Old 11-25-2018   #41
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glass_plate (1 of 1) by Michael Ryan, on Flickr

Another J Lane Dry Plate from the Internet.

5x7" Deardorff, 5x7 J Lane Dry Plate. Lovely work. I am inspired.
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Old 11-29-2018   #42
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J Lane Custom Made Dry Plate Drying Rack by Nokton48, on Flickr

This arrived in today's mail. Custom made J Lane Dry Plate drying rack. This unit will work with my 6.5x9cm dry plates.

Thanks to Jason Lane Now ready to start dry plate. Now all I need is time, which is coming soon in a very big way.
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Old 11-30-2018   #43
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9x12cm J Lane Dry Plates by Nokton48, on Flickr

Just bought 20 of Jason's 9x12cm dry plates, to shoot in my Plaubel Makiflexes. Which will give me a 9x9cm dry plate image on a 9x12cm glass dry plate. Should be cool.


Also going to try PMK+ Pyro Developer with these dry plates. That will require a lot of testing, but it seems like a natural use for these. May require more exposure/more concentrated Pyro solution? We will see...............
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Old 11-30-2018   #44
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Dan, glad to see it showed up.

Here is some info from "back in the day"

https://books.google.com/books?id=ny...20pyro&f=false

Also, Denise Ross states on her website that she developed for 15 minutes.

-Jason
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Old 12-01-2018   #45
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RADA 9x12 holders Makiflex 9x12 Back by Nokton48, on Flickr


Here I am getting my 9x12cm plate stuff together. On the right, a Plaubel Makiflex Plate Back I bought on German Ebay. On the left, a RADA Normalfalz 9x12cm Plate Holder. Normalfalz in German translates to "Standard Folding". RADA made over a dozen different styles of 9x12 Plate Holders. It took a while to sort it all out. A friend sent me a large sheet of "mohair" which I have used to redo the light trapping on some of these plate holders. Was an interesting winter restoration project.

I have fifteen of these RADA holders, and the "Kodak 9x12 Film Sheath" is an accessory to use the holders with modern sheet film. I have plenty of those also. So I can shoot glass plates or modern 9x12 sheet film.

Jason has shipped my 9x12 glass dry plates.
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Old 12-02-2018   #46
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Examining sacrificial J Lane Dry Plate 6.5x9cm by Nokton48, on Flickr

OK Here we go. Opened the box under a Paterson safelight. Jason beautifully packages these plates, interleaved with paper, and four strips of spun fibre strips inside on all sides, as a cushion. So far, so good. Tried to load a Plaubel Makina Plate Holder under the safelight, it wasn't going well, so I sacrificed one plate as a "Dummy" to practice loading in the light. As you can see, very smoothly coated and perfect.

Learning to load J Lane Dry plate into Plaubel Makina Plate Holder. by Nokton48, on Flickr

The Plaubel Makina Plate Holder has an clamping mechanism which tighten the film septum down inside the plate holder. Now after playing in the light I will simply slide the top edge of the glass under the ridge at the top of the holder. I will store and transport the loaded holders oriented dark slide down, so the plates don't slide loose inside the holder. Next order I will ask for a slightly larger size plate, but these are usuable as is. Who would know?

So now I know how to load 6.5x9 Makina holders. I've worked some with these holders using regular sheet film. Now I am ready to load some test glass plates. If I'm lucky I'll get out today to test shoot. It's a cloudless day. We will see.
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Old 12-02-2018   #47
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RADA 6.5x9cm fits J Lane plates like a glove by Nokton48, on Flickr

It's lovely today for early December in Ohio (58F and full sun). So I bagged up my Makiflex Standard and three lenses, grabbed a tripod (it's very windy!) and found a strong fully lit test subject. Ended up using the 360 Tele-Arton, and exposed 120 6.5x9 Ilford Fp4+, 120 6.5x9 Foma Retro Soft 320, and three 6.5x9cm J lane Dry glass plates. When I find a strong subject, I often shoot the same scene with different kinds of film. I think of this as a form of "bracketing". And I end up with a choice of different negatives. And because I'm using a tripod this is easy to do.

Years ago a good friend who collects all sorts of cameras, gave me a large box of 6.5x9 and 9x12 plate holders. It turns out that these 6.5x9cm RADA holders fit the J Lane plates like a glove, and have a superior spring loaded flap that ensures there is no way the plate will move around. So I will use RADA holders with these smaller glass plates. All I have to do, is re-do the light traps on about twelve of the RADA holders. Luckily I still have a large sheet of mohair left available. This will be a good winter project. The Makina holders I will use with regular modern sheet film. Three of my RADA plate holders look like new, and are perfect ready to load with dry plates. Enough to get started at this point.

Test exposures were made at f16, 2 sec, 4 sec, an 8 sec. Exposures were based on what I have read and seen as examples of excellent results on the internet, not by using a light meter (as it was done in the 1890s). I've read reciprocity characteristics are very good. The toe is extremely long. It will be interesting to see how this responds. I will use either HC110, or PMK+. Have yet to decide.
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Old 12-12-2018   #48
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New Showcase for Plaubel System by Nokton48, on Flickr

Here you can see some of the cameras and lenses I have at my disposal, some of which will be used for dry plate photography. My three Makiflex bodies, and Plaubel Makina strut cameras, are good platforms for this project.
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Old 12-12-2018   #49
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6.5x9 glass neg 1B Dallmeyer Plaubel by Nokton48, on Flickr

Here is an image from the internet that I greatly admire. I am not the first to have this idea; 6.5x9 dry plate, Plaubel camera.

This image has something about it............
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Old 12-12-2018   #50
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Dallmeyer 1B Long 1 by Nokton48, on Flickr

I do have my eyes out for a 1B (long) Dallmeyer lens, I do not have a Petzval type of design. But I have about eveything else!
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Old 12-12-2018   #51
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Geoff Makiflex Dallmeyer Long 1B 4x5 Fompan by Nokton48, on Flickr

This is a long 1B Dallmeyer photo taken with Plaubel Makiflex by Geoff. I love the Petzval swirly bokeh. This is a 9x9cm photo taken on 4x5 Fomapan film. This lens is F3 so I would like to do the same thing on 9x12cm dry plate.
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Old 12-12-2018   #52
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Geoff with Makiflex by Nokton48, on Flickr

And here is Geoff with his Makiflex (he has six of them!) and 1B Long Dallmeyer. He has over two thousand large format lenses in his collection! I thought I had a lot of lenses
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Old 12-12-2018   #53
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Quote:
Originally Posted by Nokton48 View Post
6.5x9 glass neg 1B Dallmeyer Plaubel by Nokton48, on Flickr

Here is an image from the internet that I greatly admire. I am not the first to have this idea; 6.5x9 dry plate, Plaubel camera.

This image has something about it............

I love the way MF cameras draw an image and how quickly and smoothly the sharp areas dissolve into soft blur. This one looks as if it has had some post processing done (which is fine by me - I PP all of my images) but iI would love to see the original
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Old 12-13-2018   #54
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Tim Layton is a Dry Plate Fine Art Photographer. I just found out about him.

Check this out if you are interested. Here he is contact printing an 8x10 dry plate.

https://www.youtube.com/watch?v=QDDO7gH_ABM
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Old 12-15-2018   #55
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Seneca Plastigmat GP Whiteflat School by rrunnertexas, on Flickr

Another excellent example from the internet. 5x7 J. Lane Dry Plate, Seneca Plastigmat lens
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Old 12-16-2018   #56
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Super Cinephor by Nokton48, on Flickr


Obviously not dry plate, but a good example of what can be done with the B&L Super Cinephor theatrical movie projection lens. I want to incorporate this "look' into my dry plate work. It is uber speed F2 MF optic, so that will work very well with ASA 2 dry plate Could even be handheld! This Guy was using a Pentax 6x7. I want to shoot 9x9cm.


DSC01430 by Nokton48, on Flickr

"The Beast". Need to mount this hefty baby onto a Peco Jr/Makiflex board. I think I will use JB Weld, and a LOT of metal cutting. Shown here mounted temporarily with strips of Gorilla Tape.

Here's another Super Cinephor, slightly longer lens. Would love to have one.

B&L 6.25 inch F2 Super Cinephor by Nokton48, on Flickr

Geoff 210 F3 Cooke Makiflex by Nokton48, on Flickr

As you can see, the Makiflex is bulky, but easily portable.
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Old 12-16-2018   #57
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4x5 Glass Plate Negative Sleeves and Storage Box by Nokton48, on Flickr

Gaylord 4x5" Archival Glass Plate Negative Storage Box, and fifty 4x5 Four Flap Archival Glass Negative Sleeves.

Good System. Been around for decades. This is how I am going to store my developed dry plates, so I ordered this set from Gaylord.
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Old 12-24-2018   #58
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For you plate shooters, I’ve generated characteristic curves for recent emulsion batches and posted the charts and data along with some insight into the emulsion characteristics here:

https://www.pictoriographica.com/dry-plate-blog

Note the batch-to-batch consistency, something I’ve focused on nailing down.

-Jason Lane
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Old 12-24-2018   #59
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Holgamods Dry Plate Back by Nokton48, on Flickr

Holgamods J Lane Dry Plate Back. Very cool stuff!
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Old 12-24-2018   #60
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159mm F2 B&L Super Cinephor by Nokton48, on Flickr

My (new to me) Bausch & Lomb 159mm F2 Super Cinephor lens. Originally intended for movie theatre projection of 35mm and 70mm motion picture films. Weighs a ton.

I call it "The Beast No.2". Now I have two Super Cinephors, 5.5 inch, and now 6.25 inch. Mounting these lenses will be a creative challenge for me. Luckily I have a metal shop in my garage.

Mucho fun ahead. F2 is plenty fast for dry plate. 1/125th in full sun (fastest shutter speed on Plaubel Makiflex Standard). Dry plate emulsions respond to UV light as well as visible light.
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Old 12-24-2018   #61
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Brief announcement that I've just implemented a newsletter for which you can sign up and get emails for Pictoriographica news, announcements, blog posts, etc.,

Register at the bottom of the home page at http://www.pictoriographica.com

Cheers,
Jason
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Old 12-24-2018   #62
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Sewer Drain Parts from Lowes by Nokton48, on Flickr

Christmas Eve trip to Lowes. 3" Hard Rubber Sewer Pipe Connectors and clamps. Could be useful! Fit the 5.5" Beast very tightly.

Merry Christmas Everybody!
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Old 12-28-2018   #63
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New Petzval Lens on Std Makiflex by Nokton48, on Flickr

OK It's here! Viewing through it, I absolutely love it! Surprisingly sharp on the glass. Shown on Makiflex Standard Body, lens focused on infinity target. I am so glad I took a chance on getting this one.

Later today, I removed the glass elements, nothing is marked anywhere. The central stop looks like it's much later to me, and rather homemade. Made of silver metal and coated with candle soot. I removed that rather easily from inside the barrel, and now I should have an F3.0 or F3.5 lens. Without the central stop, the lens is sharp in the center, and rather swirly at the edges as I have seen in so many Petzval examples.

Now I need to find a proper flange and clean it a bit more. I am super pleased.

Super Cinephors with Makiflex Standard by Nokton48, on Flickr

Look what arrived this afternoon. After five minutes in fading sunlight outside, I can see this bigger Cinephor fits the bill. On the Makiflex it will focus out to about twelve or bit further feet feet out, so incredibly useful to me. The shorter Cinephor works only for extreme close ups on the Makis (about 18"x18" or so). The bokeh is gorgeous, the DOF thin as a sheet of paper. Absolutely love the "look" of it! ��


Both of these lenses I intend to use with dry plates.
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Old 01-12-2019   #64
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More NEWS from Jason Lane:


As I continue to experiment with emulsions, I tend to make several test batches which serve as good baselines for adding sensitization, speed, etc. Instead of letting that emulsion go to waste, I figured I'd coat some limited run plates and make them available for folks to try out.

I've set up a shop on my website at this link: https://www.pictoriographica.com/online-shop.html

In there you'll find (currently) two categories of products: Limited Run Dry Plates, and Dry Plate Accessories. Nothing under the latter at the moment. However, under the former category I've added a couple of products:

ASA 2 Orthochromatic Plates. This is a baseline Ortho emulsion with moderate contrast and sensitivity out to green. Use a yellow filter as you would for conventional orthochromatic film.

ASA 25 Fast Orthochromatic Plates. "J. Lane Speed Plates" This is a high contrast, nominally ASA 25 Orthochromatic plate. I've been pushing this out to 32 or even ASA 50, but 25 is a good start. Use a yellow filter to take full advantage of the orthochromaticity as you would for conventional ortho film.

Currently only available in 4x5, I'd be happy to coat in other sizes. Just let me know!

Oh and, once this particular emulsion is gone, there's no more. However, do expect other interesting variants in the future.

Cheers,
Jason

J Lane ASA 25 Speed Plates by Nokton48, on Flickr
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Old 01-12-2019   #65
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Redoing Light Traps with Mohair by Nokton48, on Flickr

Tonight I have been working on restoring these RADA 6.5x9cm Plate Holders. The light traps were completely gone in all of these, so I cut a paper pattern, and cut cardboard, and strips of Mohair, to restore the light trapping. Tomorrow I will contact cement the trappings into the holders, and they will be ready to load with dry plates. And I need to develop my first set of 6.5x9cm test exposures. Will be posting them soon. Having a decent amount of usuable holders is really important to me.

Also I am ordering two boxes of the ASA 25 "Speed Plates" in 6.5x9cm for testing.
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Old 01-20-2019   #66
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Quote:
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Redoing Light Traps with Mohair by Nokton48, on Flickr

Tonight I have been working on restoring these RADA 6.5x9cm Plate Holders. The light traps were completely gone in all of these, so I cut a paper pattern, and cut cardboard, and strips of Mohair, to restore the light trapping. Tomorrow I will contact cement the trappings into the holders, and they will be ready to load with dry plates. And I need to develop my first set of 6.5x9cm test exposures. Will be posting them soon. Having a decent amount of usuable holders is really important to me.

Also I am ordering two boxes of the ASA 25 "Speed Plates" in 6.5x9cm for testing.

Where could do you get in the web those strips of mohair? Because I've difficulties finding the proper light trap for "bald" plate camera backs & holders.
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Old 01-20-2019   #67
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Mohair for light trap by Nokton48, on Flickr

It is MOHAIR, a friend in Colorado sent me some. Maybe not made any more? Anyway it is PERFECT for light trap replacement.
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Old 02-20-2019   #68
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From the large format forum:

[quote=mmerig;1457787]Here is a set of images of a familiar scene using three emulsions, (Nathan Lane glass plate, Ilford Ortho Plus, Ilford FP4 Plus, 4 by 5 format) for the sake of comparison. This is a repeated scene of a Stephen N. Leek photo taken around 1920. Leek's image, as a negative, can be seen here

http://digitalcollections.uwyo.edu/l...~74&mi=0&trs=1

and here it is as a positive

[ATTACH=CONFIG]181775[/ATTACH]

The original image, courtesy of the American Heritage Center, U of Wyoming, is very similar to Ansel Adam's scene "Tetons and the Snake River", taken in 1942. Adam's image has a wider angle of view, and his standpoint was about 5 feet to the left of where Leek (and I) stood, and probably 6 feet higher, as he often stood on the roof of his truck. Adam's scene was probably from mid-summer (early July). S. N. Leek's was likely earlier in the year, and mine matches the snow cover in his scene closely.

My series dates from May 30, 2018. A several-day storm had just ended, and there was some lingering humidity in the air. I used a yellow (#8) filter with the FP4 film, and a 150 mm S-K Symmar f5.6 lens. The full negative covers about the same as what Adam's photo does, the Leek and Adam's image centers differ somewhat; I was not trying to repeat Adam's scene, my scene is centered on Leek's.

I printed these on Ilford MGIV Deluxe Glossy, using #2 filter, and about a 1/2-stop burn-in of the background, so nothing dramatic during printing. Tree growth since the 1920's and 40's has obscured some of the foreground.

Although Leek used glass plates into the early 1930's, I think his post-1912 (roughly) images were probably on a panchromatic emulsion. I have re-taken many of his scenes, using the two Ilford films mentioned above, and the older ones have the ortho look. Leek, among many things, was a hunting guide, and one of his clients was George Eastman. Eastman helped him get started in photography, and his earliest images are from around the late 1890's. The Jackson Hole area was quite remote with very few people then, and it is remarkable how many fine images Leek took via horseback in rough terrain. This one was probably an easy one for him.

[ATTACH=CONFIG]181776[/ATTACH]

Lane Glass plate

[ATTACH=CONFIG]181777[/ATTACH]

Ilford Ortho Plus

[ATTACH=CONFIG]181778[/ATTACH]

Ilford FP4 Plus


This Ortho vs Lane Dry vs FP4+ is worth some testing here. Looking at the three examples there I prefer the tonality of the Lane Plates.
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Old 02-20-2019   #69
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And I thought my Mamiya RZ67 is big, heavy & slow!
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Old 02-20-2019   #70
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At least you don't have to worry about film curl anymore!
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Old 02-22-2019   #71
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Quote:
Originally Posted by Nokton48 View Post
Develop it in HC-110 "A" instead of HC-110 "B" for more speed (and of course, more contrast). I can shoot in bright sunlight, with the Makinas handheld, at 1/50 @ F2.9, with ASA 2. So very portable and very do-able. And I love the "look" of the 100mm Plaubel Makina Anticomar at F2.9

This is how they used to do it back in the 1890's
... but there were no Makinas in the 1890's . At least my fastest lens for 9x12 dry plates is also quite fast, a f3.5 Tessar in a KW Patent Etui (from c.1929). Others are older (pre WW1), but only f8.
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Old 02-22-2019   #72
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I have over fifty Plaubel Makina plate holders, which take glass plate or film. Obviously somebody out there was shooting with glass plates in these cameras back then. Which I find particularly cool.

He also has a high speed EI 25 dry plate emulsion he is testing. He is sending me two boxes (20 plates), which I will try and report here. So that would be 1/50 at F11 in key bright sun. Not bad! Prolly closer to 1920-30ish film speeds?

I want to compare the tonality of these plates, with what you get with Ilford Commercial Orthographic sheet film, which is an old fave of mine. Another fave was Tri-X Ortho, long discontinued. I have seen some preliminary tests over at largeformatforum.info that indicate the Lane plates have superior tonality. We will see, but I am not surprised. Good to have both. Ilford Commercial Ortho is EI 80 flexible sheet film.

Sometimes daily chores and other obligations take precedence over photographic fun. But spring is coming and I am ready to get out there! I promise results will be posted here soon.
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Old 02-23-2019   #73
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Well, I developed yesterday my first three J. Lane Dry Plates, 9x12. It seems that in every case I underesexposed quite a lot. I've to confess that one of the pictures was indoors, as I'm quite suspect of the light leaks of one of the cameras, so I shoot a picture inside home with artificial light but with an exposition of 45s (at f8 as far as I remember). The plate came "almost" transparent, that's a black image.



The other two are underexposed but visible images, but prove impossible to scan with good results. The TIFFs are extremely dark. Maybe monday I will try to use a light table & flash to "scan" them with my Nikon D750!
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Old 02-23-2019   #74
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I must confess that my first attempt yielded results similar, very very thin. I attribute this to: 1) not using strong enough developer, I used dilution "H" Hc110 for fifteen minutes. Dilution H is twice as diluted as B. 2) darkroom too cold; 14 C ambient temp, according to Ilford chart, should have used 25 minutes! Finally found this info after the fact. 25 minutes is too long for development in a tray!

Just a static test subject (a statue in full sun). Will repeat, next time using dilution "B" which is what Jason recommends. So we will see.

It was a lot of fun to develop the plates, under one red safelight. I used a plastic kitchen spatula to move them from tray to tray. Good to be back in the darkroom.
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Old 02-23-2019   #75
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Quote:
Originally Posted by Nokton48 View Post
I must confess that my first attempt yielded results similar, very very thin. I attribute this to: 1) not using strong enough developer, I used dilution "H" Hc110 for fifteen minutes. Dilution H is twice as diluted as B. 2) darkroom too cold; 14 C ambient temp, according to Ilford chart, should have used 25 minutes! Finally found this info after the fact. 25 minutes is too long for development in a tray!

Just a static test subject (a statue in full sun). Will repeat, next time using dilution "B" which is what Jason recommends. So we will see.

It was a lot of fun to develop the plates, under one red safelight. I used a plastic kitchen spatula to move them from tray to tray. Good to be back in the darkroom.
Well, I used R09 One Shot 1+50 for 5 minutes or even more. And room temperature must be arround 21 C. I think maybe my problem was underexposing and also with the scanner itself which seems to go mad with the very low contrast of the plate.
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Old 02-24-2019   #76
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I've loaded up five of the RADA 6.5x9cm holders with Jason's dry plates, ready to go out again. These are the holders that I have renovated the light traps, see above. ^^^ I'll repeat the initial tests, only when the light is pure bright sun. 1/2" at f11 has worked well for other folks, so we will see. And I will use 1:31 HC110 concentrate. I will also overexpose a stop or two just to see how it reacts. I'm also testing Foma Retropan 120 at the same time, and shoot some 120 FP4+ also. So I always come back with something. I'm not going to start my shoot my stock of 9x12cm until I have some good results in the smaller format. I'm also inquiring about the SP445 developing tank, now Tim now has holders (4x5 and 9x12) for Jason's plates. Might get more even development, Jason's test look really smooth and even. Even the edges.

Anyone here using the SP445 dev tank for processing Lane plates? That is what Jason uses.
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Old 02-24-2019   #77
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Sacrificial Rock NH Jason Lane by Nokton48, on Flickr


Sacrificial Rock, New Hampshire. Photo by Jason Lane. 4x5 Speed Graphic
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Old 02-24-2019   #78
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A response from Jason:

Dan, I use the SP-445 almost exclusively for developing 4x5 and 9x12. It works very well and I highly recommend it. If you are tray developing, don’t pull the plate from the developer until it looks very dark (until you see details in the shadows), otherwise it will be too thin.


So, look at the shadow values while inspection developing! So obviously I underdeveloped my film run. Let me tell you, it looks pretty dark under a 15W safelight. Hard to gauge proper density. I have ordered an SP445 tank, and a pair of 9x12cm glass plate holders. No more handling of the plates until they go onto the drying rack Yes I got some handling marks the first time! This will eliminate that, no more fiddling. And prolly no more edge effects (density buildups) from tray development.

The SP445 only requires 16oz of solution to develop two plates, and the plates wash inside the tank. Two major advantages.
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Old 02-26-2019   #79
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Stearman 9x12 Dev Plate Holder SP445 by Nokton48, on Flickr

Here is the dry plate processing holders for the SP445. Jason helped Tim with design and testing. Two of these are in the mail to me. These are 3D printed.

Stearman 4x5 SP445 Dev Tank 4x5 holder by Nokton48, on Flickr

The SP445 tank with 4x5 film holders. Notice that you don't get much "image buildup" along the four edges of the plate. that is an artifact of tray processing. You can see it even in plates developed a hundred years ago. Also the tank is dandy for washing the plates, and no handling until you rack 'em. These plates are expensive and I don't want to mess any more of them up!


https://shop.stearmanpress.com/collections/all
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Old 02-26-2019   #80
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This is the best thread. Thank you all.
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