jacque_staskon

Hello to all, so good to find the forum again. I have definately

missed all the wonderful information. I am finally taking a

photographic sojourn. I am leaving the tinder-box of the South-west

and heading north to the Olympic Peninsula. I am taking the 4x5 and

the 8x10. I was wondering if there is anything special I should take

that I might forget about, seeing that ninety percent of my work is

here in the bright south west and I am always looking to control the

contrast etc. Any bright ideas will be greatly appreciated.

Hey Trib glad to see you are still a cantankerous ol'fart. Keep it

up.

Thanks to all who contributed to my query.

The Polaroid site was most helpful.

For those of you that might be interested in trying to "solarize a

type 55 negative here is what Polaroid recommends.

1. Expose the negative as you normally would, but under-develop by 5-

10 seconds (normal development time is 20 sec. at 70 degrees F).

2. As soon as you peel the print from the negative, re-expose the

negative to very bright light ( a common method is to flash it with a

handheld strobe). ((I would call that pretty intense Ellis..insert a

smile here.))

3. Quickly and carefully place the negative in total darkness for 45

to 60 seconds ( a light-tight box or container will do if you are not

working in a darkroom).

4. Remove the negative from the dark and quickly place it in the

sodium sulfite solution and complete the recommended clearing

process.

<p>

Thanks again for all your help. I'll let you know how it works.

How do you solarize a type 55 negative? I recently viewed the Photo Eye website and ??? Devine Tischler?? had made some images with solarized polaroid negatives. I sure would like to try the technique. Is this just so old that I have forgotten how?

Thanks in advance.

It is possible to filter the solution and make it last longer.

Getting rid of the swirlies in the solution is fairly easy.

Either filter it through a coffee filter or use panty hose.

The stuff does seem to last forever. Wish I had some hard numbers on

that.

I know this is a bit off the original question, that being said. I

have recently sold my beloved Wista Field 4x5 and purchased a used

Technikarden 45s. I have not looked back. The camera is rugged,

lightweight (respectively) and instinctual to work with. After a few

outings the movements and controls are very easy to adjust. I am

quite happy. Now I just need to find a hood for the ground glass and

perhaps a 75mm lens.

So... is it a blue..blue or a cyan blue? It could still be

processing, even though you have tried two labs with the same results.

Have you evaluated your transparencies with a color checker? Or are

you looking at them with a less than optimal light table and lupe?

Have you made prints from these transparencies, if so what were the

prints like?

I have two solutions, first use the Ilfochrome retouching dyes instead

of the Marshalls. The Marshalls seem to pith and leave rings on the

transpariencies. You can layer with the Ilfochrome dyes and there

seems to be no pithing. Or make a dupe, in the past the duping works

fine because the film seems to be lower in contrast. Hope this helps.

Josh, after reading and re-reading your original question it seems

pretty clear that you are trying to answer some personal questions

here. Thats good, that is what art is all about. First I'll tell you

a little story, (boring probably but hopefully helpful). when I was a

young photo student one of my professors asked us to photograph

something taboo. Mostly the images shown in critique were sexual in

nature. Mine however involved the care and feeding and killing of

animals. I followed the entire process of how we as a society view

eating beef. ( I then became a vegetarian). Anyway, getting into the

calving and raising of the cattle was no problem. It was when I

wanted to get into the processing of the the cattle and to see the

butchering and packaging that I ran into problems.

It wasn't because of what I was shooting, it was more that the people

involved did not want others to see what they do. They were afraid of

being seen as unclean? That may not be the right word, but they

seemed to be afraid of what others would think.

So I understand your delima. I solved mine by becoming friends with

those involved. From the cowboy to the auctioneer, to the processing

plant manager all the way down to the butcher at the local market.

I was not trying to make a statement about beef eating, more just

answering questions I had about what it takes to bring beef to market.

I think if you approach it this way you will be able to gain the

access you need. Funeral director,salesman, mortician,pastor,(priest)

etc. Since your idea involves no specific person but the process,

that is where I would start. Interesting concept, I wish you well.

There are quite a few museums in Arizona that have extensive archives

of early photographic work. The Heard in Phx comes to mind as well as

Sharlot Hall in Prescott. Northern Arizona University, Arizona State

and University of Arizona libraries all have wonderful archives for

research. If I knew which area of Arizona you are researching I might

be able to offer more complete advice.

I believe if you re-shoot your image and add a bit more light to the

legs you will be fine. You can either lower your soft box just a bit

or add additional light with something else. Perhaps even a

flashlight if you do not have an additional head.

Also it sounds like you could increase your exposure by 20% or 50% and

reduce your film development by 10-20% to keep your highlights where

you want them. Burning and dodging is always and option, but if its

not on the neg it won't be able to be printed. Good luck.

Hi Raven, Yes I have experience using the Sprint Chemicals. We use

them at Prescott College.

Film development: Increase your normal film development by 10% for

roll films if you are using Kokak films. 15% for sheet films. So if

the tech sheet says 10 minutes with Sprint developer, make your

starting point 11 min. Make those increases your normal and adjust

from there.

10% increase with all Ilford films.

We use water as the stop bath. We also prewet all films.

The fixer works just fine for film it does however turn to a beautiful

purple with t-grain. So we keep a bottle for the normal emulsion

films separate from the one we use for the t-grain film. No real

reason for doing so, it just keeps the photo ones from dumping the fix

to quickly.

Print developers are adequate. The students however have a tendancy

to tweak the devlopers when no one is looking.

We use these chemicals because of price.

You can use any developer,stop, fixer,hypo clear combination you wish.

Its ok to mix brands. Hope this helps.

I know this is coming in a bit late, sorry ...Field trip.

What's important in a photo class? I hope you have been thinking

about this for a while, and did not just get hired on last week and

trying to pull it all together.

When I teach a photo one course, the first thing I try to do is

de-mystify the camera. I will have a class of ladies saying, "my

husband always took the pictures, or I am just not technical"

Infuriating. (in our area the average student at the JUCO is 37 and

female)

So make things simple for the photo ones. Basic, film loading, focus,

shutter speeds, aperture. the basic workings of the camera. The

reason I am stressing this part is, when the students get to advanced,

you will be surprised how many of them will not have this basic

knowledge. Oh sure, there is always someone in the class that has

tons of experience and is taking the class to work in the darkroom or

for some other reason. They can sometimes have the worst habits.

After the basics, then be very careful to teach proper film

development. Then the basics of print making. You can finesse their

work in advanced classes.

Have local pro's come in and show their work or go to their studios.

Lots of field trips. As much one on one as you can. Give them your

home phone number, so when they are stuck they will call you.

Praise their efforts, remember this is a foreign language to most of

your photo ones. And when you have critique, don't let them say things

like I did not have time to complete, because... blah blah blah. Make

the images stand alone, no excuses and no blaming. If you do that at

the get go, they seem to get more motiviated and work a bit harder.

when I start critique, usually within the first month, I let the

students know that the viewer does not care if the shooter had a bad

day. the viewer only cares about what is being viewed. So I hold

whats called a no excuses critique. Critique is for overall impact

and design, composition and subject matter. All the other stuff is

written on the back after critique and given to the students next

class. (spotting, mounting, matting, etc.) Personal comments are left

to the written word, the student then appreciates the time effort you

as instructor are spending with their work.

Encourage your students to take photographic risks. Let them know

that its normal to imatate, then innovate, then inspire. Sometimes

that takes years, other times only days.

Do not under any circumstances show them your personal work.

Otherwise you will have created Doug clones. If you must show them

your work do so during the last class of the semester. Have them bring

in all kinds of images instead. Talk about them all the time. Learn

from the masters and the locals. Slide shows, books, magazines,

videos. Use everything you can get your hands on.

Photo One is a hoot to teach, I love it when the light comes on and

they realize they can do it.

Have fun with it most of all. If you need any teaching info you can

e-mail me direct. I have been instructing photography in JUCO and

University since 1984 and I keep thinking I will retire, but they keep

coming up with classes for me to teach. Now I am teaching mostly

advanced students, just got back from exploring the desert under the

full moon. Fabulous trip.

Oh I almost forgot, the advanced students will let you know what they

need. Teach them well.

Dear John, it is not the format that matters. It is called subject

matter for a reason. Its the subject that matters.

It does not matter what size the negative is, marketing your work on

the world wide web will only work if your images are good. Make that

great.

All the hype in the world about how you went about making the image

will not sell it.

No one cares if it was made in a 'real' darkroom or with a computer.

Consumers of photographic art buy what they like. Or they buy a name.

ie Weston,Adams, Cunningham,etc.

Large Format photography is not for the faint of heart or for the

quick buck. It takes a lifetime of study, patience and growth. I

have been shooting LF for over 20 years and I do it for fun and

profit, however I am still learning the importance of image.

You might want to think about opening an old tyme portrait studio,

then you can live in the past with today's materials, and make a quick

buck.

Large format photography is the journey not the destination.

Craig, if you are just getting back into large format, I really would

not recommend PMK Pyro to start out with. I just finished processing

1125 sheets of 4x5 film in PMK pyro and it is not a bullet

proof process. Mistakes can be costly. Fortunately for me I have been

using pmk pyro for years and think i have pretty much made all the

mistakes. (I could be wrong) But if you would like more information

on the process Contact Photographers Formulary and get the book by

Gordon Hutchings. It is a wonderful resource.

In the mean time d-76 or hc110 with Ilford fp4+ or hp5+ works great.

These films have the same emulsion across the size spectrum. So that

means you can expect to get the same results no matter what format you

are shooting. Good luck.

Happy Holidays.

No big mystery about Bill Jay. I am an Arizona Native. I went to

ASU. Bill was my advisor. Hope that clears things up. j

Although these photographers may or may not have used large format

equipment. My favorite books include books of Minor White,(Jupiter

Portfolio in particular) Imogene Cunningham,(anything she did)Bernice

Abbot,Edward Weston, Brett Weston, Wynn Bullock, Doris Uleman and of

course the God himself Ansel. But I find I enjoy Fred Sommer

(Images) and there is one book I particularly enjoy it is Celebrating

the Negative.

I love reading and re-reading Bill Jay's On Photography. Or anything

that he has written. I see myself sitting in the darkened theatre

after lunch 25 years ago listening to Bill mezmerize all of us. He

probably had the most influence on my life at least as far as

photography goes. I find when I am holding critique, its Bill's

nudges I feel. Cutting through the crap and getting to the meat of

the image. When I am shooting I find I hear his English accent asking

someone in my head " where my dear is your image?"

But, I find that whatever book I am currently reading it becomes my

favorite.

I do not get inspiration from books, I get inspiration from life.

I have just received 36 boxes of 25 sheet 8x10 hp5+ and Fp4+ film from a gentleman that is no longer shooting 8x10. He has taken pity on a poor college instructor. The film has an expiration date of 1993. It has been frozen since before it expired. I don't have room in my freezer for this film so I bought a small refrgerator and have it set at the lowest temp it will go. My question is. How in the world should I test all this film? Should I just test one box, shoot it up and then go to the next or should I test them all? I am mostly concerned about age fog. I was wondering if there is a chemical out there that I can add to the developer to minimize fog. Seems like a long time ago I used something called Orthozite, but when I go to the local camera store they just stare blankly when I ask about it.

My other question, how long do you think this film will last, being refrigerated now and not frozen.

I have e-mailed the local Ilford rep with no response.

Any recomendations will be greatly appreciated.

Kathy, wait until you go to class to find out your requirements. I am

a photo educator and trying to second guess a photo one instructor is

futile. I have had instructors that started and worked camera less

for most of the semester. Building pin holes and working with

photograms. So don't be in a big hurry until you get your syllabus.

That being said, if you have enjoyed your point and shoot it might be

because of its ease of use. When you wish to do something more you

need controls. Shutter speed, aperature, focus and film speeds. You

can do something more with your point and shoot. You can push the

camera to its limits. Change your angle, get in close, try putting

diffusion material over the lens etc. The choices are only limited to

you. Your particular class my be a learning to use class, or it may

be a truly introductory class. Where you learn to do your own

developing and printing. If that is the case, you may not need to buy

anything other than lots of film, paper and mounting supplies. Just

the fact you are taking a photo class is your first step on what can

be a wild ride. Enjoy it. You may e-mail me if you have any other

concerns.

The basics of selenium toning are easy enough to master. There must ba

a least as many methods for toning as there are photographers. So

here is my 2 cents. properly fixed and washed print placed in

Selenium toning solution at a dilution rate af about 1:20 until I

notice a change in the blacks. Constant agitation. Try not to let

the toner pool on the print. You will notice change in the blacks

first. The recomendation about over toning was a good one. I agree

you never now what is right until you do something that is wrong. I

tone the image anywhere from two minutes to 20 minutes. It all

depends on the image. Quick rinse in running water, hypo clearing

agent for 5 minutes and final wash. I selenium tone everything I

print on fiber based paper, if you do not properly fix and wash the

first time around you will get stains on your prints or your whites

will turn a dingy yellow and nothing will take that stain away. I do

not put the prints in the toner just after fixing because (maybe its

the fixer I use)I get too many stains. Keep your hands out of the

toner!!! Selenium is not that friendly of a chemical and it is

absorbed through the skin. Wear rubber gloves, use tongs and work in

a well ventalated area. The previous poster my have not noticed any

problems with sticking his hands in the toner but I bet his liver has.

Read the print by Adams,or read Barnbaums book or follow the

directions from Kodak. I like to work with a more diluted toner and

longer toning times, rather than 1:4 for 30 seconds. I can control

the toning better. Find the method that works best for you.

Yes Poly-toner is a direct sulphide toner, however it also contains

selenium. How much selenium does it take to make an image archival?

Would the amount that is in Poly-toner be able to make and image

archival? If so, at what dilution? Just thought I would add on to

the previous question. Thanks

Personally, I like the look of hinged prints, I have a dry mount

press, and I use it for flattening prints.

When its time to show my work, I feel the hinged method works best for

me. Besides, I could always count on screwing up the print when I

tryed to dry mount it.

I am not so sure that dry mounted prints have been around for

centuries. Seems that photography didn't get its start until the mid

1800's.

I also don't trust the claims of some dry mount material that it is

archival.

The prints I make are archivally processed, so why take the chance

with a dry mount system. I also live in Arizona, so I have not

experienced the problems assosiated with more humid climates.

I agree with Mr. Scudder, the only benefit to doing numbered editions

is for the gallery, not for the photographer. It seems rather silly

to me to do a numbered edition when you have the negative, and you can

make thousands of prints.

Unless you plan on printing say 100 prints from your cliam to fame

negative and then burning the negative. Or manually scratch it up and

poke holes in it and then make a few more prints and then burn it.

Then you could have 2 series off the same negative. (Seems like i did

that in college)

Just make the best print you can each time you print your negative.

Sign it lightly with pencil if you must on the front of the print in

the border.

Stamp the back with archival ink with copyright stamp, and sign it

again.

You can either put the printing date or the shooting date or the file

number on the back of the print,its up to you. It all depends on how

you file your negatives.

Hi, you may not be getting even development because of your

developer-film combo. Which developer are you using? When you

agitate a 4x5 in a tank this really seems to make a difference. Some

developers like a front to back agitation and some seem to like a side

to side, and some even like a combination of the two. Pre-soaking your

film will help, however your developing time may change because of it.