Old 07-25-2013   #81
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First print from my Minolta Minoltina test roll.
Paper: Adox MCP
Developer: Ilford PQ
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Old 08-01-2013   #82
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Staithes in Yorkshire. Rolleiflex 2.8F, 80mm Planar. Ilford Multigrade IV RC. Spur Straight Black developer.
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Old 09-06-2013   #83
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1987 was the last time
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Old 09-06-2013   #84
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I finally got down to learning the art of the darkroom prints and I am hooked!

This set was on Ilford's 8x10 Glossy, and done on my 4-5 lesson.
I find that I learn much more after printing, as I realise the little details that make photography more complete.
  1. Shooting with filters add much more depth in tones
  2. After you develop 120mm film, 35mm doesn't give you much 'kick'
  3. The more test strips you do at different 'zones' the more accurate your print will be, saving you paper
  4. Print big coz its FUN!
This is me with my fresh pack of Pearl paper I bought yesterday to liven things up.

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Old 09-07-2013   #85
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Quote:
Originally Posted by bushwick1234 View Post


1987 was the last time
Oh, no!!
Time to restart again?

Love that print, btw.
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Old 09-07-2013   #86
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Quote:
Originally Posted by benji77 View Post
I finally got down to learning the art of the darkroom prints and I am hooked!

This set was on Ilford's 8x10 Glossy, and done on my 4-5 lesson.
I find that I learn much more after printing, as I realise the little details that make photography more complete.
  1. Shooting with filters add much more depth in tones
  2. After you develop 120mm film, 35mm doesn't give you much 'kick'
  3. The more test strips you do at different 'zones' the more accurate your print will be, saving you paper
  4. Print big coz its FUN!
Absolutely love these.
Keep posting, there is never just a single way to print, is there?
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Old 09-10-2013   #87
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These are beautiful prints.

How are you guys getting them posted here? Photographing the print with a camera? Or scanning the print?

Anyway, it makes me want to do some of my own.
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Old 09-11-2013   #88
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These are beautiful prints.

How are you guys getting them posted here? Photographing the print with a camera? Or scanning the print?

Anyway, it makes me want to do some of my own.
Smartphone cameras, regular office-grade all-in-one scanners, whatever is at hand.

Looking forward to see your prints here, Dan.
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Old 09-16-2013   #89
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You can see my last copy in this video, recorded at my darkroom.

http://vimeo.com/72848790
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Old 09-16-2013   #90
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What a nice video.
The print is lush and interesting also.

(I also like your easel with that rotating knob for precise movements)
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Old 09-17-2013   #91
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Fomaspeed RC paper, from a 6x6 frame of TMX. Split grade, dodge and burned


Tønsberg Slottsfjell (Print) by Eirik0304, on Flickr
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Old 09-17-2013   #92
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Quote:
Originally Posted by OscarGarrido View Post
You can see my last copy in this video, recorded at my darkroom.

http://vimeo.com/72848790
Beautiful video! Good luck with your exhibition.
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Old 09-17-2013   #93
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Beautiful video! Good luck with your exhibition.
Thank you very much!
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Old 09-18-2013   #94
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Originally Posted by Ezzie View Post
Fomaspeed RC paper, from a 6x6 frame of TMX. Split grade, dodge and burned


Tønsberg Slottsfjell (Print) by Eirik0304, on Flickr
Eirik, so beautiful !
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Old 09-18-2013   #95
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My first two direct positive prints, shot using a Diana F+ on Harmon Direct Positive paper and developed for 1min each in Diafine A and B then fixed. (Waiting on proper paper developer to arrive.)

I was pleased with the results considering I had never done it before since I was a teen and had a small darkroom and enlarger.


Power pole by alienmeatsack, on Flickr


Self-Portrait with Camera in Mirror by alienmeatsack, on Flickr
This one I had to stand totally still for 3 minutes and it was not easy. And I still underexposed it.
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Old 09-19-2013   #96
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Power pole by alienmeatsack, on Flickr


Self-Portrait with Camera in Mirror by alienmeatsack, on Flickr
This one I had to stand totally still for 3 minutes and it was not easy. And I still underexposed it.
Love the above shot, Al.
For 3-min's portraits I recommend sitting down and that contraption that they use in the 19th century to keep the head still.
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Old 09-26-2013   #98
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Some Lith enlargements from my Iran expedition film material:


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Old 10-01-2013   #99
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I finally got back into the darkroom again. This print done on 12"x16" Ilford MGIV Fibre, pictured drying! Dodged the darker buildings in the centre - the Emaar Towers in Dubai. These were almost jet black (i.e. clear) on the negative.
I have a 12x16 Paterson print washer - however the Ilford paper is too wide to fit, so I had to trim an inch off one side of the paper before exposing.

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Old 11-29-2013   #100
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Its been 5-6 weeks away from the Darkroom, and the only solution was to print 22 sheets over the 9hr spent in the Cave.
Its ironic that I actually scanned these prints to showcase them here. The irony of printing!

Ilford Pearl RC 8x10, via Delta 100 35mm


Ilford RC Pearl 8x10, Ilford PanF50. This is a splendid film. I absolutely love the contrast it provides.
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Old 11-29-2013   #101
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hi benji, i like the first image a lot. it has the look of the past that i so often seek in the darkroom. the person´s great, too, very present....
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Old 11-29-2013   #102
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Quote:
Originally Posted by straightmp View Post
hi benji, i like the first image a lot. it has the look of the past that i so often seek in the darkroom. the person´s great, too, very present....
Thank you
I guess the film plays a role in creating that 'effect'. Or maybe its the quality of the light in the shot. Share your stuff here too!
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Old 11-29-2013   #103
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I haven't posted a photo here until now, my V750 scanner is down, and I've been busy getting my own darkroom up and running. The darkroom is complete and this is a recent print that I took a photo of with my iPhone.

As soon as I figure out dilution and times, I intend to selenium tone it.

Xpan, 45/4, HP5, EI 400, DD-X 1+4, 9 min., 20c., Ilford Multigrade IV FB Matt 12"x16", Multigrade developer, Grade 3 filter.

iPhone 5S, shot with the print taped to the door, adjusted WB in Aperture

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Old 11-30-2013   #104
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As seen in the Gallery, now a print.
Widelux f7
Delta 3200, EI 1600, DD-X 1+4, 8 min., 20c., Ilford Multigrade IV FB Matt 12"x16", Multigrade developer, Grade 2.5 filter.
Shot print taped to the door with iPhone 5S, adjusted WB in Aperture.


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Old 11-30-2013   #105
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Some recent lith prints. Fomatone MG 131 in Moersch Easylith









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Old 11-30-2013   #106
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wow, those are beauties, thomas!
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Old 11-30-2013   #107
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wow, those are beauties, thomas!
Thanks. Actually the fourth one is on ADOX MCC; it took ages to develop.
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Old 11-30-2013   #108
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One from my very first prints. Printed for first time yesterday. I realised I'm missing MG filters.



Ilford Deluxe MG RC.
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Old 12-12-2013   #109
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Ilford Art paper, 300gsm 12 X 16.
Snapped from the iPhone for convenience
This is my first try with the paper, and I must say its really tough to work with coming from RC paper. But the feel of this paper is...awesome.

Its thick, and really feels robust in your hands, till you wet it!

Timings are extended, about 90sec for most portions, and required up to 360sec in total, depending on how many 'sectors' I got.

A little on the warm tone, but really nice with portraits.




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Old 12-12-2013   #110
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THe 3 of them look very very nice! I bought the same paper myself but haven't tried it yet
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Old 12-12-2013   #111
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Here's a 5x4 shot on Ilford Multigrade IV RC which was a trcky one to print. You can read about it here.


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Old 12-12-2013   #112
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Quote:
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THe 3 of them look very very nice! I bought the same paper myself but haven't tried it yet
Thanks!
I had a shock when I first took out the paper as I could not feel which side the emulsion was on! I took 3 small test strips to get it right. Then I picked up a simple trick to identify it....

Wet a finger-tip and stroke it across the edge of the paper. The emulsion side will feel slimy.

@Koolza....wow! That shot really has plenty of dodge and burn to do!
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Old 12-13-2013   #113
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Thanks!
I had a shock when I first took out the paper as I could not feel which side the emulsion was on! I took 3 small test strips to get it right. Then I picked up a simple trick to identify it....

Wet a finger-tip and stroke it across the edge of the paper. The emulsion side will feel slimy.

@Koolza....wow! That shot really has plenty of dodge and burn to do!
It was a bit of a bugger to print but 5x4 (or 4x5) makes it much easier. I've only been using large format for a wee while but it's getting to the stage already where I don't want to use anything else.
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Old 12-15-2013   #114
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a dead fox for the shadowfox:



at the hairdresser´s. i love the bokeh (summicron 50 rigid):

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Old 12-16-2013   #115
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a dead fox for the shadowfox:
Uber cool!
No one ever gave me a dead fox print before, let alone a raw, contrasty, darkroom print.

Thank you!!
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Old 12-16-2013   #116
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Another 5x4 shot - Tmax 100 developed in Spur NHC (high contrast dev). NHC gave the negative some punch on what was a dull, low contrast type of day. This scene was in shadow but there is good separation of tones. The sky was a little dense but not too bad. Printed on Ilford Multigrade IV RC and developed in Spur Straight Black. I scanned the print and gave the highlights a slight warm tone in Lightroom. Full story here.


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Old 12-17-2013   #117
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Here's a 5x4 shot on Ilford Multigrade IV RC which was a trcky one to print. You can read about it here.


That is an excellent print, great skill. I am back to darkroom again and really enjoy it, but contrast, exposure control are big challenges for me so far. I do some basic burning/dodging, but it s soooo time consuming to do it in a proper way...
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Old 12-17-2013   #118
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i must say that i have a deep admiration for you fine printers out there. while i understand what you´re doing in the darkroom, i would never have the spare energy to spend a couple of hours with one print, i´m more of a straight printer, supported by my wonderful heiland machine.
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Old 12-17-2013   #119
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Quote:
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Excellent. I am with you. Not sure I understand the point about shooting frames wider though? Do you mean use a WA lens for printing or taking?
Thanks!

Ha! Apologies for being unclear. I meant that its always better to frame your composition wider during shots, so that in print, a little cropping does no harm to the overall composition. This is especially so for portraits/head-shots, environmental portraits.
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