what is the last thing you developed or printed

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StoneNYC

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darkosaric said:
This roll looks interesting, like you changed the metering in the middle of the roll... What did you do ?
Click to expand...

it's a fancy trick I call letting the sun go down... Hah!

I had an assignment for school to take portraits, the teacher insisted that I must take exactly 24 portraits of someone, all the same person, different looks each time, so I took a few shots and then we moved location to get a different look but the sun was fading and I knew that it was better to just have a thinner negative then to try and push the film and blow out the highlights in the previous exposures.

I don't have the prints on hand as I just did them last night and they were drying on the drying screens at school, but they came out pretty decent and both were easy to print.
 

pdeeh

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I made some contact prints on very very old Velox grade 2, but from a recent negative. These are 6x9. One is lith'd in LD20, the other straight in Fotospeed DV10, which is I assume a regular PQ. The scans are as close as I can manage to the correct colour on my calibrated monitor, so the straight print really is quite blue

No C&C please, I can see the shortcomings of both composition and prints all on my own



 

jessenator

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Haven't made prints yet—darkroom in progress. This was from the last roll I developed: 04-21-2012 :/
T-Max 400 — Developed in Photographer's Formulary BW-2; standard agitation/instructions






 
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Trask

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A self-loaded FILCA full of Neopan 400 rated at 200 shot in a Leica III with 5cm Elmar developed in Obsidian Aqua.
 

pdeeh

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Roll of acros in 135, shot at 200 and developed in caffenol cm for 15 mins. They look a bit overcooked so probably a touch too long.
Haven't used caffenol for ages
 

pdeeh

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Ooh I should rather like to see the results of that ...
 

eddie

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A bunch of 4x5 sheets, to be scratched up for my abstracts and cityscapes. 3 rolls of TMax 400 (1995) of dubious origin, for an idea which has been percolating for a while (though proving to be more difficult to realize than I'd hoped).
 

pdeeh

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Hmm you don't exactly print a salted paper print, plus it sort of develops itself so I'm not sure if this belongs here ... anyway, my first "successful" attempt ... some sizing and coating skills still to be learned Plus too much texture in the paper for my taste really.

About 90mins exposure, using a nice dense 5x4 pinhole negative on Fomapan 200 - a snow scene from a few winters ago ...
 

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NedL

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Nice.. that's a good picture for a salt print! I've got one sitting in toner right this second. This is definitely my latest obsession.. I love making these. The coating gets easier with practice ( and you don't need to do it under a dim safelight... make sure you can see the shiny surface so that you can see any place that was missed... I close the curtains and coat right at my desk in front of the window with the filtered daylight.. no problems with fogging. ) Did you use any citric acid in the salting solution or in the sensitizing silver solution?
 
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wow pdeeh that is beautiful .. it looks like a dream and most certainly belongs in this thread.
 
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pdeeh said:
Ooh I should rather like to see the results of that ...
Click to expand...

it doesn't look like much
but its a photogram from a bottle.
this emulsion is excessively slow
i am going to use something a bit faster next time
now that i know the brew i am using might work.
 

pdeeh

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NedL said:
you don't need to do it under a dim safelight... Did you use any citric acid in the salting solution or in the sensitizing silver solution?
Click to expand...

I used my bathroom 'cause I have it more or less permanently blacked out now, and I just unscrewed the shade from my safelight which was easily bright enough to work by, but I was hasty and it shows.

Also it's always amazing (which it shouldn't be at my age) that however much I read up on what I'm about to do and think about how I'm going to do it, I still almost always make silly errors the first few times I do something new ... hence my threadette about using DW instead of sensitiser

(To which can be added, when you finally coat the paper with the right stuff, don't forget not to put it in the frame back to front ...)

I didn't use Citric acid or Sodium citrate in either solution. There's so much that's conflicting in the literature about the whys and wherefores of these additives that I thought I'd stick to the very basics to begin with - gelatin/salt/water for the salting, Silver nitrate/water for the sensitiser. If I could get away without the gelatin I would do but the paper I've got (a friend gave me a pad of Bockingford) is a bit porous.

Anyway, don't want to take the thread off onto an alt-process technical discussion tangent
 
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its fine by me, tangent away ...
as long as you aren't all congratulating eachother for 6 pages its copacetic
 

NedL

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pdeeh said:
Anyway, don't want to take the thread off onto an alt-process technical discussion tangent
Click to expand...
Yep, okay! Just one last comment. I took your 'keep it simple first' approach to the gelatin for the same reasons, and now am experimenting with differing amounts. But do try adding some CA. I started with 1% then gradually increased it up to 6%, watching the effects on the print at each amount. Now I put 0.5% in the salt solution and vary the amount in the silver depending on the paper. You'll be surprised what a difference it makes in the highlights and it makes the "background fog" go away. It sure is fun, isn't it? Today I'm going out to make more paper negatives for salt printing, and half regret that I'm not staying home to make another print!
 
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pdeeh

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The weather is settling into a nice late-Autumn-early-Winter pattern of lows here, so there won't be much opportunity for controlled experiments until we have a run of high pressure and I get some dry days and sky light to play under outdoors
(Indoor UV lighting not an option for me at the moment).
 

goros

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I have spent the weekend in the darkroom. The result: 7 copies of the same picture (the official picture of my friends and myself anual gathering) and another 7 or 8 photographs from a recent trip to France. All of them in Ilford MG IV FB WT.
 

pdeeh

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Yet another salt print from the same negative ... different paper, not sized ... this scan doesn't quite get the colour of the original right for some reason (it looks fine in LR but once uploaded or linked loses the richness of the browns) ...

anyway, getting closer ... interestingly, better detail in this than in my digitised version of the same negative


 

pdeeh

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Today finished a roll of Acros 135 @200, then dunked it in caffenol-c-m for 13mins and some seconds.
And shot 6 sheets of fomapan 200 @100, shot in my foamcore sliding box 5x4 with 120-year-old Wray barrel lens, 3 of which I taco'd tonight in RO9 for 10 mins. They look yummy. I'll do the other three tomorrow.
 

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Shot this Friday night and developed on Saturday. FP4 - Rodinal 1:50. Negative scan
I'm in the process of putting together a darkroom and plan to print it when my paper arrives. Sorry the resolution is so small but I had to take it from the gallery because I don't have the scan with me.

I exposed this at f5.6 for 1 second. It took 7 shots to get one with my grandson staying still for the entire second!
 

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hand full of paper negatives testing out DcaffenolC and Dektol split development
some 4x5, some 35mm ...
 

jimgalli

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Taken on 4X5 Ektapan develop before 1986 in a Chimney Graflex with Cooke lens 6" Series II
Developed Sunday last in PyrocatHD 2:2:100 for 8 1/2 min. Color is as seen by the scanner. Emulsion was dying from the edge in.
 

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