Recent content by fophem

Salut et bienvenue! A lot has already been said, and photrio is a great place to find valuable informations. Nevertheless, there is a french book I can recommend (not sure it's still available new...) it's Philippe Bachelier's "Noir et Blanc, de la prise de vue au tirage". Reading a simple book...

Interesting, it's really different from the standard kodak or ilford inversion style. If it works for you that's great. For D231+1 at 20°C and HP5 rated at 320 I do 12' with 10 inversions at the beginning then 4 every minutes. ( for standard "N" densities)

Yes, stopping before a (so called) alkaline fixer is debatable. I've never noticed any problem but never precisely tested neither, that's why I've turned back to acid rapid fixer now. Keep it safe and simple...

TF-4 is an alkaline fixer, it's better to avoid the stop bath and stay alkaline all the way. A water rinse between the developer and fix bath is sufficient. Especially if you use D23 at 1+1 dilution, your development time should be around 10-14', no need for a precise stopping action.

I have placed a few small bits of phosphorescent tape at some strategic places of my darkroom. I've put one to mark the developer and the stop bath slots of my nova processor. One on my foot pedal to trigger the exposure, one on the darkroom light switch. Very convenient and doesn't fog the paper.

3 of the greatest slr ever made: the pentax LX, you have access to pentax lenses but also tons of M42 lenses if you want to experiment. Nikon FM3A the perfect manual focus camera, can be used without batteries and you have access to the great Nikkor lenses. Nikon F6... I don't use it often but...

Thanks for the kind words. It was taken at sunset. Probably around 4-5 pm, the sun sets early in winter in Japan. I accentuated the color cast under the enlarger. The color balance is far from being natural and I had to heavily burn the sea and sky to get some details !

OLD Zushi Beach, Japan last December Fuji superia 400 processed by shashinkosha Bellini RA4 kit M7 & 28mm/f2.8

Yes I've seen a Durst 138, but never used one. I always thought my Durst L1200 made enough noise!! The silence is a LED side effect I really enjoy.

On my LED system, the light source replace the diffusion box. It's placed just above the film, no condensers or diffusion boxes in between. So when printing a 135 size negative, only about 1/13 of the light power is effectively used. (it's a 4x5 inches light box).

In fact my head is a 4x5 one (I use it on my durst L1200). I don't print 4x5 in color. Just 135 and 120. The exposure times used with the LED head are about the same as the one I had with my dichroic head. Of course I know that :smile: and I would love to be able to do 30x40 inches...

Out of a 135 negative with a 50mm lens at f5.6, exposures are in the 50''-1'30'' range for a 50x75 cm print. The film-paper distance is then around 110cm. The pictures I've posted above were made out of a crop of a 135 neg (about half of the neg surface) film-paper distance 68cm it took around...

Yes that's easily noticed when making test prints. The colour balance is never perfectly equal. It can sometimes be approximately corrected with flashing at a different colour seting and dodging/burning also at different colour settings. I will try to make "straight" prints and see how close...

No, it's interesting. I will next week print some old "difficult" pictures made with the dichroic head and try to make them match as closely as possible. I'm rarely happy with my results ! And that for sure was the case with the dichroic as with the LEDs :smile:

Yes, what I can already say is that the effect of a 1 point adjustment with the LEDs is usually a little heavier than on the dichroic head. But that's just a matter of controller tuning by Heiland. Also, I write "usually" because to make a more affirmative statement I would have to check the...