As semi-stand week is my party I get to make the rules and so I’m going to start at the end of the week and talk about Orwo UN54 which was the last of the six films I used. The film was an impulse buy; when stocking up recently on my regular films I popped a single 35mm roll of the UN54 in the virtual basket. I’d seen many images from other users of the film and thought I’d have a look for myself.
I used the roll on a changeable Tuesday morning as I walked to the Post Office and then meandered back through the back alleys that I’ve haunted a lot during Lockdown 3. As the roll was 35mm the choice of camera was a no-brainer – the Horizon S3 has been a constant in my bag this year and indeed 80% of the 35mm films I’ve exposed this year have been through this camera.
The film was exposed at it’s box-speed of 100 ISO and I followed my usual technique with this camera of taking a meter reading as I start walking and using this as a basis for estimating exposure without having to stop every frame to re-meter. I do also take a new meter reading if the light changes considerably though or if I want to be sure of getting it right for a particular composition. My starting exposure was 1/125th at f11 so most frames on the roll are equal to or +/-1 stop from this base. A couple were f8 and 1/60th.
For many new-to-me films I start by looking at the Massive Dev app on my phone when getting ready to develop the finished roll. This gave a suggested time of 25 minutes for semi-stand in Rodinal at 1+100. I was concerned that this would not be long enough to reap the benefits of a semi-stand development. One of the main benefits of this way of developing film is that it gives the effect of boosting shadow detail while preserving bright highlights in the film. We use a very dilute developer and give it plenty of time to do its magic usually. It’s a technique that can also be useful in increasing perceived sharpness especially in contrasty scenes such as those I had been photographing. I decided to try 40 minutes as this was approximately half-way between the suggested 25 minutes and my more usual go-to time of 60 minutes. It’s worth remembering that Massive Dev is a great starting point but that’s all the times are, a starting point to guide your own experiments.
So, into the tank and on with the development. A little under an hour later the developed, fixed and washed negatives were hanging in my bathroom. A quick look at them was very positive and when later in the evening I cut and sleeved the dried negatives I couldn’t resist a quick iPhone snap (above) which revealed some nice-looking negatives.
Inspecting them with a loupe I was very pleased by how crisp and sharp they looked. Plenty of potential contrast too so the semi-stand had done its work well. As it would be a few days before I could get into the darkroom I “scanned” the full roll of 18 negatives for the next stage. My “scanning” technique for my 35mm panoramic negatives is to hold them flat in a Lomography Digitaliza, place them on a light pad beneath a copy stand and photograph them with a Fuji X-T3 capturing RAW files and using a custom white balance. Not as good as darkroom printing of course but it means I can post them to social media etcetera.
The image above shows the untouched “scan” of the negative on the left, this has not been cropped, is the full negative and has not been adjusted from the original digital capture. Notice the sharp lines and crisp contrasts (ignore the crazy verticals!). The grain is very pleasant too although that may not be so easy to see at this resolution. A simple invert in Photoshop gave an overall flattish result (centre), still crisp and sharp nevertheless which suggests to me it will print well; I shall probably use spit-grade to really bring out the contrasts. Finally, on the right is the inverted image with just a simple Levels adjustment in Photoshop and nothing else. No localised attention, no cloning or tampering, just the full negative, simply inverted and with contrast added back in by a simple global levels adjustment. Incidentally, I stay away from heavily processing my film “scans”, even with the image below which does have some localised adjustments in the lower half, I have spent no more than a couple of minutes on any of these digital versions.
I’m very pleased with how this roll of film has responded to the semi-stand treatment. I have no benchmark against which to measure this film stock as this is the only time I’ve used the film – but on this result it won’t be the last.
Incidentally, had I actually researched the film more widely, rather than just recommended development practices, I’d have found that Lomography’s Potsdam Kino is apparently the same emulsion and there’s lots of words on the web about processing Potsdam! The recommended times for Potsdam semi-stand in 1+100 Rodinal was between 45 and 60 minutes so I was pleased that I played my hunch although I was even more pleased when I took the dried roll down and viewed it on a light box.
The first part of this series outlined the methodology employed for the semi-stand development of each roll in this series. Today’s post has covered the “scanning” methodology, a basic conversion such as I would do for Twitter for example and has also touched upon the benefits of researching beyond simply looking for development suggestions when using a new film. I hope you have enjoyed it. In a future post I will look at the development of three rolls of 120 Ilford Fp4+ and my approach to printing these negatives. I am also planning two other posts regarding a couple of other new-to-me 35mm films, FT12 and Ferrania P30. I also plan to grit my teeth and process a couple of images more fully and consider the benefits of the so-called hybrid, analog-digital, approach to film photography.
Which of these I write and post next you will have to wait and see!
I’ve written before about the technique of “stand” or “semi-stand” development. If I’m totally honest, whilst I’ve done it since I wrote that piece when the film required, it’s still not my favourite technique. So, I was very surprised when I chose it as my development technique of choice for the FP4Party. Coincidentally, I then found that I was out of D76 and was going to need to make up 5 litres of ID11, the powder I’d bought as D76 has been hard to get hold of recently … but the raw chemicals for FX55 are due any day and 5 litres of stock ID11 would be in the way of my plans to experiment with that for a few months alongside a couple of fellow photographers.
So, my last six films, FT12, Ilford FP4+, FERRANIA P30 and OrwoUN54 have all found themselves sitting in Rodinal at 1+100 for between 40minutes and an hour.
I used Rodinal, diluted at one part Rodinal to one hundred parts water for all the films. Where the tank size required less than 500ml of developer I still made solution at 5+500 and simply discarded the excess. Temperature was based on ambient temperatures in my kitchen at the time of development apart from one roll of FP4+ where I chose to increase temperature to 22° without changing the timings to see if it made an appreciable difference.
Development times were based on recommendations I found online with the exception of the Orwo film. At around twenty five minutes, the times I found for UN54 seemed too short so I made an educated guess at forty minutes. Agitation of each film varied depending on the length of the semi-stand. For the forty five minute developments it was ten seconds initially then ten seconds at the twenty three minute mark. The sixty minute development had an initial sixty seconds agitation the ten seconds at fifteen, thirty and forty-five minutes. Each of the films was processed individually. Last but not least, the forty minute development received forty five seconds initially and then ten seconds at fifteen and thirty minutes.
I’m going to write about each film in future posts but suffice to say the results with FP4+ far surpassed my expectations. Indeed, I was happy with how each film turned out and I’m looking forward to printing some of these negatives over the coming weeks.
I have mentioned before that I am a competent rather than good printer. So, the discipline of writing down how I printed a recent negative will be good to help me think about my process and might, just might, be of wider interest.
Looking at the negative I realised that dodging and burning might not be the most appropriate approach given the complexity of the shapes in the image. To my mind a split-grade approach would be an appropriate starting point. I described my approach last month in Blundering in the Dark so my first step was to pop a 2 1/2 filter under the lens and make a test strip at five second intervals to determine a base exposure from which to work from. Between 5secs and 10secs seemed to be the optimal and looking at the foliage I decided to try 6 seconds as a base. The next stage was to expose a fresh piece of paper for 3 seconds (half of base) using a Grade 0 filter. Without moving the paper or the negative I then replaced the 0 with a grade 4 filter and created another test strip (see below) which had a first exposure of 3 seconds at grade 0 and then a series of exposures at 1 1/2 second intervals at grade 4.
I liked the look of 6 seconds but thought it could be held back just a touch to benefit the sky so on a hunch opted for 5 1/2 seconds (this is where experience/intuition trumps science I guess). Before setting up for a first print I looked carefully at the test print for any signs of dust, hair (eyelashes are bigger than you think) or other imperfections. I’ve circled these on the print above. I then took out the negative, cleaned it and the negative carrier again before setting up for my first “proper” print. I was aiming for an initial exposure of 3 secs at grade 0 and 5 1/2 secs at grade 4 with no dodging or burning.
I was very happy with this first print but felt that the front of the flats, which were in the full glare of a naked morning sun in a cloudless blue sky, could be a little darker; the sky had benefited from reducing the exposure slightly but not the buildings. I therefore made a second print using the same settings but in addition I burned the front of the flats in to selectively darken that part of the print.
I was using 10″x8″ paper and ended up using two sheets for tests and then a further two sheets to create my final image. To be fair I would usually use strips of off-cuts for the test strips but I chose to use full sheets for the purpose of this blog post (thinking ahead!) as they would be easier to examine. A methodical approach is the key to making best use of precious resources such as paper in my experience. A considered and thoughtful approach, examining the negative and thinking through how to approach printing that specific one will repay in less wasted materials and ultimately save time.
Annotating the back of prints is a useful discipline
To help with this I make notes as I work in my darkroom book (see below) and I also use a waterproof marker to annotate the back of each print (above). This helps me remember what I’ve done and also means I can often get a fairly close first stab at other negatives from the same roll. I printed three similar looking negatives in this session, all had been taken at the same time under the same lighting conditions at the same location. The second negative was printed using the times already established and I then made a second print, again burning in a selected area. The third negative was also printed using the same timings but needed no burning or dodging. Three negatives and just seven sheets of paper is not a bad return for a bit of note-taking and a little thinking time before turning the lights out.
For the last six months or so I’ve been using Twitter to interact with some of the film photography community scattered across the globe. I’m not a huge social media user, in fact this was the third or fourth time I’ve had a try at using Twitter. This time was slightly different as I’d written an article for a website and the owner had suggested a few people to follow and a way of insinuating myself into the community. Six months on I’ve a good circle of like-minded folk that I regularly interact with; some I’ve collaborated on projects with, others who I’ve established an off-Twitter conversation with and three of us who chat regularly and have even combined to purchase raw chemicals to make our own chemicals.
One thing I have enjoyed has been some of the themed projects and even anti-social me has joined in and enjoyed the experience. The main “event”for April 2020 has been the annual “FP4 Party” and I purchased four rolls of 120 especially for the occasion. Admittedly one I used on the day before the party so it’s been “disqualified” but the thought was there.
Most people set themselves a particular challenge and so entering into the spirit I decided to shoot my film exclusively in the Bronica ETRS with a 40mm lens and yellow/green filter, rating the film at box speed of 125 ISO. Ilford’s FP4+ is a film I rarely use so simply using it has been a novelty in itself. I’ve also been using my Horizon S3 almost exclusively recently so forcing myself to use a well-loved but rarely used camera was also in the spirit of #FP4Party I felt. If that wasn’t enough I also decided on a semi-stand development in Rodinal at 1+100 for 45 minutes. All of the chosen parameters, from film, camera, chemicals and development process were outside my recent norms, the only consistent factor was that I was using black and white film.
The first full week of April has been set aside for exposing the film and the second week for developments etc before “show and tell” week in the third week of April.
I’ve made three trips this week with just this camera in my bag (my S3 is sulking in the corner) and today was my final “shoot” for the party. The final roll was developed at lunchtime and I’ve now got three rolls of negatives sleeved and ready for printing. I’m planning on printing six images on Fotospeed Oyster RCVC paper for sharing on Twitter during w/c 19th April. Three of these are drying as I type and I now need to choose another three to print over the next few days.
Sadly, no pictures to share though as these are embargoed until week three!
I have had an interest in photography since my early teens and I suspect my experiences, at least in parts, will be familiar to many. I remember using a Kodak Instamatic to make photographs of industrial dereliction in the Valleys of South Wales for a school project. Small, fuzzy prints with strange colours but I thought they were fabulous. I passed my Environmental Studies exams too.
Like so many of my generation my first SLR was the hefty Zenith E. I’ve claimed many times that you could knock nails in with this beast but never actually tried it if I’m honest. Looking back most of my surviving transparencies and negatives are on the soft side and nowhere near as sharp as I’d remembered. There are exceptions though. I chuckled recently when I saw how sought-after those Helios lenses are especially amongst digital users. I quickly shut up when I realised I had bought several in recent years.
A Canon AE1 was next. Checking on the web I must have bought mine within six months of it being released although mine was definitely bought used. In fact I would be in my fifties before I bought a brand new camera. I acquired a second pre-owned AE1 fairly soon after and a telephoto lens from a chap at the local camera club. The late 1970s and early 1980s saw me photographing a lot of sports with this brace of Canons. I loved photographing motorbike scrambling and in those days with a high-vis jacket and a press pass courtesy of a friend of a friend at the local paper it was access all areas and no health and safety. Looking back it was recklessly stupid but at the time I was in my element. I even bagged a few jobs for the local paper on the back of these images. Not glamorous, mainly photographing school swimming galas but pictures of the kids swimming I was free to sell to parents, all the paper wanted was pictures of the Mayoress handing out the silverware!
In the mid-1980s a work colleague introduced me to a local studio photographer and for the next eighteen months I worked for him on an unpaid, casual basis helping run studio nights for local camera clubs and other organisations. Lots of fetching and carrying but I had great fun. They were mostly model evenings but occasionally he ran still-life workshops and the like. A promotion at work meant I no longer had the time to spare and sadly had to give this up but I’d learnt a lot and had a fabulous time doing so.
I even used the camera as a way to get out of works-organised football matches, obstacle courses, “fun” runs and the like simply by volunteering to be the office photographer. Of course, the downside was I also had to photograph the Christmas dances, presentations etc.
I was well hooked by the time I was in my late teens and whilst my circumstances would force me out of the hobby for periods of time over the years I returned to it with amazing regularity and never lost the interest.
Coinciding with this promotion was the birth of our first daughter. It was also the start of three house moves in six years due to work promotions and by the end of the decade we were living on the south coast with three young daughters and another due. Another move was also imminent, we didn’t know it but we’d be living in Bristol before number four arrived. Photography was very patchy during this period as evidenced by the number of baby pictures. Daughter One was well documented but this gradually reduced and by the time Daughter Four appeared I was taking very few photographs, a fact she still reminds me of regularly. Photography had to fit around the many demands of a young family, large mortgage and a very demanding employer.
It was a Nikon Coolpix 775, my first ever brand new camera, that was the catalyst for me returning to photography in a serious way again. It was 2002 and to acknowledge 25 years with my employer I was sent a corporate catalogue with a rather uninspiring choice of gifts. Nothing much caught my eye so I opted for an electric shaver for the wife (she’d put up with loads over the 25 years) a new electric drill and with the remainder I bought a small digital camera. This 1.9mp wonder machine had got me thinking what had until then been the unthinkable … digital photography?
Long story short, I didn’t enjoy the Coolpix but by 2004 I was the proud owner of a Canon 400D with 10.1mp and two kit lenses. The downward slope into chasing pixels and upgrading cameras before I’d outgrown the previous one had begun. A Canon 40D replaced the 400D within six months (easier to hold with big hands), a 5D MkII arrived (I “needed” the pixels) and a 7D replaced the 40D (better frame rate for wildlife). The 5D MkIII was next on the list (who doesn’t need 22.3 pixels) and my lens collection also grew in direct correlation with promotions, bonuses and pay rises.
The good news however was that I was back in the hobby in a big way and for the first time wasn’t going to be held back by the demands of a young family, although the hefty mortgage and demanding employer were still there. In hindsight though, the bad news was that I’d become obsessed and was constantly chasing perfection, buying ever more powerful software, obsessing over image quality and a paid-up member of the pixel chasers club. Relentless dissatisfaction with my images was starting to become the norm despite winning club competitions on a regular basis. By 2013 however I was starting to realise that this was sucking the fun out of my hobby and that the pixel race was getting ridiculous. I started to question what I was doing. So, it was rather ironic that this was also the year in which I decided to switch systems and moved to Nikon. I’d been a Canon user since the 1970s so this was quite a big deal at the time. I took a huge financial hit by selling a complete Canon digital kit I’d built up over almost ten years and bought a Nikon D800E and the “Holy Trinity” of zoom lenses (14-24, 24-70, 70-200). My pixel chasing had reached its zenith but, although I had no notion of it at the time, my interests were even then moving away from the all-singing, all-dancing digital cameras and back towards the tactile pleasures of my Canon AE1. Yes, it was still in the cupboard.
But there was one more twist in the digital tale. Starting in 2016 or thereabouts I started a three year process that saw me switch systems again, this time from Nikon SLRs to a mirrorless Fuji X system. I’d owned the Fuji X100 since it’s launch so the growing Fujifilm ecosystem and their approach to improving existing cameras through firmware releases really drew me in. It’s the only digital system I use now in 2021 but as my regular reader knows it’s not my first choice system any more.
September 28 2015 was an auspicious day. On my 57th birthday I fulfilled a dream I’d had for most of my adult life and became the owner of a Hasselblad 500CN. I had a lovely Pentax 645 (why oh why did I sell it?) and four or five years earlier I’d also purchased a Mamiya RB67 that was going for a song in the local camera shop, so this wasn’t my first medium format film camera but it was a dream come true. It also was the catalyst for what I am doing now in 2021 as this was the moment I decided to get back into the darkroom. Whilst clearing space for my makeshift darkroom I also rediscovered a box of negatives, dated 2009-2011, and these formed the basis of my return to the dark.
From that moment on I was destined it seems to return to film photography as my principal hobby. Learning from past experiences though I did not trade-in my Fujifilm mirrorless system but have run both film and digital side by side. I’ve even embraced the so-called hybrid approach, using film and then scanning the negatives. I refuse to spend more than a few minutes converting an individual negative though and only use those tools I could employ in the darkroom. From shooting >95% digital in 2015 though I’ve steadily increased my film usage and now in 2021 the situation has reversed and <5% of my photography these days is digital. I must emphasise here though that I enjoy both; each plays it’s part in my enjoyment of the hobby and I have no time for the digital vs film debate – it’s all photography. I even have a drone these days!
Of course, the story goes ever on. Once I’d made the decision to concentrate on film and build a darkroom I also retrieved the Zenith E and Canon AE1 from their exile in the loft, remember them? A Nikon SLR or two (OK, several) followed as did a dalliance with a Pentax ME Super. Then there was the Olympus OM10 and because I liked the form factor of the Fujifilm X100 digital camera I started “needing” a compact film camera, or three, or more. I will draw a veil over some of the other purchases I think just in case the wife reads this. Many of these have however featured in blog posts of course.
Then, the Curse of Image Quality struck again. This time not pixels but film formats. A Mamiya TLR joined the stable, the RB67 was brought out and I started to use less 35mm and more medium format film. For a short period I became obsessed again with image sharpness but this time it was very short lived, it seems that with age does, occasionally, come wisdom. I like film for the aesthetic, the film-dependant grain, the ability to alter the look of negatives through choice of developer or processing method and there are situations where less than clinical sharpness are part of that aesthetic. I also enjoy the tactile nature of preparing to make images with film photography. Loading and rewinding film, putting the film onto reels and into tanks, standing and developing the film and never failing to be awed as the roll of negatives is eased off the reel and hung to dry.
The cameras I use most often are manual, they are also more tactile; removing dark slides, manually setting aperture and shutter speed, winding the film or removing the film back after each squeeze of the shutter. On some winding the film on and cocking the shutter are separate actions too and I enjoy the routines involved in using these cameras.
This Curse was, rather surprisingly, finally lifted when I moved in to large format film photography. I initially bought a dedicated 5×4 pinhole, partly because it was going cheap and partly because through it I could try out the loading and developing of sheet film before parting with a goodly sized lump of cash on a full LF kit. It was a field of photography I’d never really played with before and I loved the pinhole aesthetic at my first use, it helped the also new to me Large Format process had gone smoothly I suspect! I now have 35mm, medium-format and large format pinhole cameras and the Curse of Image Quality has finally lifted.
Unsurprisingly, a full 5×4 kit does also now have a place in my gear cupboard, albeit fairly recently, and I am enjoying slowly getting to grips with this format. A couple of early mistakes in terms of lens purchases means I have only limited options lens-wise but this in a way is helping as I’m needing to really work in a thoughtful manner. By its very nature LF slows you down, I’m not the first to note that of course, but this slow, deliberate, almost calculated approach is helping me to think first and release the shutter second. You can’t “spray n pray” with one of these!
Thankfully, throughout all of this my love of the hobby has never diminished, even during the barren years when I could afford neither film nor time. I use all of the many cameras I own. I never use the word collection to describe them either – they all have a use and are all tools, albeit well cared-for tools. I mainly use an X-Pro1 or an X100T from the Fujifilm stable when I choose to shoot digital despite the X-T3 permanently clamped to a copy stand. I use film cameras for most of my photography though, from 35mm, medium format, large format, instant cameras and several pinholes in various formats. I no longer see image sharpness as the ultimate goal, although that doesn’t mean I accept any old rubbish from my cameras, they still need to perform in accordance with the aesthetic I’m aiming here for. My embracing of the lo-fi as an acceptable sub-genre of the hobby was compounded recently when I picked up a couple of Diana F+ cameras and a bag full of accessories. They don’t get a lot of use but if the project calls for them they are used with as much enthusiasm as my beloved Bronicas. Sorry, didn’t I mention the Bronicas? They first appear in early 2020 but I’m running out of space here – suffice to say I picked up an ETRS pre-pandemic and then sold my Hasselblad to help fund the Bronica SQ-A kit.
So, there you have it. One photographers journey from film to digital and back again. Featuring constant upgrading to get more pixels and sharper images, returning to film and embracing MF, then getting into 5×4 for ultimate image quality … and then buying a complete Lomo kit!
When I brought the darkroom back into use recently I had a problem with the slot processor leaking at one of the seams. It’s an old unit, but it has been very well used and I’ve repaired it before so this was not unexpected although still frustrating. It’s the developer slot that’s weeping but fortunately near the top so I’m fine so long as I don’t want to print along the top two inches of the paper! As I’ve mainly been printing panoramas from my Horizon S3 on 10×8 this has been a mere niggle rather than a hindrance.
But, then I decided to print a few 6×4.5 negatives from the Bronica ETRS. These basically use all of the paper’s surface so the “missing” couple of inches become more problematic. So, Plan B it is then.
Back to the trays!
My darkroom space is small. Three bookcases line one wall, with a small filing cabinet in the corner upon which the slot processor sits. The opposite wall has my desk (this room is my office after all) and on the short wall by the door sit my enlargers.
Adding space for trays therefore is a challenge but needs to be done until I can repair the slot processor. A 4’ x 2’ folding picnic table provides a solution. True it’s a tight squeeze with little available floor space once it’s in place but the legs can be folded up into the table which can then be stood in front of the enlarger table when not in use.
If I’m honest, whilst I really appreciate the space-saving and convenience of my slot processor the one thing I really miss is watching the image “magically” appear before my eyes. The trays provide this “magic”. I’ve just come down from a very pleasant couple of hours using the new layout and I can report that it works very well. It just shows that you don’t need a huge space with running water to print your negatives – just the will to problem solve.
I reported recently on the results I had achieved with a box of rather old, discontinued paper and promised to share a couple of scans. With no childcare today I thought I’d pop a couple on the scanner for you. These are scans of darkroom prints, viewing these on screen is like trying to evaluate the taste of a gourmet meal via the telephone. But, ironically, it’s the only way that many will get to experience these. They have a wonderfully rough texture, are a good weight in the hand and there is something so enchanting about such tactile objects.
One thing I’ve noticed is that the texture of the paper does not scan very well, being scanned into two dimensions has appeared to have compressed the texture making it slightly indistinct. But then , no-one would expect the scans to match the three-dimensional reality of such papers.
Back in the day there wasn’t the internet to guide and inform the wannabe photographer. There were plenty of magazines and books but resources like YouTube were not even a gleam in a developers eye. Heck, home computers weren’t even a “thing”! So, when I returned to the film photography fold a couple of years ago I was amazed at the number of dedicated websites, personal blogs and, best of all for someone who likes to see things being demonstrated, there was also a growing band of personal channels on YouTube all dedicated to film photography.
The bubble burst fairly quickly for me though and within a few months I was an occasional visitor only and it wasn’t unusual for there to be well over a hundred unread notifications in my Inbox. There were still some good channels, there were also some who every now and then put out something interesting but on the whole it seemed to me that “influencers” had cornered the market. Homogeneity was taking over and style rather than substance was the order of the day. One roll of film was all it took for some of them to pronounce on the efficacy of a particular film stock. They didn’t even develop it themselves, leaving that to a fashionable film lab.
Now that’s a broad brush and of course there are still good channels out there and I’m sure that there are loads I’ve yet to find but recent trends have been enough to put me off regularly dipping into YT as a source of helpful information. Plenty of entertainment certainly, but content seems a little thin to me. Film photography is currently “hip” and finding simple, straightforward advice from experienced users is not easy. I’m lucky, I have a good grasp of the basics, but a newcomer really needs to be a detective to find answers to some of the basic questions. Or perhaps I’m not savvy enough to home in on the good stuff.
So, when a channel pops-up that can meet the needs of beginners and more experienced photographers alike I feel it needs to be brought to the attention of a wider audience.
It is a fairly new channel, with around 150 subscribers, but material is being added regularly from quick tips to detailed explanations on determining the true speed of your film given your choice of developer and processing technique. But what I like most is that it is practical, gimmick-free and succinct. It reminds me of when I first started photography in the 70s and the biggest source of information was usually some of the members at the local club who freely gave of their time and experience to help a newcomer to the hobby. Dipping into this collection of videos is like having club night every night.
So, thank you John Finch for providing a rich source of easy to understand and truly useful information for both the buddying film photographer and more experienced hands. I’m looking forward to making FX55 next month – inspired by a Pictorial Planet video.
OK. Not an exciting subject but a vexed one for many darkroom printers. I generally avoid using FB papers but when I do use them I resign myself to a frustrating period of waiting before I can view them properly. Six, 10×8 FB prints, laid one on top of each other can easily reach six inches in height. So, as I don’t have anything better, the dried prints spend a week underneath a pile of the six biggest books I own.
So, you can imagine my delight when I spotted a YouTube video which promised a solution.
Once the prints have been thoroughly washed simply place two prints, back to back, and hang them to dry (see above). Once dried, remove pegs and you will have prints that lay reasonably flat. Certainly flat enough to trim and properly examine. They will still need a day under the books but what a difference!
I’ve just ordered some clear plastic mini-pegs to use in lieu of the big pegs around the sides and bottom. It’s a small price for flat FB prints – guess who’s going to be using a lot more FB paper going forward!
Some while ago, pre-pandemic certainly, I was given a few boxes of materials by a friend who had decided that as he clearly wasn’t going to resurrect his darkroom again he might as well have a clear out. Long-expired film, photographic papers and chemicals, some opened others sealed, all-in-all a veritable treasure trove.
Much of the film I shot over the next two months as I tested new-to-me cameras. Some of the chemicals were clearly way past their best so these I discarded straight away whilst a few unopened bottles are still in my cellar awaiting investigation. There was a large carrier bag of opened boxes of photographic paper too and as my cellar darkroom was still operational I tested most if not all of these. Some fogged beyond any practical use in the darkroom and some only slightly fogged and therefore usable. The one unopened, still sealed, box remained in my paper store for another day.
That day was yesterday
The paper is Kentmere Art Classic, 9.5×12 inches, with a warm tone ivory tinted emulsion coated on a 240gsm fibre base. I got that from the slip of paper inside the box. It also told me that the paper was around grade two. I wouldn’t be playing with split-grade printing therefore.
The negative I chose was a woodland scene, fairly even toned across the whole of the negative with no large patches of shadow or huge expanses of sky. It was partly a way of keeping it simple but largely I thought the subject would suit a warm tone textured paper. Spoiler: I was right!
An initial test print showed I would be working with relatively long exposure times compared to my recent prints. This initial test also led to a second test strip at 15 second intervals. As I’d hoped the test strips showed that my hunch re the negative was good and that I wouldn’t need any dodging or burning. I decided to make two prints, one at 60 seconds and one at 90. Both turned out very nicely and I loved the tone of the paper and it’s tactile, textural quality. I decided to see if I could buy some more, this was going to be a real favourite.
Long story short? Kentmere discontinued the paper in 2006, and in 2007 their paper making division was acquired by Harman. I won’t be getting any more when this runs out. A shame as I wanted to see what changes fifteen years had made to this lovely paper.
This morning I made a few more prints on this paper and I will post those once they are dried and (oh, irony) scanned. I’m going to hoard it for a while though – or at least until I discover something similar!