Jim Beam Kentucky Straight Bourbon Whiskey mixed w/ water and a lil lemon
When I was in high school, more than forty years ago (and again in college a few years later) it was drummed into me that there should be no food or drink anywhere you're handling chemicals. One moment of inattention (potentially due to Jim distracting you) and you could find yourself drinking developer or fixer...
That said, I don't think I've tried adding lemon to my bourbon and water...
Or worse, pouring a single malt into your developing tank.When I was in high school, more than forty years ago (and again in college a few years later) it was drummed into me that there should be no food or drink anywhere you're handling chemicals. One moment of inattention (potentially due to Jim distracting you) and you could find yourself drinking developer or fixer...
Or worse, pouring a single malt into your developing tank.
Rubber floor mats from the dollar store. That's all I've got. Sorry folks...
I try to do my best and ensure that the angle of light minimizes reflections. It's not perfect (so photoshop comes in handy), but not having a pane of glass between photo and digicam sure helps.
Michel, How do you eliminate reflections when you do this? I have been totally beaten by the problem so far.
Besides using a polarizing filter on the lens and the lights, I also use a little trick to make sure the lights are even: Place a pencil or chopstick in the middle of the art or photo to be copied, perpendicular to the surface and in line with the center of the lens. The shadows thrown on the art should be the same length, the same intensity and aligned with the end the center line of the art. If the artwork is dark, place a sheet of white paper in its place or on top so you can see the shadows clearly. If you are shooting digital, make a test shot and examine it for evenness.Try polarizing the lights, whether they are electronic flash or tungsten. I worked 21+ years at the National Gallery of Canada, first as a photo lab technician, and later as a photographer, and polarizing the lights was de rigueur for all copy setups, whether we were coping photographs, drawings, paintings or small 3D objects. And be sure to aim your lighting accurately, and use a decent meter to check for even illumination across your copyboard.
If you are copying an old photograph, where the image is partially or completly "silvering out," polarize the lights and the camera lens, and rotate the on-lens pola filter until the silvering out disappears. You will find that this method is also very good for copying anything else, especially works on paper. It will greatly increase contrast and saturation, and reduce flare.
When we used to employ the double-polarization before we went digital (or does one say "embraced digital?"), calculating exposure was a bit of a bear. One of my former colleagues used to say that, "...it really soaks up the light."
Try polarizing the lights, whether they are electronic flash or tungsten. I worked 21+ years at the National Gallery of Canada, first as a photo lab technician, and later as a photographer, and polarizing the lights was de rigueur for all copy setups, whether we were coping photographs, drawings, paintings or small 3D objects. And be sure to aim your lighting accurately, and use a decent meter to check for even illumination across your copyboard.
If you are copying an old photograph, where the image is partially or completly "silvering out," polarize the lights and the camera lens, and rotate the on-lens pola filter until the silvering out disappears. You will find that this method is also very good for copying anything else, especially works on paper. It will greatly increase contrast and saturation, and reduce flare.
When we used to employ the double-polarization before we went digital (or does one say "embraced digital?"), calculating exposure was a bit of a bear. One of my former colleagues used to say that, "...it really soaks up the light."
Since I have acquired my new Dektronics Printalyzer Densitometer, I have been quite busy characterizing my materials, and I have started with the step wedge, and then the papers.
Oh boy..........mine is due to arrive this Thursday the 12th. And I'm proceeding just as you described first with step wedge to assess personal EI with TMX 100 in XTOL and N + and - development times, then with paper to test for relative ISO Range Numbers to see what grades my LPL4550 XLG filtration settings are actually providing me.
Glad to hear that.....I saw it presented on you tube by Matt Marash.You are in for a treat. It's a well-built tool, reliable and repeatable. Once you plug it into Excel, you can literally make H+D curves in real time.
Glad to hear that.....I saw it presented on you tube by Matt Marash.
The Best way to improve darkroom workflow is a superior safe light. I'm new here but have built a fantastic led light and can post pics and a do how if anyone likes. It's like working in daylight
If it is like working in daylight, it may be too bright. Have you done a test?
I, too, have this marvelous little masterpiece. Do you have any reference resources you’ve used that you would share? I guess I don’t really know how to apply the information to improve my printing. Thanks.
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