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B&W film developing questions
Re: B&W film developing questions
In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
wrote:
> It is easier to focus with the safelight off.
Nominally. Most people don't project the safelight onto the easel and if
the light is bright enough to cause that kind of issue = making it hard
to focus the safe light is really to bright.
--
Reality is a picture perfected and never looking back.
In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
wrote:
> It is easier to focus with the safelight off.
Nominally. Most people don't project the safelight onto the easel and if
the light is bright enough to cause that kind of issue = making it hard
to focus the safe light is really to bright.
--
Reality is a picture perfected and never looking back.
Re: B&W film developing questions
I have a safelight in the enlarger area as well as one over the sink. I set
up the print and focus with the enlager lens wide open for maximim image
light. The last step before printing is to stop the enlarger lens down to
the correct stop.
"____" <internetphobic@deletedmail,com > wrote in message
news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
> wrote:
>
>> It is easier to focus with the safelight off.
>
> Nominally. Most people don't project the safelight onto the easel and if
> the light is bright enough to cause that kind of issue = making it hard
> to focus the safe light is really to bright.
>
> --
> Reality is a picture perfected and never looking back.
I have a safelight in the enlarger area as well as one over the sink. I set
up the print and focus with the enlager lens wide open for maximim image
light. The last step before printing is to stop the enlarger lens down to
the correct stop.
"____" <internetphobic@deletedmail,com > wrote in message
news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
> wrote:
>
>> It is easier to focus with the safelight off.
>
> Nominally. Most people don't project the safelight onto the easel and if
> the light is bright enough to cause that kind of issue = making it hard
> to focus the safe light is really to bright.
>
> --
> Reality is a picture perfected and never looking back.
Re: B&W film developing questions
"Pieter" <pvcl@*nospam*plitch,com > wrote in message
news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>I have a safelight in the enlarger area as well as one over the sink. I
>set up the print and focus with the enlager lens wide open for maximim
>image light. The last step before printing is to stop the enlarger lens
>down to the correct stop.
:( I had a lens that shifted focus when stopped down.
"Pieter" <pvcl@*nospam*plitch,com > wrote in message
news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>I have a safelight in the enlarger area as well as one over the sink. I
>set up the print and focus with the enlager lens wide open for maximim
>image light. The last step before printing is to stop the enlarger lens
>down to the correct stop.
:( I had a lens that shifted focus when stopped down.
Re: B&W film developing questions
In article <13ol598rk5vlc0f@news.supernews,com >, <jjs> wrote:
> "Pieter" <pvcl@*nospam*plitch,com > wrote in message
> news:478a3c21$0$5184$4c368faf@roadrunner,com ...
> >I have a safelight in the enlarger area as well as one over the sink. I
> >set up the print and focus with the enlager lens wide open for maximim
> >image light. The last step before printing is to stop the enlarger lens
> >down to the correct stop.
>
> :( I had a lens that shifted focus when stopped down.
They all do to a smaller or larger amount.
I've always focused at the intended f/stop. The lens goes to f/45
typically I use f/22. With a Micromega focuser all but the tightest
grain can be seen. Since I color print also, I am fairly comfortable
with using fairly dim safe light when doing b&w printing.
--
Reality is a picture perfected and never looking back.
In article <13ol598rk5vlc0f@news.supernews,com >, <jjs> wrote:
> "Pieter" <pvcl@*nospam*plitch,com > wrote in message
> news:478a3c21$0$5184$4c368faf@roadrunner,com ...
> >I have a safelight in the enlarger area as well as one over the sink. I
> >set up the print and focus with the enlager lens wide open for maximim
> >image light. The last step before printing is to stop the enlarger lens
> >down to the correct stop.
>
> :( I had a lens that shifted focus when stopped down.
They all do to a smaller or larger amount.
I've always focused at the intended f/stop. The lens goes to f/45
typically I use f/22. With a Micromega focuser all but the tightest
grain can be seen. Since I color print also, I am fairly comfortable
with using fairly dim safe light when doing b&w printing.
--
Reality is a picture perfected and never looking back.
Re: B&W film developing questions
"____" <internetphobic@deletedmail,com > wrote in message
news:internetphobic-4622DE.18414213012008@newsgroups,com cast,net ...
> In article <13ol598rk5vlc0f@news.supernews,com >, <jjs> wrote:
:( I had a lens that shifted focus when stopped down.
>
> They all do to a smaller or larger amount.
>
> I've always focused at the intended f/stop. The lens goes to f/45
> typically I use f/22. With a Micromega focuser all but the tightest
> grain can be seen. Since I color print also, I am fairly comfortable
> with using fairly dim safe light when doing b&w printing.
Yes. I stop to F8 at the most and focus there. I've had some astounding
results with 16x20 prints from grainy 35mm. Grain is my friend.
"____" <internetphobic@deletedmail,com > wrote in message
news:internetphobic-4622DE.18414213012008@newsgroups,com cast,net ...
> In article <13ol598rk5vlc0f@news.supernews,com >, <jjs> wrote:
:( I had a lens that shifted focus when stopped down.
>
> They all do to a smaller or larger amount.
>
> I've always focused at the intended f/stop. The lens goes to f/45
> typically I use f/22. With a Micromega focuser all but the tightest
> grain can be seen. Since I color print also, I am fairly comfortable
> with using fairly dim safe light when doing b&w printing.
Yes. I stop to F8 at the most and focus there. I've had some astounding
results with 16x20 prints from grainy 35mm. Grain is my friend.
Re: B&W film developing questions
wrote:
> I've always focused at the intended f/stop. The lens goes to f/45
> typically I use f/22. With a Micromega focuser all but the tightest
> grain can be seen. Since I color print also, I am fairly comfortable
> with using fairly dim safe light when doing b&w printing.
>
What lens, focal length and film format? I can't see any point in
stopping down so far (particularly with shorter focal length lenses for
smaller formats) since diffraction effects are going to cut down on
sharpness and obviously depth of field is no problem here! And think of
the time you'll save with shorter exposures!
wrote:
> I've always focused at the intended f/stop. The lens goes to f/45
> typically I use f/22. With a Micromega focuser all but the tightest
> grain can be seen. Since I color print also, I am fairly comfortable
> with using fairly dim safe light when doing b&w printing.
>
What lens, focal length and film format? I can't see any point in
stopping down so far (particularly with shorter focal length lenses for
smaller formats) since diffraction effects are going to cut down on
sharpness and obviously depth of field is no problem here! And think of
the time you'll save with shorter exposures!
Re: B&W film developing questions
In article <Q6SdnXTSDrdeShfanZ2dnUVZ_i2dnZ2d@comcast,com >,
George Mastellone <widephoto@aol,com > wrote:
> ____ wrote:
>
> > I've always focused at the intended f/stop. The lens goes to f/45
> > typically I use f/22. With a Micromega focuser all but the tightest
> > grain can be seen. Since I color print also, I am fairly comfortable
> > with using fairly dim safe light when doing b&w printing.
> >
>
> What lens, focal length and film format? I can't see any point in
> stopping down so far (particularly with shorter focal length lenses for
> smaller formats) since diffraction effects are going to cut down on
> sharpness and obviously depth of field is no problem here! And think of
> the time you'll save with shorter exposures!
I don't want a shorter exposure than 12 seconds. Format in the above
case 4x5, focal length 150 mm. Darkroom work should not be a speed race
:)
--
Reality is a picture perfected and never looking back.
In article <Q6SdnXTSDrdeShfanZ2dnUVZ_i2dnZ2d@comcast,com >,
George Mastellone <widephoto@aol,com > wrote:
> ____ wrote:
>
> > I've always focused at the intended f/stop. The lens goes to f/45
> > typically I use f/22. With a Micromega focuser all but the tightest
> > grain can be seen. Since I color print also, I am fairly comfortable
> > with using fairly dim safe light when doing b&w printing.
> >
>
> What lens, focal length and film format? I can't see any point in
> stopping down so far (particularly with shorter focal length lenses for
> smaller formats) since diffraction effects are going to cut down on
> sharpness and obviously depth of field is no problem here! And think of
> the time you'll save with shorter exposures!
I don't want a shorter exposure than 12 seconds. Format in the above
case 4x5, focal length 150 mm. Darkroom work should not be a speed race
:)
--
Reality is a picture perfected and never looking back.
Re: B&W film developing questions
I never liked safelights -- used to work entirely in the dark. If you mix
and measure all your chemicals ahead of time, and have the darkroom
logically and neatly laid out, there's no need for lights during the
exposure and developing stages.
Take Care,
Dudley
"Pieter" <pvcl@*nospam*plitch,com > wrote in message
news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>I have a safelight in the enlarger area as well as one over the sink. I
>set up the print and focus with the enlager lens wide open for maximim
>image light. The last step before printing is to stop the enlarger lens
>down to the correct stop.
>
>
> "____" <internetphobic@deletedmail,com > wrote in message
> news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
>> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
>> wrote:
>>
>>> It is easier to focus with the safelight off.
>>
>> Nominally. Most people don't project the safelight onto the easel and if
>> the light is bright enough to cause that kind of issue = making it hard
>> to focus the safe light is really to bright.
>>
>> --
>> Reality is a picture perfected and never looking back.
>
>
I never liked safelights -- used to work entirely in the dark. If you mix
and measure all your chemicals ahead of time, and have the darkroom
logically and neatly laid out, there's no need for lights during the
exposure and developing stages.
Take Care,
Dudley
"Pieter" <pvcl@*nospam*plitch,com > wrote in message
news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>I have a safelight in the enlarger area as well as one over the sink. I
>set up the print and focus with the enlager lens wide open for maximim
>image light. The last step before printing is to stop the enlarger lens
>down to the correct stop.
>
>
> "____" <internetphobic@deletedmail,com > wrote in message
> news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
>> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
>> wrote:
>>
>>> It is easier to focus with the safelight off.
>>
>> Nominally. Most people don't project the safelight onto the easel and if
>> the light is bright enough to cause that kind of issue = making it hard
>> to focus the safe light is really to bright.
>>
>> --
>> Reality is a picture perfected and never looking back.
>
>
Re: B&W film developing questions
There's no reason not to use safelights for printing, unless you are a bit
compulsive. I do ONLY B&W, so my problem is simple in terms of light color
selection.
I am also a "small tank" only guy - I use 35mm and 120 film sizes only.
When processing film, after loading the film in the tank and closing the
lid, all film processing is done in plain old room lighting. The one time I
will do film processing in the dark is when I am processing infrared. If
there is the slightest light leak anywhere, this film will find it! So I do
the whole thing from unloading the camera to loading the tank to processing
all in complete darkness.
"Dudley Hanks" <hanks.dudley@gmail,com > wrote in message
news:fdOvj.36830$FO1.34596@edtnps82...
>I never liked safelights -- used to work entirely in the dark. If you mix
>and measure all your chemicals ahead of time, and have the darkroom
>logically and neatly laid out, there's no need for lights during the
>exposure and developing stages.
>
> Take Care,
> Dudley
>
>
>
> "Pieter" <pvcl@*nospam*plitch,com > wrote in message
> news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>>I have a safelight in the enlarger area as well as one over the sink. I
>>set up the print and focus with the enlager lens wide open for maximim
>>image light. The last step before printing is to stop the enlarger lens
>>down to the correct stop.
>>
>>
>> "____" <internetphobic@deletedmail,com > wrote in message
>> news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
>>> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
>>> wrote:
>>>
>>>> It is easier to focus with the safelight off.
>>>
>>> Nominally. Most people don't project the safelight onto the easel and if
>>> the light is bright enough to cause that kind of issue = making it hard
>>> to focus the safe light is really to bright.
>>>
>>> --
>>> Reality is a picture perfected and never looking back.
>>
>>
>
>
There's no reason not to use safelights for printing, unless you are a bit
compulsive. I do ONLY B&W, so my problem is simple in terms of light color
selection.
I am also a "small tank" only guy - I use 35mm and 120 film sizes only.
When processing film, after loading the film in the tank and closing the
lid, all film processing is done in plain old room lighting. The one time I
will do film processing in the dark is when I am processing infrared. If
there is the slightest light leak anywhere, this film will find it! So I do
the whole thing from unloading the camera to loading the tank to processing
all in complete darkness.
"Dudley Hanks" <hanks.dudley@gmail,com > wrote in message
news:fdOvj.36830$FO1.34596@edtnps82...
>I never liked safelights -- used to work entirely in the dark. If you mix
>and measure all your chemicals ahead of time, and have the darkroom
>logically and neatly laid out, there's no need for lights during the
>exposure and developing stages.
>
> Take Care,
> Dudley
>
>
>
> "Pieter" <pvcl@*nospam*plitch,com > wrote in message
> news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>>I have a safelight in the enlarger area as well as one over the sink. I
>>set up the print and focus with the enlager lens wide open for maximim
>>image light. The last step before printing is to stop the enlarger lens
>>down to the correct stop.
>>
>>
>> "____" <internetphobic@deletedmail,com > wrote in message
>> news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
>>> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
>>> wrote:
>>>
>>>> It is easier to focus with the safelight off.
>>>
>>> Nominally. Most people don't project the safelight onto the easel and if
>>> the light is bright enough to cause that kind of issue = making it hard
>>> to focus the safe light is really to bright.
>>>
>>> --
>>> Reality is a picture perfected and never looking back.
>>
>>
>
>
Re: B&W film developing questions
I know, I'm more than just a bit compulsive.
I only did a small percentage of my work as BW, most was cibachrome /
ilfachrome colour images.
When my darkroom was in full production, not only was I compulsive, but I
tended to be rather systematic, and tended to keep minute records of
timings, colour balance settings, etc. for camera lens combinations in
addition to film manufacturer / types.
Using a nice little German-made tank processor, I could plan my workflows
and maximize the time I spent in the darkroom fairly effectively.
I guess it was my way of making sure I got as much time behind the lens as
possible.
Take Care,
Dudley
"Pieter" <pvcl@*nospam*plitch,com > wrote in message
news:47c00530$0$6477$4c368faf@roadrunner,com ...
> There's no reason not to use safelights for printing, unless you are a bit
> compulsive. I do ONLY B&W, so my problem is simple in terms of light
> color selection.
>
> I am also a "small tank" only guy - I use 35mm and 120 film sizes only.
> When processing film, after loading the film in the tank and closing the
> lid, all film processing is done in plain old room lighting. The one time
> I will do film processing in the dark is when I am processing infrared.
> If there is the slightest light leak anywhere, this film will find it! So
> I do the whole thing from unloading the camera to loading the tank to
> processing all in complete darkness.
>
> "Dudley Hanks" <hanks.dudley@gmail,com > wrote in message
> news:fdOvj.36830$FO1.34596@edtnps82...
>>I never liked safelights -- used to work entirely in the dark. If you mix
>>and measure all your chemicals ahead of time, and have the darkroom
>>logically and neatly laid out, there's no need for lights during the
>>exposure and developing stages.
>>
>> Take Care,
>> Dudley
>>
>>
>>
>> "Pieter" <pvcl@*nospam*plitch,com > wrote in message
>> news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>>>I have a safelight in the enlarger area as well as one over the sink. I
>>>set up the print and focus with the enlager lens wide open for maximim
>>>image light. The last step before printing is to stop the enlarger lens
>>>down to the correct stop.
>>>
>>>
>>> "____" <internetphobic@deletedmail,com > wrote in message
>>> news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
>>>> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
>>>> wrote:
>>>>
>>>>> It is easier to focus with the safelight off.
>>>>
>>>> Nominally. Most people don't project the safelight onto the easel and
>>>> if
>>>> the light is bright enough to cause that kind of issue = making it hard
>>>> to focus the safe light is really to bright.
>>>>
>>>> --
>>>> Reality is a picture perfected and never looking back.
>>>
>>>
>>
>>
>
>
I know, I'm more than just a bit compulsive.
I only did a small percentage of my work as BW, most was cibachrome /
ilfachrome colour images.
When my darkroom was in full production, not only was I compulsive, but I
tended to be rather systematic, and tended to keep minute records of
timings, colour balance settings, etc. for camera lens combinations in
addition to film manufacturer / types.
Using a nice little German-made tank processor, I could plan my workflows
and maximize the time I spent in the darkroom fairly effectively.
I guess it was my way of making sure I got as much time behind the lens as
possible.
Take Care,
Dudley
"Pieter" <pvcl@*nospam*plitch,com > wrote in message
news:47c00530$0$6477$4c368faf@roadrunner,com ...
> There's no reason not to use safelights for printing, unless you are a bit
> compulsive. I do ONLY B&W, so my problem is simple in terms of light
> color selection.
>
> I am also a "small tank" only guy - I use 35mm and 120 film sizes only.
> When processing film, after loading the film in the tank and closing the
> lid, all film processing is done in plain old room lighting. The one time
> I will do film processing in the dark is when I am processing infrared.
> If there is the slightest light leak anywhere, this film will find it! So
> I do the whole thing from unloading the camera to loading the tank to
> processing all in complete darkness.
>
> "Dudley Hanks" <hanks.dudley@gmail,com > wrote in message
> news:fdOvj.36830$FO1.34596@edtnps82...
>>I never liked safelights -- used to work entirely in the dark. If you mix
>>and measure all your chemicals ahead of time, and have the darkroom
>>logically and neatly laid out, there's no need for lights during the
>>exposure and developing stages.
>>
>> Take Care,
>> Dudley
>>
>>
>>
>> "Pieter" <pvcl@*nospam*plitch,com > wrote in message
>> news:478a3c21$0$5184$4c368faf@roadrunner,com ...
>>>I have a safelight in the enlarger area as well as one over the sink. I
>>>set up the print and focus with the enlager lens wide open for maximim
>>>image light. The last step before printing is to stop the enlarger lens
>>>down to the correct stop.
>>>
>>>
>>> "____" <internetphobic@deletedmail,com > wrote in message
>>> news:internetphobic-E580AF.08405813012008@newsgroups,com cast,net ...
>>>> In article <fm3i3n$oo2$1@aioe.org>, "Ken Hart" <kwhart1@verizon,net >
>>>> wrote:
>>>>
>>>>> It is easier to focus with the safelight off.
>>>>
>>>> Nominally. Most people don't project the safelight onto the easel and
>>>> if
>>>> the light is bright enough to cause that kind of issue = making it hard
>>>> to focus the safe light is really to bright.
>>>>
>>>> --
>>>> Reality is a picture perfected and never looking back.
>>>
>>>
>>
>>
>
>
Re: B&W film developing questions
Yes you do the same, you undecidedly have other issues- sight relatedly
that make your pursuits a bit more noble than some of us common folk- my
hat is off to you!
In article <GZXvj.40482$w57.3435@edtnps90>,
"Dudley Hanks" <hanks.dudley@gmail,com > wrote:
> I know, I'm more than just a bit compulsive.
>
> I only did a small percentage of my work as BW, most was cibachrome /
> ilfachrome colour images.
>
> When my darkroom was in full production, not only was I compulsive, but I
> tended to be rather systematic, and tended to keep minute records of
> timings, colour balance settings, etc. for camera lens combinations in
> addition to film manufacturer / types.
>
> Using a nice little German-made tank processor, I could plan my workflows
> and maximize the time I spent in the darkroom fairly effectively.
>
> I guess it was my way of making sure I got as much time behind the lens as
> possible.
>
> Take Care,
> Dudley
--
Reality is a picture perfected and never looking back.
Yes you do the same, you undecidedly have other issues- sight relatedly
that make your pursuits a bit more noble than some of us common folk- my
hat is off to you!
In article <GZXvj.40482$w57.3435@edtnps90>,
"Dudley Hanks" <hanks.dudley@gmail,com > wrote:
> I know, I'm more than just a bit compulsive.
>
> I only did a small percentage of my work as BW, most was cibachrome /
> ilfachrome colour images.
>
> When my darkroom was in full production, not only was I compulsive, but I
> tended to be rather systematic, and tended to keep minute records of
> timings, colour balance settings, etc. for camera lens combinations in
> addition to film manufacturer / types.
>
> Using a nice little German-made tank processor, I could plan my workflows
> and maximize the time I spent in the darkroom fairly effectively.
>
> I guess it was my way of making sure I got as much time behind the lens as
> possible.
>
> Take Care,
> Dudley
--
Reality is a picture perfected and never looking back.
Re: B&W film developing questions
"G.T." <getnews1@dslextreme,com > wrote in message
news:13o67vghc0u1jbc@corp.supernews,com ...
> Ken Hart wrote:
snip
> Excellent advice. I assume the roller is just a base that makes it easy
> to manually roll the drum in place? Or is it motorized?
Motorized. Be advised: the drum tends to 'walk' on the base, so it can fall
off if you aren't paying attention.
>
> I have my own easel, filters, grain checker, and a couple of trays so let
> me get a list together here of the rest of the stuff I would need:
>
> enlarger, lens, neg holder, timer
> safelight
> paper developer
> 2 drums
> I can use my two trays for the initial wash and hypo clearing?
> something to use for washing
The housewares (kitchen stuff) at WalMart is your friend! Various
plastic/Rubbermaid containers will work for a washing tray. You can slao get
containers for your chems. Pick up a Sharpie brand marker to label the
containers (waterproof).
> print wiper
> dryer?
If you are using RC papers, don't fret wiping the print. Just lay it face up
on a towel to air dry. You could also get some sort of plastic-covered wire
rack-- again the housewares department. There are numerous dryer 'machines'
on the market for RC paper-- most all work on some sort of air drying.
>
"G.T." <getnews1@dslextreme,com > wrote in message
news:13o67vghc0u1jbc@corp.supernews,com ...
> Ken Hart wrote:
snip
> Excellent advice. I assume the roller is just a base that makes it easy
> to manually roll the drum in place? Or is it motorized?
Motorized. Be advised: the drum tends to 'walk' on the base, so it can fall
off if you aren't paying attention.
>
> I have my own easel, filters, grain checker, and a couple of trays so let
> me get a list together here of the rest of the stuff I would need:
>
> enlarger, lens, neg holder, timer
> safelight
> paper developer
> 2 drums
> I can use my two trays for the initial wash and hypo clearing?
> something to use for washing
The housewares (kitchen stuff) at WalMart is your friend! Various
plastic/Rubbermaid containers will work for a washing tray. You can slao get
containers for your chems. Pick up a Sharpie brand marker to label the
containers (waterproof).
> print wiper
> dryer?
If you are using RC papers, don't fret wiping the print. Just lay it face up
on a towel to air dry. You could also get some sort of plastic-covered wire
rack-- again the housewares department. There are numerous dryer 'machines'
on the market for RC paper-- most all work on some sort of air drying.
>
Re: B&W film developing questions
On Jan 9, 2:32 pm, "Ken Hart" <kwha...@verizon,net > wrote:
>
> > dryer?
>
> If you are using RC papers, don't fret wiping the print.
>
I keep a sponge handy for the purpose. Wet and squeese
dry before use. Wipe both sides. RC then dries very fast. Prop
or lay to dry.
I've quite RC and have gone all FB. Still sponge though.
Afterwards the prints are sandwiched twixt layers of non-woven,
hydrophobic polyester sheets and a special water resistant but
vapor permeable corrugated board. The print dryer.
Extremely inexpensive, extremely light weight, extremely,
portable, extremely compact. A slow and gentil dry for
FB prints. Dan
On Jan 9, 2:32 pm, "Ken Hart" <kwha...@verizon,net > wrote:
>
> > dryer?
>
> If you are using RC papers, don't fret wiping the print.
>
I keep a sponge handy for the purpose. Wet and squeese
dry before use. Wipe both sides. RC then dries very fast. Prop
or lay to dry.
I've quite RC and have gone all FB. Still sponge though.
Afterwards the prints are sandwiched twixt layers of non-woven,
hydrophobic polyester sheets and a special water resistant but
vapor permeable corrugated board. The print dryer.
Extremely inexpensive, extremely light weight, extremely,
portable, extremely compact. A slow and gentil dry for
FB prints. Dan
Re: B&W film developing questions
<dan.c.quinn@att,net > wrote in message
news:bfcc50b1-27b0-4865-b87c-4b75a5dc6e85@d70g2000hsb.googlegroups,com ...
On Jan 9, 2:32 pm, "Ken Hart" <kwha...@verizon,net > wrote:
>
> > dryer?
>
> If you are using RC papers, don't fret wiping the print.
>
I keep a sponge handy for the purpose. Wet and squeese
dry before use. Wipe both sides. RC then dries very fast. Prop
or lay to dry.
I've quite RC and have gone all FB. Still sponge though.
Afterwards the prints are sandwiched twixt layers of non-woven,
hydrophobic polyester sheets and a special water resistant but
vapor permeable corrugated board. The print dryer.
Extremely inexpensive, extremely light weight, extremely,
portable, extremely compact. A slow and gentil dry for
FB prints. Dan
I have what I think is perhaps the best print 'air-dryer' that I've ever
owned... My studio building at one time was a grocery store. When I bought
the building, the seller left me a gift of every bit of trash that he had
accumulated! (Ever try to dispose of three 10' produce cases? The size is
one problem, the freon is the second prolem!) One of the items that I kept
was a bread rack. It's a metal stand, about 6' high, on wheels, that holds a
dozen plastic vented trays, each about 2x3'. Since the trays are plastic, I
can wash them off to prevent any chem buildup. It's a great gadget for air
drying prints, and if you hang around the rear of your local grocery store
after dark, you may be able to snag one!
Actually, if I need to dry prints fast, I just feed them into the wash rack
of the minilab. Done carefully, this even works with fiber prints getting
them about 75% dry. Doesn't everyone have a minilab in their darkroom?!
<dan.c.quinn@att,net > wrote in message
news:bfcc50b1-27b0-4865-b87c-4b75a5dc6e85@d70g2000hsb.googlegroups,com ...
On Jan 9, 2:32 pm, "Ken Hart" <kwha...@verizon,net > wrote:
>
> > dryer?
>
> If you are using RC papers, don't fret wiping the print.
>
I keep a sponge handy for the purpose. Wet and squeese
dry before use. Wipe both sides. RC then dries very fast. Prop
or lay to dry.
I've quite RC and have gone all FB. Still sponge though.
Afterwards the prints are sandwiched twixt layers of non-woven,
hydrophobic polyester sheets and a special water resistant but
vapor permeable corrugated board. The print dryer.
Extremely inexpensive, extremely light weight, extremely,
portable, extremely compact. A slow and gentil dry for
FB prints. Dan
I have what I think is perhaps the best print 'air-dryer' that I've ever
owned... My studio building at one time was a grocery store. When I bought
the building, the seller left me a gift of every bit of trash that he had
accumulated! (Ever try to dispose of three 10' produce cases? The size is
one problem, the freon is the second prolem!) One of the items that I kept
was a bread rack. It's a metal stand, about 6' high, on wheels, that holds a
dozen plastic vented trays, each about 2x3'. Since the trays are plastic, I
can wash them off to prevent any chem buildup. It's a great gadget for air
drying prints, and if you hang around the rear of your local grocery store
after dark, you may be able to snag one!
Actually, if I need to dry prints fast, I just feed them into the wash rack
of the minilab. Done carefully, this even works with fiber prints getting
them about 75% dry. Doesn't everyone have a minilab in their darkroom?!
Re: B&W film developing questions
"Ken Hart" <kwhart1@verizon,net > wrote in message
news:flv58p$ooe$1@aioe.org...
>
> "Geoffrey S. Mendelson" <gsm@mendelson,com > wrote in message
> news:slrnfo511a.l36.gsm@cable.mendelson,com ...
>> G.T. wrote:
>>> Rob Morley wrote:
>>> If I were to use a drum what would I need? Is it similar to processing
>>> film?
>>
>> It depends. The simple ones are drums that are like daylight tanks
>> for stainless steel reels, they have a light trap at the fill end
>> that does not depend upon a reel.
>>
>> You stuff the print in it in the dark, close it up and and develop.
>> Simple drums get rolled on the table, more complex systems have
>> rolling machines.
>>
>> Normally they are used for color because consistent agitation and
>> temperature control are necessary.
>>
>> There are all sorts of drums for the rolling machines including one
>> that holds sheet film in an interrupted spiral. You would use it for
>> small prints if you want to develop several at a time.
>>
>> Look up Jobo.
> Also look up Unicolor.
>>
>>> Print, load in drum, fill with developer, agitate, empty developer, fill
>>> with stop and agitate, empty, fill with fixer and agitate, empty. Then
>>> hypo clear, wash, and dry?
>
> I have a Unicolor 8x10 drum. It's about 4" in diameter and 8+" long. The
> bottom is sealed and the top has light baffles thru which the chems are
> poured. The Unicolor drum has "feet" so that it sits horizontally, the
> chems are poured in and go into a 'trough'. When the drum is rolled off of
> it's feet, the chems flow over the paper. According to the instructions,
> it requires only 2 ounces of chems. I don't trust this figure and I use at
> least 8 ounces, depending on the process. (I use mine for C-41 or RA-4)
> The drum will hold 1-8x10 or 2-5x7 or 4-4x5.
> If you go this route, find a roller base. Rolling this thing back and
> forth across the table gets boring Very Quickly!
> Check eBay; the drums and roller bases appear often. I bought my drum as
> part of a Unicolor color print kit back in the 1970's, and the drum cost
> me $15 a year or so ago on eBay. If you can, get more than one drum. They
> can be difficult to reload when damp-- the paper can stick to the sides
> and get hung up. If you have more than one, one can be draining while the
> other is in use.
[chuckle] I use mine for developing bw 4x5 film. And with four 4x5 sheets
in the drum, I find 150ml - about 5 oz - to be ample. One point - don't
screw on the lid tightly to the drum while in storage...if you do, you'll
find yourself needing another gasket. And those things are darned hard to
find - had to purchase another drum.
"Ken Hart" <kwhart1@verizon,net > wrote in message
news:flv58p$ooe$1@aioe.org...
>
> "Geoffrey S. Mendelson" <gsm@mendelson,com > wrote in message
> news:slrnfo511a.l36.gsm@cable.mendelson,com ...
>> G.T. wrote:
>>> Rob Morley wrote:
>>> If I were to use a drum what would I need? Is it similar to processing
>>> film?
>>
>> It depends. The simple ones are drums that are like daylight tanks
>> for stainless steel reels, they have a light trap at the fill end
>> that does not depend upon a reel.
>>
>> You stuff the print in it in the dark, close it up and and develop.
>> Simple drums get rolled on the table, more complex systems have
>> rolling machines.
>>
>> Normally they are used for color because consistent agitation and
>> temperature control are necessary.
>>
>> There are all sorts of drums for the rolling machines including one
>> that holds sheet film in an interrupted spiral. You would use it for
>> small prints if you want to develop several at a time.
>>
>> Look up Jobo.
> Also look up Unicolor.
>>
>>> Print, load in drum, fill with developer, agitate, empty developer, fill
>>> with stop and agitate, empty, fill with fixer and agitate, empty. Then
>>> hypo clear, wash, and dry?
>
> I have a Unicolor 8x10 drum. It's about 4" in diameter and 8+" long. The
> bottom is sealed and the top has light baffles thru which the chems are
> poured. The Unicolor drum has "feet" so that it sits horizontally, the
> chems are poured in and go into a 'trough'. When the drum is rolled off of
> it's feet, the chems flow over the paper. According to the instructions,
> it requires only 2 ounces of chems. I don't trust this figure and I use at
> least 8 ounces, depending on the process. (I use mine for C-41 or RA-4)
> The drum will hold 1-8x10 or 2-5x7 or 4-4x5.
> If you go this route, find a roller base. Rolling this thing back and
> forth across the table gets boring Very Quickly!
> Check eBay; the drums and roller bases appear often. I bought my drum as
> part of a Unicolor color print kit back in the 1970's, and the drum cost
> me $15 a year or so ago on eBay. If you can, get more than one drum. They
> can be difficult to reload when damp-- the paper can stick to the sides
> and get hung up. If you have more than one, one can be draining while the
> other is in use.
[chuckle] I use mine for developing bw 4x5 film. And with four 4x5 sheets
in the drum, I find 150ml - about 5 oz - to be ample. One point - don't
screw on the lid tightly to the drum while in storage...if you do, you'll
find yourself needing another gasket. And those things are darned hard to
find - had to purchase another drum.
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