kevin_kemner

Thanks Everyone,

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I had forgotten about the blue filter (#47?). I use it in early and

late light to make a little more atmosphere than we normally have

here. We didn't have much fog this morning but some great clouds and

light on Lake Mead.

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Thanks Again,

Bill,

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You should take a look at Carl Weese's article on Pyro in

PhotoTechniques printed last summer. He explains the relationship

between the type of process being used and the light wavelength

required to print it. I'm afraid that I don't have the information

in front of me to give a better answer. I belive Hutchings says

somewhere in his book that Pyro stain replaces the silver which is

why it doesn't become too dense to print under an enlarger light

source. The stain, however, is more absorptive of UV rays required

for alternative processes, resulting in greater density.

My experience is that Xtol 1:3 and FP4+ are an exceptional

combination. APX100 doesn't do well in more dilute concetrations of

Xtol although it performs well at 1:1. With APX I have returned to

Rodinal with dilutions of 1:50 developed for 12 minutes at 68. Hope

this helps. Check out the Darkroom Cookbook.

Sorin,

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There is one on the dreaded ebay right now. Another option is to go

to Google and type in 10" W.F. Ektar. I came across a couple

examples this way.

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Good Shopping

Mark,

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I think coffee is actually a stain and not a toner (in that it

doesn't plate or exchange the actual silver in the print). So it

shouldn't offer any archival qualities to the print. If you're

looking for a warm toner that has a similar color range and archival

properties you might try something like Nelson's Gold Toner. I read

somewhere that Sally Mann's recent landscape images were selenium

toned first and then stained in a variety of concoctions including

coffee.

<p>

Good Luck

Thanks Bill,

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I'm more interested in the tonal range than the grain although it

might be possible to sandwich a layer of b&w negative film and a

layer of duplicating film. This would be pretty close to how an

autochrome was constructed. If I recall correctly the autochrome

process reversed the negative so I would have to do the same to the

b&w negative. This all be held together in a glass sandwich for

viewing.

Okay, I'm spending the holidays in the Great White North where my parents live rather the much more enjoyable southwest desert and have been burning with the following question: Does anyone have a technique they would like to share to expose transparency film to approximate the color range and saturation of the old autochrome or agfacolor process? This is what happens when 36" of snow on the ground has you reading every old photography book on the shelves.

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Thanks and Happy 2001

Michael,

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I had a lens with a similar problem. S.K. Grimes (doesn't his name

automatically pop up when there is a repair question?) fixed it at a

modest charge in less than a week.

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Kevin

Jeffrey,

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I have used Main Photo for quite a bit of Scala processing, both

normal and push/pull, and have nothing but positives to say about

their service. Everything has been done by mail order and they are

prompt. They have scala order sheets on the web site.

<p>

Give em a try.

I'm guessing that this is the kind of question that anybody with common sense should know better about but...

<p>

If its common practice to do split developing with graded papers (such as dektol first for the darks and selectol for the high lights) is it possible to combine film developers for the same purpose? Say starting out with something vigorous like rodinal for zones 1-4 and then finishing development in PMK for zones 5 and higher. You could split the time between the two 1/3 and 2/3 as a starting point. Is there any historical basis to this idea or is it a formula for a Frankenstein's monster?

<p>

Thanks

Anthony,

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In the faster films you might try TriX Professional or HP5. From

everything I've read HP5 really comes alive in PMK. I prefer FP$ or

Bergger 200 myself.

Okay, I was in the darkroom today and noticed that when I closed down the aperature on the enlarger the size of the circle of illumination on the easel got noticably smaller. The lens is an old Wollensak 7.5" Enlarging Raptar mounted on an Omega E-4 with condensor head. This is not my normal setup which is usually a shorter lens with a cold light. Can any body offer an explanation. I would of thought that it would be the reverse.

<p>

Thanks

Don't laugh but, I know someone who ruined a few sheets by putting

moisterizer on their hands after washing them so they would be clean

for handling the film.

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As long as your hands are clean, free of oil, and dry incidental

contact with the face of film shouldn't be a problem. I photograph

in the desert and in the summer when its hot I have had problems with

transparencies. I am guessing that the combination of surface sweat

and a softened emulsion is the problem so now I don't do any field

handling of film. I have been luckier with black and white. The

finger prints on the transparencies didn't wash away.

<p>

Kevin

Hi everyone,

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I am here to confess that I am one of those folks who asked a film and developer question. If the question offended some of the forum participants you have my apology. I would now like to re-post my question in a fuller form.

<p>

Over the past couple of years I have been refining my developing times and combinations for PMK and the 4x5 sheet films I prefer to use. I currently use FP4+ and Bergger with PMK and find that I favor older film formulations with this developer. With that said I did some research and found that Efke film are the same formulation as the Adox KB films. These are single speed emulsions with "chunky" silver grains. The density curves posted on the Fotoimpex website seem promising for zone work and I am interested in giving it a try, however, the film is not available in sheet sizes in the U.S. and must be special ordered.

<p>

Before I order this film I would like to have any input from members of the forum if this combination is worth pursuing. As I have limited access to a dark room any starting times for development and exposure would be particularily appreciated.

<p>

Thanks to everyone who has provided advice in the past and your tolerance of this reworded question.

George,

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Here is a map and more:

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http://www.sierraclub.org/chapters/santalucia/osoflaco.html#intro

<p>

Kevin

Grey,

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I recommend Casey's Cameras on the corner of Tropicana and Spencer.

Its right next to the Liberaci Museum. Ask for Wayne. And no, I

don't work there or own stock.

Hi everyone,

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Does anyone have any experience with efke pl100 sheet film and developer combinations? I am especially interested in using it with good ole' PMK.

<p>

Thanks for your advice.

Hi Everyone,

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Does anyone know where Efke sheet film could be bought in the U.S., or if someone overseas can ship it. Rumor is that the sheet film is the same old style emulsion as their "R" films. I develop mostly in pyro and would like to experiment a bit with it. Thanks for your help.

<p>

Kevin

Hi Everyone,

<p>

I want to float a question out for anyone who has interesting sites to shoot within a two hundred mile radius of Las Vegas (Nevada). Thats my limit for a daytrip and I am starting to run a little thin on places I haven't visited a couple times. Thanks in advance for your input.

Martin,

<p>

You might talk to Modern Postcard in San Diego if you're looking to

have a series of postcards made. They prefer to scan negs or chromes

in their shop and their prices are quite reasonable. They are also

on the web.

<p>

K

No. I live relatively close to Zion and visit there frequently and

have to say that in the fall photographers are one of the most

problemmatic user groups in the park. I have seen our fellow large

formatters park vehicles willy nilly along the roads damaging

unprotected landscape and congesting traffic because they didn't

leave enough room for two way traffic. All because it was close to

the shot. This is not to say anything about people who park their

tripods in the middle of traffic or have the gall to ask hikers (who

spent the better part of the day climbing several thousand feet) to

move so they could set up a shot. To think that we deserve special

priveledges (sp?) because we are serious artists is to not understand

the nature of the problem. There are numerous groups who also have

legal rights to use the park for their personal interests (kayakers

and rock climbers come to mind) for whom vehicular access would be

highly desirable, but, the attitude that parking as close as possible

to a desired location has significantly diminished the quality of our

most popular national parks. When you have the experience of

visiting Zion on a non-holiday weekend and the scenic drive looks

more like the parking for the Michigan-Ohio State game then something

has to change. For me I'm happy to hike.

Patrick,

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Give this page a try too.

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http://www.fpointinc.com/data/Store/bulbs/bulb.htm

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K

Patrick,

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I just checked a couple websites that list what bulbs per enlarger

and the lamp listed for a Laborator 54 was a ph211 or a ph212. Both

are available at B&H Photo. I probably duplicated your efforts but

thats my 2 cents worth.

<p>

Kevin

three letters - pmk. Shot at 100. I also develop in xtol 1:3 which

can produce excellent results.