Reflections from 2-blade easel

[NJH]

This has been really annoying me recently, currently I am printing some very dense 35mm negatives in a LPL 6700 with the standard holder with its masking blades. I also have a fairly common LPL 12x10 2-blade easel. I see when adjusting the blades in the holder that stray light falling on to the flat adjustable easel blades, no problem at all, doesn't seem to effect anything, and I find helps in adjusting the image. Some stray light on to the unadjustable parts of the easel though (top and left side) reflects onto the print causing faint lines of extra density in the outer few mm of the print, problem is you can't adjust the blades in the mask to get them all perpendicular so you either cut off part of the print or put up with some easel reflection. This is particularly bad when trying to print more or less un-cropped.

Has everyone just put up with this sort of thing over the years? Its like a built in expectation that one is going to cut down the end result anyway, not an idea I am overly happy with as why shouldn't one print the whole negative sometimes.

In the short term I have ordered the 35mm insert which I believe replaces the bottom glass in the holder although then of course it means only the top AN glass is then holding the negative flat.

Longer term it seems I need to invest in a 4-blade easel?

 

[tedr1]

Yes, you'll be glad you did

 

[pentaxuser]

I used to have an LPL 14 x 17 two bladed easel. The easel base was white, the blades were black like yours and the while there was a small amount of silvery metal on the top and left sides I cannot recall it causing what you seem to be experiencing. If stray light was reflecting onto the paper and giving the effect you describe I'd expect a lot more people to have complained.

I suppose it might just be possible that the angle of the safelight is such that it is striking the reflective parts of the easel and then onto the paper. I have a Durst enlarger which does allow some stray white light out but in a horizontal way and the LPL enlarger may be same. Could it be that when you remove the paper from its package or papersafe and place in the easel that you accidentally pass it close enough to the stray light?

I'd try pointing the safelight towards the ceiling or away from the easel and see what happens. If that doesn't work then try blocking the stray light or turning enlarger off until the paper is safely below the lens in the easel.

It is a question of isolating the potential causes one by one. Moving to a 4 bladed easel has advantages but this should not be necessary to stop your problem.

pentaxuser

 

[MattKing]

Try putting some matte black tape on to the parts of the easel you believe to be causing the reflection. Hockey tape would be perfect.
I would guess though that what you are seeing is actually originating from the negative holder - try masking that instead.

 

[NJH]

I know it is reflections from the chamfered edge of the top and left of the easel, adjusting the blades on the holder can mask the negative down enough to stop the reflections, but given its near enough impossible for those blades to be perpendicular one has to be very precise not to end up cutting off part of the photograph at odd angles. This happened to me the other night, burned through some paper but got to a result that I was happy enough with to accept. Its just annoying that it is another thing on the list to be mindful of and spend time on during setup.

To be honest I have only really noticed it on a couple of very dense negatives where I am trying to print more or less out to the edges of those negatives.

Thanks Guys.

 

[Doremus Scudder]

If you know which parts of your easel are reflecting light onto the print, then simply make the surfaces less reflective. Flat black paint, hockey tape, flocking, whatever...
Best,

Doremus

 

[paul ron]

^^^ paint it...

krylon ultra flat black spray is the cure.

I also painted the white surface because I was getting feedback through the paper as well.

 

[NJH]

Thanks guys, black fabric tape I may have somewhere and the ultra flat paint is an interesting idea as could have many uses in the darkroom. I have some matt black paint but I know the sort of thing you're talking about Paul, camo paint that creates a sheen free finish.