You only need to open up a search engine and look for any film-developer combination, to find that there are as many preferences for specific combinations as there are people using them. Some prefer a pronounced grain and harsh contrast, while others want smooth gradation and tonality combined with minimal grain. Some may get away with a ‘thin’ negative, while others need considerable density for their further processing. But what is it that makes all these developers give different results, while the basic principles are the same? In this three part series on developers, I will cover the principles of…Leave a Comment
Category: In the Lab
Here I test out new chemistry recipes, methods or try to verify facts.
Dressed in uniform, wearing latex gloves and with a never smiling face, the security officer at the airport tells you to take off your shoes, empty your pockets and put everything containing metal or electronics into a tray and put it on the conveyor belt to be x-rayed while you step through the bloody body scanner. If you are like me, this means that you have to open up that camera bag and put it in a tray. And this is where the worries that keep you up at night start. Should you ask for a hand check? The security officer…Comments closed
Lately I have been playing with the idea of trying some long exposures on film or direct-positive paper, but reciprocity law failure complicates shots that need much longer than a second of exposure. To explain why, answer the following question. When you close down the aperture by one stop, you can compensate for this by lengthening the exposure time by how much? … It probably didn’t take long to realize that you simply double the exposure time. However, chemical processes ongoing in the emulsion during exposure, makes the response deviate from the reciprocity law for very short or long(ish) exposures. In this article, I will introduce these processes…Comments closed
For those that keep track of this blog somewhat regularly will not be surprised when I tell you that I am technically inclined. I have an interest in the chemistry of analog photography and recently purchased a few books on the topic. While I am reading them one by one, I am also writing reviews so you know which ones to get yourself. In this post, I will maintain a list of resources for you to consult and I provide mini-reviews of each. You will find links to the full reviews in the descriptions. This post will be a rolling release,…Comments closed
Say, you just bought 10 rolls of film and plan to shoot them in the coming year. Or you have multiple printing papers that you use, some of which you use seldom. How do you store these properly and how do you keep them from developing undesired artifacts, such as a change in sensitivity (speed), contrast, color balance and fog level? Browsing the online photography fora will bring you a plethora of opinions and experiences with regard to the proper storage of unexposed photographic material. Some people claim that film that had been stored in a freezer for 28 years…Comments closed
On page 44 of “The Photographer’s Master Printing Course” (ISBN 1-85732-407-2, 1995), Tim Rudman gives his readers some important advice that experienced printers often give to novices; to quote him: “Whether exposing for test strips or work prints, always base exposure calculations on dry prints. This is because prints, especially on fibre-based paper, darken as they dry – the so-called ‘dry down’ effect.” This is a piece of advice many inexperienced printers, including myself, more often than not choose to casually ignore. As Tim explains, the effect is considered to be most pronounced in fibre-based papers, which I currently do not use…Comments closed