be.<br />
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Next job is to board up the walls. I considered just using card but thought if i'm going to all this effort to make a darkroom i may as well fork out and do it properly. So, i scoped around for prices for sheets of chipboard. When it comes to sheets of timber it's best not to use B&Q or Homebase etc as you can get it cheaper from a local timber merchant. In this case i was quoted £7 a sheet from Preston Plywood which was a great price. If you can get oriented strand board (OSB) instead of chipboard that would be better as when chipboard gets wet it just crumbles whereas OSB is a lot more solid. But i thought i would be ok with chipboard so went ahead and placed my order. For a small extra fee they could cut the wood to size and deliver it to my house so i gave them the sizes i needed and my address. When you're measuring out your sizes remember to deduct the thickness of the board from the adjacent piece e.g. the board at the back would need to be 24mm (2x12mm) narrower than the width of the shed so that the board for the two side walls could fit alongside it. Once the wood arrived i started boarding up the walls:<br />
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Next i had to board the roof. Now, at such an angle 12mm chipboard was going to be a pain. I just needed something to go over the insulation to add that little bit extra. Preston Plywood came through again with some 3mm MDF/Hardwood. I got two sheets delivered and cut them down to size myself. It was easier not to saw them, i just used a sharp blade and scored down the sheet so i could just bend the wood and snap it in the right place. I commandeered Jess to help me hold the sheets while i screwed them to the roof. It was awkward but we got it done eventually.<br />
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So, that was the whole inside of the shed boarded out now. Although it was only cheap and thin insulation you could feel the difference in temperature compared to how it was with nothing on. obviously, more expensive and thicker insulation would have a greater effect. Insulation has a thermal resistance rating - the higher the rating the more insulation you get. This stuff only has a rating of 1.5 but it is certainly enough to make a difference, especially with board covering it.<br />
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At this point i turned my attention away from the shed and began to think about workbenches. I'd need somewhere to put my enlarger and a surface to put my developing trays etc. I thought about using computer desks, kitchen units and even considered buying a workbench. it's shocking how much workbenches cost! So, i decided to build my own. For about £35 i got the materials required to build my own 2 shelf workbench that would measure 1.2 x 0.80 x 0.60m. It was a squeeze to fit it all in the car but i managed it. I spent the afternoon sawing, screwing and assembling all the pieces until i had my bench. Solid as a rock and the perfect size. I was so impressed with it that i went ahead and built another one but made it slightly shorter so that my enlarger would fit on it.<br />
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I put them in the shed and then put in the shelving units i had from my previous house. Then i started shifting in all my gear. A few hours later and it was all done...<br />
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...well, almost. I still need to figure out how to lightproof the vent but still pass an extension cable through it. and i still need to lightproof the doors. Ill probably velcro some lightproof plastic over the inside when i'm in and hang a curtain there too to keep out some of the cold when the shed is locked up.<br />
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So there you have it - a darkroom shed on a budget. Hopefully this weekend ill be able to get in and start making some prints. If there are any improvements i need to make i can do it as i go along. It's nice and roomy though and i think i'll be happy printing in there. The main thing is that, should we ever move house (which i have no plans to do), i can dismantle it and take it with me. I really have to thank Jess for coming up with the suggestion and managing to cook me a delicious tea everyday despite the kitchen being full of darkroom gear!<br />
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I don't know what my next bit of DIY will be (probably making some shelves for our towel cupboard), and i'm sure the mood won't strike again for many a month; but i know that when it does i'll be unstoppable - for i am man!Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com1tag:blogger.com,1999:blog-8066654482804131294.post-42011386824421398962013-10-24T16:03:00.000+01:002014-01-31T13:50:46.832+00:00Activity (or lack thereof)<!--[if gte mso 9]><xml>
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<span style="mso-spacerun: yes;"> </span>I’m sorry!<span style="mso-spacerun: yes;"> </span>I know it’s been aaaaaaaaaages since my last
post, but to be honest I haven’t picked up my camera since it ditched into the
seas a few week ago.<span style="mso-spacerun: yes;"> </span>I’ve been extremely
busy (I have no idea what I’ve been doing) and to be honest I’ve hit a bit of a
creative slump.<span style="mso-spacerun: yes;"> </span>The only thing I have
been working on lately is a lith print from an old negative.<span style="mso-spacerun: yes;"> </span>It’s super-flat contrast so I am trying to
print it onto Slavich Unibrom – and regular reader’s will know all the trouble’s
I have had with that paper!<span style="mso-spacerun: yes;"> </span>Jess is away
at a wedding on Saturday so I’m hoping to get a few hours in the darkroom to
try and get at least one acceptable print.</div>
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<br /></div>
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As regards my creative rut I guess I’m just tired of popping
out and snapping a few pics of random stuff.<span style="mso-spacerun: yes;">
</span>Although I do enjoy doing that I’m starting to feel more like I should
be doing projects – giving a group of prints a theme and planning the shoots
etc.<span style="mso-spacerun: yes;"> </span>With that in mind I have started
planning 3 projects.<span style="mso-spacerun: yes;"> </span>How long it will
take to complete I don’t know but I’m pretty excited about shooting them.<span style="mso-spacerun: yes;"> </span>It’s giving me purpose in my photography and
providing me with something to focus my mind on.<span style="mso-spacerun: yes;"> </span>I just need to work on getting the materials
together before I can start setting up the shoots, but I’m really excited about
working on the final prints.</div>
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<br /></div>
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That’s about all I’ve got to say at the minute – I just
thought I had better explain why I have been silent for so long.<span style="mso-spacerun: yes;"> </span>Hopefully I will make a decent print at the
weekend and have a post about it early next week.<span style="mso-spacerun: yes;"> </span>Until then!</div>
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<span style="mso-spacerun: yes;"> </span>I went out shooting
at the weekend.<span style="mso-spacerun: yes;"> </span>Which turned out to be a
very bad idea. <span style="mso-spacerun: yes;"> </span>A very very bad
idea.<span style="mso-spacerun: yes;"> </span>I discovered last week that a
section of coastline not far from me had lots of wooden coastal
protection.<span style="mso-spacerun: yes;"> </span>Coastal protection =
photographers delight so I decided to head out there on Saturday (along with
Jess who, as it was sunny, decided to leave the house).<span style="mso-spacerun: yes;"> </span>We had a lovely walk but alas it was too
sunny and I only shot two frames.<span style="mso-spacerun: yes;"> </span>The
tide was a little too far out as well so there wasn’t really much to photograph
as I was in a long exposure mood.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>I decided to head
back at sunrise the next morning when the light would be a bit flatter and the
tide would be all the way in.<span style="mso-spacerun: yes;"> </span>I woke up
Sunday morning wide awake, grabbed my gear and shot out of the house.<span style="mso-spacerun: yes;"> </span>Half an hour later I was parked up and
walking through the dunes, it was drizzling a little but I thought I’d endure, I
could always run back to the car if conditions got worse.<span style="mso-spacerun: yes;"> </span>I setup and shot 5 or so frames, keeping my
eye on the tide as it turned out I had arrived just before high tide so the
water was coming in fast.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>On the 8<sup>th</sup>
or so frame as I was setting up the water came shooting in up the side of one of
the coastal protection barriers and headed straight for my bag.<span style="mso-spacerun: yes;"> </span>I ran back and snatched up my bag only to
turn and see my camera ditch sideways into the sand. ARGH!<span style="mso-spacerun: yes;"> </span>I ran back and up-righted the tripod to find
my camera encased in grit.<span style="mso-spacerun: yes;"> </span>I dusted it
off and re-seated the tripod just as the tide came sweeping in again and half
inundated my camera bag. ARGH AGAIN!<span style="mso-spacerun: yes;"> </span>I
ran back, rescued the bag and moved it further inland just as my tripod decided
to blow over again and ditch my camera into the sea. </div>
<div class="MsoNormal">
AAARRGGHHHH!!<span style="mso-spacerun: yes;"> </span>I ran back, rescued the camera and ran
inland.<span style="mso-spacerun: yes;"> </span>Well, the water had washed off
the sand which was nice but water and cameras are never a good mix.<span style="mso-spacerun: yes;"> </span>Fortunately there are very few electronics in
my Bronica.<span style="mso-spacerun: yes;"> </span>I grabbed my gear and
decided to head home.<span style="mso-spacerun: yes;"> </span>I split my SLR kit
up and put it on the passenger seat of the car with the air blowers on full.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>When I got home I used
a brush to dust off as much sand as I could and left the gear to dry.<span style="mso-spacerun: yes;"> </span>It’s still drying now and every few hours I dust
off any loose sand.<span style="mso-spacerun: yes;"> </span>Handily the squeak
on my 80mm lens has disappeared but alas my 50mm makes a horrible grinding
noise when focusing.<span style="mso-spacerun: yes;"> </span>It looks like no
water got into the camera body or the film back which is a bonus; it’s just the
50mm lens that seems to have taken most of the damage.<span style="mso-spacerun: yes;"> </span>Ill dry it and clean it as best I can but
time will tell if any salt remains inside to cause any damage. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>I decided to develop
my film using PMK Pyro, praying that it would have some good shots on.<span style="mso-spacerun: yes;"> </span>Alas, on removing the film from the tank it
was almost transparent.<span style="mso-spacerun: yes;"> </span>I’m not sure
what happened, it looks like it didn’t develop fully.<span style="mso-spacerun: yes;"> </span>My guess is the Pyro was dead as it was a
very old stock solution, but I can’t be sure.<span style="mso-spacerun: yes;">
</span>So now I am left with a potentially knackered camera and no pictures to
show for it.<span style="mso-spacerun: yes;"> </span>Damn.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But here’s what I learnt from my day of tragedy:</div>
<div class="MsoNormal">
<br /></div>
<br />
<ol>
<li>heavy tripods are a wise investment</li>
<li>sand and seawater do not compliment camera gear</li>
<li>PMK Pyro solutions need to be used up quickly</li>
<li>incoming tides move in rapidly</li>
<li>cameras take a long time to dry out</li>
<li>hats are useful for covering lenses</li>
<li>it is hard to keep filters sand and water free when it is raining and you're on a beach</li>
</ol>
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<br />
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Hopefully you will learn a lesson from this tale of woe. Keep your gear dry and avoid wet and windy beaches. Right, message sent - i'm off tripod shopping...<span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/15827487025332785069noreply@blogger.com0