I'm not saying that two bath fixing is not a valid way to fix your prints, it is. I'm just saying that Ilford's single bath method is just as valid. It does mean you go through a bit more fixer though. I just can't be bothered with two trays of fixer and I've also seen too many people using 2 bath that don't time their fixing so god only knows how much fixer the paper has absorbed. For me, a timed 60 Second fix in film strength fixer is the way to go, but everyone has their own methods. BTW, does anybody use two bath fixing for films? What a waste of time! A litre of Ilford rapid fixer (1:4) fixes at least 20 films.I follow the manufacturer data for the brand of fixer I use. 1+7 is for film only.
I never use Ilford fixers, but this is a cut and paste from Ilford's tech sheet for Rapid fix:
Two Bath Fixing
An extremely efficient method of fixing film or paper is to use the two bath fixing technique. Make up two separate fixing baths of the same solution volume. Fix the film or paper in the first bath for half the recommended fixing time and then transfer them to the second bath for the remainder of the time. Continue to work this way until the capacity of the first bath is reached, then discarded it and replace it with the second fixer bath. Prepare and use a completely fresh second bath. Repeat this process as required with the result that the film or paper is always thoroughly fixed by the relatively fresh fixer in the second bath.
https://www.ilfordphoto.com/amfile/file/download/file/1833/product/711/
You don't get it, do you. Fixing for half the time in half strength fixer will NOT get you there.I'm not saying that two bath fixing is not a valid way to fix your prints, it is. I'm just saying that Ilford's single bath method is just as valid. It does mean you go through a bit more fixer though. I just can't be bothered with two trays of fixer and I've also seen too many people using 2 bath that don't time their fixing so god only knows how much fixer the paper has absorbed. For me, a timed 60 Second fix in film strength fixer is the way to go, but everyone has their own methods.
3M makes a spray adhesive called Photo Mount. It is permanent and will hold a fiber print flat--that is one that has at least been left under a stack of books to take out any roller-coaster waves it may have acquired during drying. Once in position, cover the photo with some bond paper or tracing paper and use a hand roller (brayer) or the edge of an acrylic drafting triangle to make sure the bond is even and the corners are well tacked down.Spray 'mounting adhesive' may have improved over the years enough that it will hold a fiber print flat
What I don't get is how you can say that I'm "Fixing for half the time in half strength fixer"You don't get it, do you. Fixing for half the time in half strength fixer will NOT get you there.
READ MY SIGNATURE LINE
As my RC prints from the 1970s are still fine, I remain hopeful that both I and my current RC prints have nothing to worry about in the "short term death" area.A fiber print processed in RC fashion will have no problem satisfying this requirement and may outlast us all (which an RC print probably won't).
Thanks appreciatedDry the prints face down on a drying screen, that'll minimize the curl (but won't eliminate it). Once dry, you can either flatten under a set of heavy books or in a dry mount press, if you have access to one.
Thanks for all the info. Appreciated.You may want to make your smaller prints at home, and then the larger presentation prints at school.
In my case, the reasons to do a work print are more related to refining my vision in the result than they are to determining the exact exposure and contrast and dodging and burning in the larger, final result. I do most of your exploration on the smaller paper - RC being a good choice - and then use what I learn to guide me in making the larger, fibre paper print.
Regarding changing exposure to take into account a change in magnification, the aids linked to above will get you close. You may find though that aesthetic factors will lead you to adjust the result. As an example, I often find that an increase in magnification means I need to increase my contrast a little bit. There are both technological and subjective visual reasons for this.
In addition, you may find that the change in size (and any change in paper substrate and surface) may lead you change slightly the appearance you want the image to have. That may be related to a number of factors, but they are real.
Finally, their are tools (enlarging meters) that make changing the exposure in response to changing the magnification very simple. You may or may not have those available to you, and the conditions of your assignment may or may not permit you to use them. I own a very rudimentary one (an Ilford EM-10) and this is actually when it is most useful.
Thanks for the advice.Unfortunately, efficiency, speed, cost saving and quality are generally a little at odds with each other.
And in my experience, when it comes to printing, the state of your negatives will probably be the determining factor. Poorly exposed, poorly processed or mishandled negatives make headaches for printing. And will incur additional time and material and therefore financial resources.
If I were you;
1. Try to use the same enlarger for all printing, otherwise, all exposure and contrast filter calculations will be off.
2. Trim down your 12x16" fibre based paper into four equal parts, 6x8".
3. Make all of the 6x8" small prints, taking notes; Enlarger head height, lens aperture, exposure time, contrast filter settings.
4. Make all of the 12x16" enlargements with help from your notes.
Thanks for that.Wash times for most papers can be reduced by using a Hypo-clear before the final wash. Most papers will mention this in the datasheet.
If an image requires considerable dodging/burning or split-grade, I'll work out the ratios with RC paper first to save cost and time. Once I match the base exposure and contrast on fiber paper, it's easy to duplicate these manipulations.
I'll let fiber prints hang to drip-dry first, then place on drying screens to dry relatively flat. Then in a dry-mount press to flatten before filing away or mounting. Some folks will place the prints under heavy books to flatten, which works also.
Some fiber papers dry a lot flatter than others. I've found Arista papers to be flatter than Ilford. Relative humidity in your area can also reduce the curling.
Thanks, we have a large hot press.For fibre base print drying and flatness, check to see if your Uni has a fibre base drum dryer. They were quite common in the day.
If not, see if they have a dry mount press.
Fibre based papers are more sensitive to physical damage, especially when wet and susceptible to staining by improper procedure. Thorough washing of fibre based paper is also essential.
ThanksIt should be pointed out that 2 bath fixing is optional. The Ilford fixing procedure involves 1 tray of film strength fixer for a timed 60 seconds.
I’m only in one day a week and there are quite a few students. Time is limited. I do think it’s good to get a broader spectrum of information and advice though. This forum has been very helpfulShouldn't you be asking your instructor these questions?
ThanksYou would print a FB print exactly as you would an RC print, only the wash times are different. The fun begins when you dry the FR prints, but I don't want to spoil your fun, you'll figure it out.
ThanksMy fixer is mixed 1+4 for paper and 1+7 for film, how does using film dilution for half the time as paper work? I'll stick to what my fixer times as recommended by the manufacturer. I still have photos from 1964 that have been on my wall forever still look like the day I printed them. Single fixing bath for RC prints works fine, but I'm sticking with a tried and true method for fiber.
Thanks for that. Yeah good idea scanning the negs. I can evaluate them closer in photoshop.If you have the access to scan your negatives you can screen them for composition and areas that might need burning or dodging etc You can also make a test print with notes to carry into the darkroom. That may save you some time and paper by having a guide for your print selection and eliminating those that won’t work or are beyond your current darkroom skills.
http://www.jeffreyglasser.com/
http://www.sculptureandphotography.com/
Thanks for the informationI follow the manufacturer data for the brand of fixer I use. 1+7 is for film only.
I never use Ilford fixers, but this is a cut and paste from Ilford's tech sheet for Rapid fix:
Two Bath Fixing
An extremely efficient method of fixing film or paper is to use the two bath fixing technique. Make up two separate fixing baths of the same solution volume. Fix the film or paper in the first bath for half the recommended fixing time and then transfer them to the second bath for the remainder of the time. Continue to work this way until the capacity of the first bath is reached, then discarded it and replace it with the second fixer bath. Prepare and use a completely fresh second bath. Repeat this process as required with the result that the film or paper is always thoroughly fixed by the relatively fresh fixer in the second bath.
https://www.ilfordphoto.com/amfile/file/download/file/1833/product/711/
Thanks for the info.I would make a 12x16 print in exactly the same manner as an 8x10 print.
I am curious why your instructor wants you to make a 12x16 print. That is a 3:4 format, which means that unless you are shooting 645 you are going to have to crop your negative. It also means that your crop will be different than for an 8x10 print which is a 4:5 format. I hope you have a negative for which a 3:4 crop results in a strong image.
Why do photographers use print ratios different than their viewfinder ratios? When you look through your 35mm camera viewfinder, are you making mental composition adjustments for a predetermined print size (4x5, 5x7, 8x10, 11x14)?
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