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I meant to say after bleaching but before thio toning. A few seconds under normal room lighting should be plenty. It may not be necessary but I just thought that if you were working in darkroom under safelights then paper wouldn't be re-exposed and might benefit from it.

you must do safelight test. put strip of paper on easel and expose to enlarger light at smallest aperture for about 3 seconds. This is to fog the test strip so that exposure inertia is used up. i.e. next photon of light hitting it WILL be developed and show in print. Then after the fogging...

did that paper exist when he wrote his book and was the selenium tone prior to bleach and thio tone what he suggests?

have you exposed the print to plenty of room light after bleaching?

have you done a safelight test? How close to printing easel is the safelight? What colour is safelight shroud/cover? And how long are you leaving print in dev for? And which paper and which dev and its dilution.

I expect there's quite a few who are old enough.

But could have been very short SBR.

That does look a better viewer than most, shame they don't make them anymore.

Fixer may have AMMONIUM THIOSULPHATE in it so that is the probable source. Hypam uses it and lots of others I think. Good ventilation is always recommended for darkroom. Also always a good idea to read the MSDS sheets for the chemicals you are using so you at least have a clue about what they...

or a horse. Have you been using a stable as a darkroom?

good job I expose for the highlights and most of the time my zone 1,2,3 are well above 0.1 then.:wink:

It seems to me that if flare actually occured then using a reflection meter would give readings which would underexpose the negative. However, when you actually expose the image with a camera lens it would give too much exposoure due to flare. So the meter indicating too little exposure and the...

1. yes 2. no 3. yes BUT as I said in previous post, if you are doing studio work then stick with ISO speed and manufacturers dev and use incident meter. If you are out doing landscapes, then calibrate to 10 stop range and the answers to 1,2 and 3 are as given. And if you really want to use 10...

unexposed will come out clear because its fixed. But it won't be fixed if film is touching just like it wasn't developed.

its a fast camera

I've always wondered about this. Barry Thornton used to go on about getting a very short toe. BUT for example, long toe curve of the old Plus-X film was considered good for studio portraits. I don't think there are really hard and fast rules becasue its very subjective. But on the other hand, if...

for studio portraiture I would use an incident meter with flat disc. Place it on the lightest side of the face in the subject and point it directly at the main light source which will give you your exposure. Then on the shadow side point it at the shadow side lighting which may just be a...

Oh, I do apologise for making a post in the topic I started, telling you how to verify if your grey card is reflecting 18% or not. I knew i shouldn't have bothered. Wake me up after Christmas.

I thought he sold off his remaining dye transfer print materials, or tried to, and has converted to inkjet printing.

What you need to do is to use an incident meter to measure the light and then given that measurement you should be able to calculate what your spot meter reading from a grey card should give you so that you can angle the grey card until it gives you the spot meter reading you would expect and...

or fixed so would be as dense as unexposed film which would be dense on a scanner and show as white.

Is a film curve with a very short toe desireable most of the time? I guess it is but not always as the look it gives is subjective but sure helps keeping separation in shadows if thats what you want. What do you think?

The Linhof I had allowed the reflex viewer to swing out to the side so you get a loupe on the GG for fine focus. I don't know if your camera back and intended hood allows that or not. If the toyo takes a standard international back then you always have the option of fitting one which has some...

I explained this in earlier topic. (there was a url link here which no longer exists) what have you been exposing for, shadows, highlights or midtones on your earlier negatives. And assuming you were using ISO speed and manufacturers recomended development, how much were you adjusting metered...

+1 Get a 6x12 camera instead. And if you don't want 6x12 then use a MF camera. Sinar zoom 2 roll film back is inserted between GG and camera just like a 4x5 darkslide except its a LOT thicker and too thick for some backs. And will probably cost you an arm and a leg. I used to have one but sold...

I think that last photo has the vieweing hood disconnected and a bag bellows. i.e. its just hanging there. Maybe its a bit like one that Linhof made/make which is a bag bellows with a loupe fitted into it which you can move across the ground glass to check fine focus but you can't see the whole...

I suggested in earlier topic that if he's in studio and whole roll of film is used in studio, to revert to using box speed. If he's out doing landscapes I'd use calibration for 10 stops range but thats just me.

agreed but if you are using roll film with subjects of different SBRs then you need a strategy/methodolgy that works for all shots on the roll. Some people just use manufacturers recommended dev, temp time, expose for shadows and deal with contrast when printing. But as I have repeatedly...

I had a viewing hood for my technikardan becasue I hated using a dark cloth. It worked fine until you start trying to do anything but small simple movements. Put much rise in the lens and you could only see half the image. I found that being able to put my eye on the axis of where the light is...

are you a contortionist?