jacque_staskon

Hi Raven, sorry to hear your lab is closed during the summer. T-Max rs

is a liquid developer. the rs stands for replenisment. Here is a

staring time I have used to process t-max 100 using rs developer.

First and foremost mix the developer for 1 shot usage. Meaning mix

the syrup concentrate and the add packet of "RS" to it. Process at 75

degrees. Use a water bath before you develop your film, place your t-

max in the water for at least 1 minute to remove the anti halation

coating on your film. Drain, For normal development use 100 ml of

t-max rs add 900 ml of distilled water. time for Normal development

is 12min 30 seconds.(You'll have to do your own testing for n- or n+.)

stop bath with constant agitation for 30 seconds. Fix in a rapid fix

(i like Ilford or formulary) Follow the directions usually about six

minutes. wash for 2-5 minutes. Use a hypo clearing agent, there are

many out there. 1-2 minutes depending on brand. Wash again for 2-5

minutes photo flo 1 minute and hang to dry. Your agitation cycle

sounds right.

I am sorry I can't help you with the timer problem. How about

charging up the flourescent dial with sunlight, or another bright

light source. Otherwise just count to 30 using 1-1000, should be

close enough. jacque

Hello, I am hoping someone can help me find an answer to this query. I found in a box of old stuff at a camera store I work at part time a C.P Goerz Berlin lens. It says Dagor 1:6.8 f=15cm. Serial # 438667

It has a Syncro Compur P shutter. It seems to be fully functional. there is no oiling on the aperture leaves and the shutter seems to be accurate. Any idea on age,(i'm guessing early 1920'S) value or most importantly the format this lens was designed for? My guess is that is is for a 4x5 or 6x9. Am I close. I was unable to find any information on this lens in the books at the shop. Any and all information will be greatly appreciated. Thanks jacque

sean you say the fog is in the same place but not exactly the same

intensity? Have you checked your bellows? I can't imagine you

fogging the same place with your holders/removing replacing thing but

around the bellows or where the lens is attached to the board or where

the board attaches to the camera. All can swell and shrink and leak

light. As I reread your post when you say diagonally opposed?? How do

you attach your lens to the camera? Is there a diagonal there? good

luck.

Hi Chad I don't really have an answer for you, but a couple of

questions. What dilutions are you using for your selenium toning?

Are you only selenium toning or are you toning with something else

first, then selenium toning? What papers are you using, I have found

some papers give less than pleasing results when selenium

toned,(Arista for example bleachs out a bit when placed in selenium).

How thorough is your wash cycle? If you will answer these questions

for me I am sure we'll be able to find your problem.

Hand tinting is a wonderful way for a black and white photographer to

get their images noticed in the world of color. However, there are

alot of products you can use that will ease your mind when mixing

colors. I through out my Marshall Oils when I found Pebeo photo oils.

tubes are bigger, costs less, and the colors mix like real paints. I

don't have to use that gawd awful PM solution to prepare the paper and

the oils dry faster than Marshalls. Pebeo Oils are a vegetable based

product and the colors are more vibrant. When you mix white to a

primary color you get a lighter version that is not chalky. When you

mix black to a color you get a darker tone not mud. I have used them

with success on all types of paper from rc to fiber and all types of

surfaces, nothing but happiness. Their pencils are softer and

blendable leaving no pencil stress marks on the paper. I have also

swithced to a fairly new product called water matt spray to finish the

image. No horrible smell and I can use it indoors and the spray is

very fine. Try it.

Hello to all, I'm still on a quest for the perfect 8x10 for me. There is a nice guy in chicago who has an 8x10 Burke and James new in the box for 1000.00. He has been very helpful with my sometimes inane questions. What is the consenses of this camera. Does anyone have any experience with it? I have all but given up looking for a Deardorff there just don't seem to be any in my part of the world. I have queries out everywhere and no responses. What I really want is a light weight full featured 8x10 that doesn't cost anymore than a poor instructor can afford. Any patrons out there? thanks in advance for your continued advice. jacque

To the masters and repliers of my last question of what 8x10 should I look for? One of my students traveled to Phoenix recently, I gave him a list of things to look for (since I can't ditch school). He went to Photomark and met Ron Klukas(student said he was very helpful) and found a used 8x10 Zone VI with 4x5 reducing back. It is priced at 1800.00. Ron also showed him a 300mm Caltar IIS? for 850.00. (The student couldn't remember if it was new or used.) I have looked at the older messages and was unable to find your thoughts on the Zone VI or the lens. I think I would be wise to keep looking for a Deardorf or a Kodak per your recommendations, but, the bell's ringing and I'm chompin at the bit to get started in the race. So, should I ditch school and leave all my photo students alone for the day and go to Phoenix or should I just cool my jets and keep searching for the Deardorff? I have e-mailed Photomark and have not received any replies to my queries so I don't know how long the bellows is, if there is a lens board or any other accessories. thank you for your input and all your help. jacque

I just wanted to say thankyou too all who responded to my query with insight, humor and grace. I have taken your advice and e-mailed Ron Klukas @ Photomark in Phoenix. I am now researching the Deardorff and Kodak camera. Am I correct in assuming that some 8x10's have very limited bellows? That the Deardorff moves both front and back? away from center to balance the camera with a lens attached? Sounds wonderful. Thankyou again for all your responses, I will keep you informed, and I am sure i will ask more questions. I am amazed at the differences between 4x5 and 8x10.

I am asking for advice from the master's. I currently us a wista 4x5d. I am very interested in purchasing an 8x10 field view. I would like it to be very similar to the wista I now have. Most of my work is in the field and tabletop. What type of lenses should I look for? I live in a small Arizona town with very little LF support. I will have to travel to phoenix to look for suppliers of 8x10 equipment. Where should I go? Which lens will give me the most flexibility? Which camera is sturdy, not too heavy and has fairly long bellows extension? Also movements are important; which field camera has the most movements? I am doing more platinum printing and I am not satisfied with enlarged negs, they have the quality of a second generation image. Oh one more thing I'm an adjunct faculty member in photo so you know i am broke. Any help you can give me will be greatly appreciated. I am not the type of person to ask for advice and then go off on my merry way in the other direction. Thankyou for considering my questions. jacque

Don't do it!! If you are thinking about bleaching your pmk pyro negs

be aware be very aware. Unless you are able to control your bleach

solution you will get mottled and muddy areas. I have tried both

types of bleach and had more success with farmers reducer and a

spotting brush. The pyro stain will come off but you can stick your

neg back in the pyro or just add some old pmk developer back on to the

neg using a brush or sponge and let it set for a bit. Keep the pyro

moving until the green stain comes back on. If you don't want to re

develop the neg your stain will become yellowish and may or may not be

noticeable on your print (depends on where it is.) I understand you

wanting to save your negative but the success ratio has to be pretty

slim. You may want to think about masking your negative so bleach

doesn't get onto the areas you are not bleaching. How about asking

Gordon Hutchings for advice? I am sure he has at least tried this

before. I don't think it would be necessary to re-fix using hardner.

Normal fixing should be fine. Once I tried using the pens from

spottone to get rid of a defect on a neg and they worked ok but it

wasn't a pyro neg. I wouldn't under any circumstances use the same

method of bleaching that you wuld on a print. Because you won't be

able to react quickly enough with a negative to stop the bleaching

action. Even Farmers reducer reacts fast with a pyro neg. I'll get

off my soap box so good luck and keep me posted.

You are absolutely right when you say you'll go through alot of film.

I too live in ariz. and the heat can be a killer. I don't care what

some books say. The film must be kept cool. if you can carry it in an

ice chest that is cool and dark that works best for me. Check your

film holders for leaks. Some plastics seem to leak light more than

others. I have had the most success with the old metal holders. Make

sure your dark slide is scratch, crack and dent free. Every dust spot

you have everhad will multiply like a rabbit with infrared. Process

the film as soon as you can after exposure. Check your bellows. Lens

board and everything for light leaks. I love the effect of infrared

in our beautiful southwestern light. When you buy it if they ship it

too you ask for a cold ship. I have never had the film fog from my

hands when I have loaded it but I have had it fog because it got too

warm or I waited to long to process it. Accurate exposures? I rate

my film at 200 using a #25a filter. Bright scene lots of greenery

f-32 at1/60-1/30. When you focus don't forget that infrard doesnt see

visable light. Adjust your focus accordingly. I bracket a little and

process in pmk. I like the contrast. HC 110 works ok as well. Hopes

this help. jacque

I am the advanced instructor at our local college, we do zone studies and work with all aspects of black and white photography. I have been asked to design a workshop for photographers that are not necessarily students. It has been 20 years since I have been on a workshop. We go on field trips but nothing over night or very far away. I am lost. We are going to Lake Powell on houseboats, the trip will be 5 days. I need input on what works and what doesn't. What does a succesful workshop offer? What should the ratio of instructors to students be. Not all participants will use large format. Not all will use black and white. We will not be able to do any processing. We will use polaroid p/n, to check exposures and focusing etc. I could really use some input designing this workshop. I would like it to be very successful from the beginning. Thanks for your ideas. jacque

hello to all b-board recepients. I am putting together a proposal for a large format workshop at the local college. I am a faculty member and I have taught several years-basic black and white-zone system. Even though I have had numerous field trips in the past, I am wondering what works for a 5 day workshop. We will be traveling to Lake Powell and working off houseboats. We will only do black and white. I am going to use polaroid for p/n but otherwise we won't be able to do any developing. Any input that you can offer me will be greatly appreciated. Thank you in advance for your thoughts and ideas. jacque

First i need a little more information. What type of film did you

use. What was the dilution of the Xtol. Had you used same the Xtol

before, what was your developing time and temperature. what type of

fixer did you use and did you use a hypo clearing agent. Was the

green color dark bluish green or light yellowish green? If you can

answer these questions it might help figure out what happened.

i don't know how it happened, but when I returned homw from my last field adventure with my Wista D? I unfolded the bellows and there were areas that were bent. I have the camera on a tripod now with the bellows extended. The wierd wrinkles don't want to come out. I must have folded up the camera when it wasn't quite dry. I had been shooting in the field and it had been raining. Help please. I don't have the money for new bellows. Any and all suggestions will be greatly appreciated.

I have used the photoflex system for quite a while now and I find that

it works very well for my 4x5 and the 8x10 that I borrow from a

friend. I do however put a box inside to separate film from holders

and a little can of air to use on the holders to keep them clean,

along with a 2" brush.

its hard to pick one film/developer-or print/ developer combination.

Thats like saying you are only allowed to paint with the color red.

Some images lend themselves to a warm tone where other images are

quite cold. Experiment until you find what works for your images.

Read everything you can, look at other fine work, when you find what

you like it is no sin to copy it. at least as far as film/developer

combinations. or paper style/developer combinations. If there are 10

photographers you will get 10 different reasons to follow their

example. I wish you luck on your quest, it will be a life long

journey.

How heartbreaking to hear that the Great Yellow God has once again

decided to quit making a wonderful silver rich paper that has been a

staple in my darkroom for years. I've still not gotten over losing

the G surface for hand coloring. All is not lost though I have been

having wonderful luck with forte Bromoforte and Fortezo Bromoforte is

an Excellent cold tone graded paper that works very well with

Selectol-soft and Dektol. Fortezo is warm and it seems to work very

well with selectol and Zonal pro warm tone print developer. Eventually

I will quit using Kodak papers for everything except panalure.