jacque_staskon

O.K., I have read the digital threads. Still confused. Here is my question. My client, (the godsend) now wants all the 4x5 chromes we have shot scanned and then put onto a CD. He wants to be able to do design and layout. We are already working on the black and white for the archives, and working on the cibachromes for his clients. Now he wants this done.(great for us)!!! He wants to concentrate on the writing. He is not inclined to trust people he has not worked with. That is just fine by me. So my partner and I are thinking, we are pretty smart folks,I have some (albeit minor) experience with scanning prints and doing re-touch in photo shop. My computer has all the memory and speed for most scanners. So that is not the question. We start looking at scanners and the like and holy moly its an entirely different world. So help!! Is it really necessary to purchase a film scanner to do these 4x5 tranies or can we use the new UMAX powerlook 111 for this. If we get the less expensive scanner will our client still be happy with the output? We really want to keep our client happy. Not only is this a fun project, but he is a really nice guy. Remember these scans will only be used by him for layout and design. I'll scan them, do any manipulations in photo shop, burn the image to a CD and ship the CD to him to open and add his text to, and he can do his thing to the CD. When he is ready to publish the 4x5's will be drum scanned by the publisher. Any words of wisdom will be greatly appreciated. Thanks in advance

Jon, I have to agree with the other posters. Check your safelights,

did someone move them or change out a bulb while you were gone?

Mix fresh chemicals. Working strength developer will oxidize in the

bottle and give you those types of results. Are you agitating your

prints properly? Poor agitation will also give you muddy shadows.

Just because the camp counselor says to do something with your film

doesn't mean you have too. Did your counselor run an ISO exposure

test with a gray card and a light meter on your camera or was your

counselor just spouting information?

Your paper could have gotten hot while you were gone, that too will

give you poor results.

Anyway, we have all been there and made unspeakable mis steps with our

equipment, film, etc.

Fortunately we all have this forum to come to when we need it.

Anyway, keep at it and keep us informed.

Ok here is the deal. Our client needs 1800 8x10 ilfochromes of what we are shooting. So my partner and I got to thinking and said, why can't we do it? We are smart, (sort of) and have many years of darkroom experinece. So we are deciding to go ahead with it. Our question is since we are going to purchace a processor for this project should we go ahead and spend the extra money and get the 16x20 fuji processor and dryer. Is there any market for Ilfochromes hand made by a person that listens to what the photogrpher wants. Or is this market being met by all the digital hoop-la? Any insight would be greatly appreciated.

Charles, please help me out. Have you been using other formats? Or are

you completely new to photography? Do you want to use large format

because of the fine detail, the movements on the camera or are you

looking to draw a crowd? Or do you have another reason? Being

photographers, we never have exactly what we need to bring our

artistic vision to fruition. We could have always done more with this

focal length lens or that lens. Different filter, better lupe

stronger tripod, whatever. We are never happy. Thats just the nature

of the game. Go to your local camera store, ask to see what they have

in large format. See how much it costs,play with everything, meters,

tripods, cameras, film holders everything, and buy what feels right.

trust your instincts. You may buy something you don't need just

because its shiny and thats ok. Then just jump in. Large format is a

wonderful ride, because it keeps you humble. j

Raven, have you thought about looking for the heavy kodak tanks? They

made several sizes and you could use your dip and dunk method. I

always see them in the used darkroom sections of camera stores. I try

to pick up the best for myself. I use them for all kinds of things,

never paid more than three bucks a pop.

Ok, Ok I know I am going to get into trouble for this one, but if you

like printing on RC paper and you are happy with the Ilford and

Oriental thats fine. Your vision. My first step would be to try a

different developer. I think both these RC papers are considered

developer incorporated as well. Either the Multigrade developer put

out by Ilford or Ultra -Black put out by Edwal. Both will give you

great blacks. You might want to consider boosting your contrast a bit

during printing. Lots of folks are taught to print with out filters

IMHO big mistake. I also understand that lots of folks don't use

filters when they are making the exposure, IMHO another big mistake

for B+W. Also your developer may be too warm, this will give a

somewhat muddy appearance to the little zones. (1-3) Also are you

giving the paper constant agitation? The guys are right though when

they talk about detail, (although you did not mention it)and how the

print is going to be viewed. Only you know what you are looking

for. Hopes this helps.

Thanks to all who contributed to the archival print washer, film

washer query. Especially Dorimus. The sites you recommended were

quite valuable. I ended up ordering the Nova. Reasons? The 16x20

has 13 slots, the basket is removable for film and I could get it

quickly. Plus the price was within my budget. I will be processing

1000 4x5 negs and making at least 2000 prints for this job and I

wanted something reliable and cost effective. You all won't be hearing

much from me while I am working in the dark, just keep me cool and

feed me organic materials, I should be a fabulous mushroom. Thanks

again for your input.

Hello to all, I think I have myself in more of a jam then I would like to admit. Fortunately this job will take about 6 months to a year to print. Unfortunately I am ill informed on a particular product and hope you all can help.

I will be processing at least 1000 sheets of 4x5 film and printing at least 2000 8x10's for a very good client.

This client wants everything archival. No problem, I can do that, how

ever I am thinking that my film washing and print washing techniques are dated at best. My print washer is an old arkay 16x20 water well. Works fine but uses too much water for such a large print job. So I am looking at stand up archival washers.

However I have not been able to see one in the flesh.

So I guess what I am asking for is advice. Which archival print and or film washer do you recommend?

Which uses the least amount of water, has good turbulence, is reliable and simple to hook up. And most of all easy to load and unload?

I was thinking of a 16x20 print washer because it will hold 24 prints?

But I have no idea about the film washer.

Thanks in advance for your help.

I have to agree with the Film from Fuji. Consistent in sheets and

wonderful tonal qualities. The Astia film is even toned and very

realistic. The Provia F seems to have more snap. Just make sure your

lab processes the film correctly.

This response is coming from someone who has been an instructor of

college age students since 1984, so take it with a grain of salt.

She will only be required to use a 135mm camera and a 50 mm lens. She

will want all the bells and whistles. Figure out what your budget will

be. Take her to the local camera store, let her play with what she

wants and what you can afford. Remind her that part of her

assignments will be focusing manually, setting apertures, shutter

speeds and the like. If she has auto everything, she will learn

nothing about photography and everything about gadgets. In the past

several of my students (mostly women) have come into class with Rebel

"g's" or something similar and have found that they cannot do the

assignments. They cannot control the ISO settings, use infrared film,

or get depth of field preview. All important aspects of beginning

photo and advanced photo. These same students have traded in their

newer auto everything slr's for used manual slr's.

The things that are important for a beginner is. Shutter control

Aperture control, focus control, ISO control, self timer, depth of

field control, (so they can control their focus and aperture more

effectively). These are the assignments she will get.

Hopefully her instructor will make her slow down a bit, and learn

photography, not point and shoot work.

Also lead her to a camera that she feels comfortable with. Her hands

may be too small for a Nikon F2 but just right for a Pentax ME. Make

sure that she can see the entire viewfinder. All the lights and

arrows are important.

Her 35mm camera must be able to become a part of her, an extension of

her vision,not yours, if it is too large or small it will stay a thing

and not a friend.

Remember the cost of accessories and lenses as well.

The reason the 50mm lens is so important to start with, it makes the

student work for the composition.

Improves their view, style, and confidence.

Just a thought. j

O.K. I will not throw gas onto the fire, I promise. I have been an

avid user of Pyro or PMK for 12 years. I have not noticed a

difference on the stain. No fade, crack, run, nothing. The negatives

are as beautiful green now as they were when I first started. Why do

I stay? I think it has more to do with the quality of the highlights

and the edge accuatance (sp?) than anything. I shoot mostly Ilford

films but I have developed all the film I have shot in Pyro or PMK. I

have contracted development up to n-3 and expanded to n+5 with

consistent quality results. I also like the benefit of not having to

stain the negative. One more variable to control. For me its the

process, the control and the fact that I can go into the darkroom

while my kids are listening to the latest head banging body slamming

music and get a bit of piece and quiet. Besides when I process

someone elses b+w in PMK or Pyro i can charge more.

I agree with Carl. Your film had come to full development. Or nearly

full development. By turning on the white light to inspect your

negatives in the fixer you may have flashed your highlights a bit.

Now you have the best negative in the bunch. Wouldn't try it on a

regular basis though. Pyro and PMK work extrememly well if you want

to develop per inspection. Its a great way to save those questionable

negs we never tell anyone about. Looks like your accident worked well

for you. You are one lucky guy.

I just ran into this myself and found that I did not enjoy the cold

feeling I got when I used the long exposure times with velvia. Adding

a magneta filter seemed to add too much pink to the white spectral

highlights. So I tried using warming filters instead. What a

difference. So now when I am working on table top with color film

photographing under lights I still use Velvia, (my favorite color

transparency) I use either a number 2 or number 3 warming filter. It

gives the nice feel to my images without being an in your face

shouter. Oh I also rate the film at 32 instead of 50.

Howdy, I believe the product spot off is designed to be used on papers

and not negatives. If you have a very steady hand and a large lighted

magnifying glass you can etch out the black spot on your print by

lightly scraping the surface with an exacto knife and then rewet the

area of your print you are etching. Let it absorbe a little of the

water and dab it off with your finger to push the paper fibers around

and back to where they belong. Then spot it. Being extemely careful

not to go too dark too quickly. Build up your tones instead of trying

to match them. When I have to etch and spot I use a #10 ought brush

so I have very fine control. I do not however use spottone. I really

prefer the Pebeo spotting solutions. The colors are easier for me to

match and it doesn't dry immediately, so if I blow it I have a little

time to correct my mistake. I have also used this method on color

papers and it seems to work. The red opaque can be a Kodak product,

but other manufacturers make it as well. I think the smoothest is the

Veronica Cast negative retouch material. Working on the negative

requires a steady hand and the ability to match tonal values. Pin

holes on the negative can be especially bothersome because they are

holes. Nothing short of gum seems to fill them. j

Since I see my name bandied about a bit, I thought I would contribute

my two cents worth to the value of the Wista 8x10. I have named mine

Wilma. She is a beautiful camera, the movements are right where I

want them. She makes perfect sense to me. I only have two lenses,

one 240 mm and a TR convertable. The camera does not have the bellows

draw to use the TR at its most telephoto. That is fine with me, most

of my work is close, or straight landscape. I have not had difficulty

finding accessories for the 8x10. I carry a 4x5 reducing back 5

holders, polaroid back, two lenses, a miriad of things loupe,tape

measure, sandwich, water etc. I tried using the recommended Deardorf

and a Kodak but they seemed to clumsy and heavy for me. When I die my

kids have told me they will bury me with Wilma. Thats fine with me,

I'll take her with me into the next world. Feel free to e-mail me

direct, I'll answer what I can j

What changed when I began using 8x10? Everything!! First I found

this wonderful forum for tips and help on purchasing the equipment. I

am not new to Large Format, as I had been using 4x5 since college in

the 70's. But the 8x10 is different, when I am making an exposure, I

feel like I am getting inside the camera to make it. Things just make

more since now, the images are simpler, more direct. They have a

tactile quality that I do not see when I look at the enlarged 4x5

images. I am not shooting anything other than 8x10 unless its pics of

the family now. They won't sit still for the the big camera. Weight

is not a problem. I have become stronger. I do find that I spend more

time looking at my image before exposure, angles, lighting, points of

view. I now put my tripod up and look very closely at the image before

I put the camera on it. I leave more images behind now than I used to

with the 4x5. My vision seems much more clear, I throughly enjoy the

format.I have even made some 8x10 chromes, what a hoot. Now it's time

to learn about POP papers, any hints?

Have you gone to your local surplus store to look for backpacks? I

did and they were very helpful. they even allowed me to try on all

the packs I wanted to and load them with my gear. I purchased a

Jansport Scout. I like the exterior frame and the pockets on the side

for stuff.(Water, loupe,tape measure etc). I purchased a sleeping mat

and cut that up to pad the pack. I wrap my 8x10 wista in the blue

stuff, put the reducing back on top to hold it all together. 5

holders,polaroid back (4x5),film for that all goes in the main

opening. 2 Lenses wrapped in the Domke wraps,btzs hood, meter,note

pad,granola bar, (really a snicker bar,)little tool kit and assorted

note taking materials. All this goes in the smaller opening below the

main compartment. I can strap the tripod to the top and away I go.

Works great. So if you are on a limited budget, go to your surplus

store on a quiet Wednesday and explore.

These are the times I have in my darkroom. HC-110 dilution b at 68

degrees. 35mm film 5 1/2 min. 120 film 6 min. 4x5 film 6 1/2 min.

Agitation for 35mm and 120 is 4 inversions at the top of every minute

not lasting more than or quicker than 10 seconds. Hope this helps. j

The clip that I use, that seems to work very well is a stainless steel

alligator clip from the hardware store. It has a hole in the post for

hanging and nice sharp teeth on the end for the film. Hang the film

from the notched edge,I tap the lower corner of the film with my

finger to remove the accumulated water in the corner.Photo Flo seems

to thick so I like to use Ilford's wetting solution.

If you cross light the chandelier using a direct gel light you will

get color. Adjust the color by moving the light back and forth.

Don't diffuse this hot light. If you diffuse it you will loose its

brilliance. The crystals will pick up color from the gel and other

colors will magically appear.

Does anyone out there have any experience with the Berrger (sp) Films?

Best place to get them. Any quirky characteristics? (the film). Any major disadvantages? The press seems to think quite highly of these films. How about you?

I have used the Bessler 45MCRX enlarger for longer than I would care

to remember because I can't possibly be that old. It has been a

wonderful friend. Yes you can change your format easily by a knob

adjustment. Also you can go in between formats which is sometimes a

plus. The D2's are wonderful as well but I have found that I was

always worried about dust on the condensers. But if you are going to

do really large prints you might consider the D2 beause of the wall

mount adapter. Very sturdy. When I make really large prints with the

Bessler I have to pull the enlarger forward to the edge of the

printing table and weight the back plate with cinder blocks and

enlarge off of the floor. Sometimes scary If I'm manuvering the

enlarger alone. I was interested in a previous response however. Could

someone please tell me about the 8x10 adapter with an Alan Ross cold

light attachment for the Bessler 45 MC?? Where I might find such a

beast? About how much would one expect to pay for an adapter such as

this?

I have to agree with James. When I have used Velvia either 35 or 4x5

I have had to do two things, 1 rate the film at 32 for 35mm and 40 for

4x5. And have used warming filters to warm up the blue. Velvia seems

to go too blue in the shadows and I loose information that my eyes do

not. An 81 a or b, when I'm shooting early early in the morning an

81c does wonders. My other question is regarding your polaroid shots.

Are you filtering for this b+w film as well? A yellow or light green

filter will add definition to these green shadows. Good luck on your

plight, I am amazed that a Fuji rep would recommend a Kodak product of

any type.

Many thanks to Franco and Marv. Your advice helped tremendously.

Thanks. I did some shooting with the lens this weekend and am very

pleased with the results. I am still working on the focus shift you

are correct its not easy to see through the lens at smaller stops.

The 8x10 I own is a Wista although I love it, it must not have the

bellows draw to use the 25" all alone. Every thing I read about the

large format seems to indicate that there are two camps here. The

first camp is the mathmatical engineer type, they know exactly what to

expect and do extensive testing on everything they own and the second

camp works more on trial and error and seems to be less concerned with

the absolutes of large format. I am grateful to both sides of the

coin. This forum provides a wonderful balance. Thank you once again

for your input.

I think I may have bit off more than I can chew. That being said, I am now the proud owner of a Turner Reich Convertable lens. I have read the previous threads regarding this lens However there are still questions looming. This lens is a 12" 19.7" and 25". How do you get 12 and 19.7 to equal 25? Why do you remove the front cell? Why not the back? How do you tell how many elements each cell has? This lens is mounted in a Betax Shutter #4 the speeds seem ok. I have not yet used the lens I will get the spare board filed out a bit in the morning. Do you think I should try to manufacture a hood that shades the shutter with no lens on the front to reduce flare? Is there a particular sweet spot regarding aperture? When you talk of focus shift should I look at the overall image once the lens is stopped down or just the center? I am confused about the focus shift it just doesn't make sense. I am not sure if i am confused because of the heat or my age. not a blonde. thanks in advance for your help in sorting this out. j