michael_j._kravit

After spending the past 5 hours in the darkroom and winding up with 4

lovely, glowing, palladium prints my heart is filled with passion and

a sense of accomplishment. To think that we may lose this would be a

travesty.

<p>

I for one can only hope that we will never be so bold as to think

that digital imaging can replace an art as lovely ad B&W.

I wish I was as positive as others here that feel B&W will be around

for a long time to come. I think that it will be relegated to only

the "fine art" group of people.

<p>

As a member of the Palm Beach Photographic Centre's Board of

Directors, I can tell you that out darkroom workshops are barely

hanging on. Our digital workshops on the other hand are booming and

are booked up pretty quickly. Perhaps people are eager to learn the

new technology, perhaps digital has a mystique that interests people.

I don't know, but certainly hope that b+W is around for many many

more years.

<p>

Mike

In his "Te Book of Pyro" Gordon Hutchins provides a section on EI

tests. I have found these to be excellent starting points for the

establishment of a personal EI, but as others have said you must test

to determine the normal processing time to print in your enlarger, in

your darkroom, with your developer on your paper.

<p>

Good luck.

<p>

Mike

Dan,

<p>

As you have found the biggest problem you will run into is getting a

drum scan that large. The service bureaus here in S. Florida only

have equipment to scan up to 8.5x11. Some have Flat bed pre-press

scanners that will will acommodate 11"x17". I have also tried to get

large scale works scanned with no success.

<p>

I would think that somewhere nationally, there must be a shop with a

large format scanner. I know that there are shops that scan

reflective works up to 36" in width on OCE, and Xerox scanners. These

feed the document through a scanning head that is mounted on a

stand. I know that you want a scan from your negative, but perhaps

you could scan a contact print that could then be reduced and output

to a film recorder. The loss in quality I imagine would not be that

great.

<p>

I have 30"x42" drawings scanned in this manner from time to time.

<p>

Large graphics houses like T-Square do this on a regular basis.

<p>

Not a lot of help, but a thought.

<p>

Mike

I have the 16"x20" model. It is lightweight (except with water

obviously), does exactly as it is supposed too. It looks fine in my

opinion, wahy does a print washer need to look good anyway? Prints

load easily and wash efficiently. It sit at the end of my 10' sink

and needs no care or feeding.

<p>

I purchased a cover for it (Versalab does not advertise this). When

not in use I cover it just because I never know what may get into it.

(I know....a bit overdone).

<p>

I was platinum prints and silver prints in it. I have even been known

to wash a sheet of 11"x14" film in it from time to time. I recomment

this washer highly.

<p>

The best part about buying a Versalab.....you have lots of money left

over for travel and film.

<p>

Mike

What size are the assymetric tits? Are you sure thay are not

symmetrical?

Julie,

<p>

Drywall can be purchased in other sizes besides 4'x8'. In fact you

can also buy gypsum lath in 2'x4' sheets. I would suggest that you

hire a carpenter, build the walls, and enjoy your new darkroom.

<p>

Mike

After using FP4 and PMK for several years, I have begun to process it

in Ilford's new Ilfotek DDX. The results have been stunning. My EI

tests at 80. So far, with DDX I actually find no advantage in using

PMK Pyro.

<p>

Perhaps after another month or so and differeing conditions will

change my mind, but so far I am impressed.

<p>

Mike

Thanks all, I called Condit and they are sending me a 35mm-8x10

punch. I also ordered the registration pins/bar for all film sizes

from 35-8x10 as well.

<p>

Thanks again.

Does anyone have the phone number or address for Condit manufacturing. I believe they are somewhere in CT. They make pin registration punches and systems.

<p>

Thanks

Steve,

<p>

Here in South Florida the tap water temperature is roughly 76-78F all

year round. I have a CPA-2 and find that sice my darkroom is cooled

to 70F the water in the JOBO resivoir remains pretty much on target.

I do not recommend leaving water in the JOBO for extended periods of

time as algae will begin to grow.

<p>

I empty it between uses and them fill it with water from my chiller

before use. This way the water once filled stays at 70F.

<p>

I also have found that the temperature control on the CPA-2 needs to

be calibrated with a good thermometer. However once marked, it holds

the temperature fairly well. As you can probably surmise, I use the

JOBO only for B+W film and enlarged negatives. I guess it is habit,

but I just love seeing images pop up in trays.

<p>

Regards,

Mike

William,

<p>

I own and use 3 Gitzo Mountaineer carbon fiber tripods. I own a 1228,

1349, and a 1548. I have owned the 1349 and 1548 for about 2 years. I

have had absolutely no problems and love both.

<p>

The 1228 I have had onlt about 6 months. This is the new version

where the camera platform is mechanically fastened to the leg

supports. Earlier versions had the platform glued in place. There

were a number of failures associated with the glue.

<p>

I just got back from a 10 day shoot in Italy. I carried the 1228

around every day and loved it's light weight. 5 days prior to my trip

I broke 2 bones in my left foot. As you can imagine I hobbled

throughout Italy, the 1228 turned a tough situation into a manageable

one.

<p>

I use the 1349 with my Arca Swiss F-Line 4x5. The 1548 with anything

bigger. Hope my experiences help.

Robert,

<p>

I believe Arca now has axial tilt as an option on the F-Line. It is

called the "Orbix". I have not used it but I have read reviews that

are very positive. Should you need/want axial tilts on an F-Line I

believe you can purchase the kit and install it fairly easily.

<p>

Mike

Jon,

<p>

I have been shooting 35mm for the past 30 years, Meium Format for the

past 5, and Large Format of the past 1 year. I wish I had started

shooting LF when I was your age. I am so in love with my LF camera

that I often think about selling my 2-1/4 camera. Each has it's own

use and each it's own technique. What I love about LF is being able

to slow down, think, react, compose, think again and "make a

photograph". There are many disappointing images, a lot can go wrong,

but when it goes right and everything comes together....WOW! That is

when you know that it is worth every painstaking mistake that you

have made.

<p>

My best,

Mike

Hello Robert,

<p>

I purchased an Arcs Swiss 4x5 F Metric and have never questioned my

decision. I use it for architecture and landscape work. I have the

leather wide angle bellows and use it for my 90 and 210 lenses. The

camera is solid as a rock, very well made, compact and a pleasure to

operate.

<p>

Personally, I love the geared movements that the metric has. I also

have the adapter that allows the use of 110mm lens boards. A must if

you want to travel and carry several lenses in a reasonable pack. The

finish on the camera is silky smooth and the parts fit together like

a glove.

<p>

After using the camera for a while is just seems to fade into the

background. You begin to concentrate on your subject and forget that

the camera is there. This is something that I was never able to do

with my Canham.

<p>

Once locked down, the camera is extremely rigid. I have never had

anything move on me. The controls are intelligently located and the

locking mechanisms do their job without complaining.

<p>

What else can I say. I highly recommend the Arcs Swiss F-Line 4x5 and

especially the metric version should you need and/or like the

precision of geared movements.

Hmmm, interesting discussion. I think that Dan Smith hit the nail on

the head. Use any given film/developer combo for a year and learn to

produce fine prints with it.

<p>

My film/developer combo of choice today in 4x5 is T-max 100 and pyro.

Yes, I get sufficient stain with T-max and I find consistent results

and not the finiky results with other developers. For 120 I use Delta

100 and pyro. My enlargements glow and have a wonderful tonal range.

<p>

I use T-Max 100 because I don't have to load film holders. Lazy?, yes

but with pyro I have made this excellent film work for me.

<p>

ecently I have played around with Ilford's new Ifotec DD. With T-Max

the results are outstanding and processing is a breeze compared to

the on again off again results of XTOL.

<p>

Mike

EL,

<p>

I am not sure why your friend enalrges with a 2 step process. It

would seem to me that you would loose quality in the enargement the

second time around from a second generation interpositive.

<p>

I am a platinum printer and regularly enlarge MF and LF negative to

11x14 and larger. It is a fairly easy process but unlike silver all

local controls (dodging, burning, etc.) must be done in the enlarging

process on film. Platinum utilizes extremely long exposures and

therefore dodging and burning is highly difficult and problematic. In

addition, it is very difficult to see areas of the negative when it

is in a contact frame.

<p>

I enlarge my negatives using a 2 step process. First I enlarge the

original on the size film I want the final print to be. Say 11"x14".

This produces an interpositive or diapositive. I incorporate didging

and burning just as you would for a silver print. I make the positive

with a with a density range of 1.75-1.95. This allows for full

highlight and shadow detail.

<p>

Next I contact print the positive to another sheet of film to produce

the final enlarged negative. Here I expose for the shadows and

develop for the highlights just as you would with an in camera

negative. The final negative is test printed in platinum and if the

print is too flat I increase development time to raise the density

range. You see I do not use contrast agents in my platinum prints. I

hand taylor each negative to print just as I want it. I feel that

contrast agents degrade the platinum image.

<p>

As far as films go I use Agfa Gevatone N31p for my interpositives and

Kodak Commercial or Ilford Ortho film for the final negative.

<p>

I believe the Palladio Company is out of business. You may want to

take a look at the Bostick and Sullivan site. They have an excellent

series of articles posted on their web page that describes many of

the alternative processes. Also take a look at david michael

Kennedy's web page. he has a full text on platinum printing with an

excellent section on making enlarged negatives.

<p>

Good Luck.

You really need a glass negative carrier to print the fill frame Type

55 negative. These are great negatives and print real well. Just as a

side bar, I expose Type 55 at EI 32 not ISO 50 as Polaroid suggests.

<p>

I would think that you want the persons body out of the borders. But

then again you are the artist.

<p>

Good luck.

Mike

I listed a Zone VI Type II on Ebay. I have to give up darkroom work

due to allergies. The chemicals are making me very sick. This is a

great deal. Has the VC head, compensating timer, 3 lens boards, 4

negative carriers and manuals. I paid $3,500 and will sell for $2000.

It is less than 1 year old!

I just wanted to add that I sent my Arca Swiss B1 to Chicago for

service 3 weeks ago after inadvertently over tightening the panning

screw (and denting the inner ring) . I got it back yesterday. It

functions better than when I first bought it. I asked them to repair

the panning function. They cleaned and adjusted the entire device.

Arca Swiss gets an A+ in my book.

T-Max 100 is a great film for large format. Sharp, great straight

line curve and fine grain.

I have been using TF-4 for film and prints for over a year now. I

have stopped using all other fixers. Using TF-4, a 2 minute wash, 2

minutes in Perma Wash and another 2 minute wash I can detect no

residual fixer in fiber base prints.

<p>

The truth is I still wash my prints for 30 minutes, perma wash for 2

minutes and wash again for 60 minutes.

<p>

BTW, the manufacturer say 1 minute in TF-4 is all that is required.

Plus side is it has little smell compared to other fixers.

I have been using PMK for almost a year now. I have never had a

problem like you are outlining. One thing bothers me. Why are you

mixing the PMK then warming it. PMK oxidizes fairly quickly,

especially in open trays. I would warm the water first, then pour in

parts a & b. Now you have fresh PMK to pour into the tray.

<p>

I do not use distilled water except for photoflo and platinum

printing. Try mixing the PMK with just filtered ta water. The more

variables you can eliminate the faster you will isolate the problem.

<p>

I would also try another film.

<p>

In addition, tray development with PMK requires constant and

substantial agitation. I rock the tray from right to left, then top

to botton. This gets old, but results in no streaking. I would almost

tend to believe that the spots are some form of streaking or

inconsistent staining.

<p>

Please keep us posted on your progress.

<p>

Mike

Most of my printing is done in platinum. I hand coat sensitizing

emulsion onto fine art 100% rag papers. The edges when developed show

the brush marks. A very nice technique.

<p>

You can also get "sloppy borders" by filing your negative carrier.

This requires that you alway print your images full frame. Obviously

no cropping would be possible.

Yaakov,

<p>

The Super Angulon XL 90 is too wide to be used with the standard Lee

one-pece filter holder/hood. I have used it with the wide-angle hood

and there is no vignetting. I also have used it with this lens and

the standard filter holders. Also no problem.

<p>

I use the SA XL 90 / Lee wide angle hood with both 4x5 and 5x7 backs.

<p>

Good Luck.