what is the last thing you developed or printed

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Dr Croubie

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Thomas Bertilsson said:
Very nice photograph! Love the light and how large format negatives deliver such clarity when used well.

Are the uneven densities in the sky from the scan, though?
Click to expand...

Thanks everyone.
As far as I can tell (until I contact-print it), the lighter vertical bar down the right edge (well, left edge, I've since realised that I scanned it backwards) is just a dodgy reflection from the scanner. 8x10s I can only do in 'full-area' on my v750, no wet-scanning or height-adjusting, so it can curl upwards and reflect weirdly.

The dark bar along the top is definitely a cloud rolling in from behind me, there were some interesting storms a-brewing that day. I'm hooked on that Tobacco grad too, it definitely brought out the clouds nicely against the bright yellow Canola/Rape flowers.
 

Thomas Bertilsson

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I'm glad it appears to be from the scanner. Very glad. It's a wonderful picture.

What's a Tobacco grad?
 

Thomas Bertilsson

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Just finished processing three rolls of 120 Kodak Tri-X and one roll of 120 Fuji Acros. All in Harvey's / Defender 777 Panthermic. I'm in love with this developer. Although Acros seems to work a like D76 better for landscape work. I think it has to do with its built in beautiful highlight contrast.

Catching up with all of the negatives I shot last weekend. Now only a couple more rolls of 120 black and white to do, six rolls of 35mm black and white, and about a dozen rolls of color, about 50/50 35mm and 120.
 

Bill Burk

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NedL said:
Depends how you work of course, but a gallon of stock dektol makes a lot of prints! Sounds like a lot to me!
Click to expand...

Considering how much time I spend on APUG writing about printing, it's shameful how little I have printed, I admit I need to get into the swing of it again.

I'm not alarmed though. It fits my annual cycle. I usually develop and print in the Fall. I have gone through more D-76 (which means I have developed a bunch of film). And I know I have a bunch more film that needs developing... So I am operating in backlog mode.

I chose two negatives to print today that are among the more remarkable things I have witnessed.

One is evidence of a fierce firestorm. I found a cave beneath the roots of a redwood tree that burned in the Big Sur Basin Complex Fire of 2008 (my photograph taken this past July). So at thumbnail view it will just look like a cave. But on closer examination you will notice the roof of the cave is the charred redwood tree, and the floor of the cave is covered with ash. If I remember the story correctly, flames were seen shooting from this tree hundreds of feet into the air like a blowtorch. The underground cave could have acted as a chimney fueling air to an underground fire. This is one freakish scene.


There is another negative I wanted to print from July... but that roll hasn't been developed yet - it's a father and son portrait.

The other print is a petroglyph. I can't expect anyone else to get excited about this, it's a subtle inscription on an anonymous rock. But for me, it's the only petroglyph I know, and it's near where I lived in the mountains. I visited it several times, took my wife there twice, took photos of it once.
 

Dr Croubie

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Thomas Bertilsson said:
I'm glad it appears to be from the scanner. Very glad. It's a wonderful picture.

What's a Tobacco grad?
Click to expand...

Thanks again. I'm really pleased with it, especially as it's probably only my 4th 8x10 I've ever taken (although I've had plenty of experience with 4x5s and smaller formats). I can't wait until I get my fresh chems from maco, then I can see what RVP and/or Ektar do to the same scene in 4x5 and 6x17 (I could have spent a few more hours at that one location).

A Tobacco Grad is just like a regular ND Grad, except that instead of Neutral it's sort of a reddy-brown colour at the top, and fades into clear, see here. So the skies get darker and more dramatic a) from the colour of the filter darkening the blue, and b) stops the highlights from blowing out due to the extra density, while the bottom remains unmolested.
Mine isn't a 'genuine cokin' but the rest of my kit is, the beauty of my 100-year-old f/6.8 convertible anastigmat is its size: it fits the cheapo Cokin A filters, you can get them for $2 each in bulk / specials / fleabay.
 

baachitraka

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Made four contact sheets. Two from Orwo UN54, one from kentmere and one from premium Arista.

Learned how to develop the negatives shot near the sea shore on flat day->10-15℅ expansion would have brought those sparkling highlights.
 

NedL

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I've been making a series of salt prints, all from the same paper negative, refining different aspects of it and toning. Each one takes a day: coat in the morning, let dry, expose, then process in late afternoon and dry overnight. I've done this one about 15 times now and it's interesting lay them all out and compare different toning, amount of gelatin, papers, and exposures. Today's was the best yet.

I've been making pinhole paper negatives for a long time, and normally contact print them onto regular photo paper. Usually I aim to reduce contrast in the negative. I didn't think they could be used for salt prints, but this negative has less contrast than most and I'm starting to get nice results. That means I've got potentially hundreds negatives to print! Still, the paper negatives made specifically with salt printing in mind are easy to print while these more "normal" negatives are challenging, and it will only work for some subjects. Lots of fun and I'm enjoying it very much. I haven't tried ammonia fuming yet and it will be interesting to see what that does.
 

DannL.

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Three sheets of 10x12 Fuji HR-U X-ray film. Tracking down light-leaks is a tiring process. Just when you think you have killed them all . . , another one will rear it's ugly head. This particular film seems to have a much harder emulsion than the Kodak films that I've used in the past.
 
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Oscar Carlsson

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Three rolls of Rollei RPX (one of each speed, actually!) in Kodak HC-110 dilution B. This is to test effective speed now and then development time a bit further on.

Next step is to establish the near maximum paper black time for each developed film and then print the different negatives to see what my effective EI is for this film/paper combination. No rocket science, just (a bit) time consuming.
 

Wayne

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NedL said:
Please share it here, or when you make one you like.
Click to expand...

The first time is always special.

Beet juice anthotype, 4 day exposure. This wasn't really a planned composition, I was just testing various things to see how they came through. But I rather like it. Images are a bit blurred because they moved a fraction when I checked exposure. I probably only needed 3 days for this.

That rectangle is a 4x5 color negative in mylar sleeve. It was starting to print (you can see the sleeve around the edge and density irregularities within the frame), but because I like the negative I didn't want to leave it out in the sun for 2 months so I stopped at 4 days.
 

StoneNYC

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Wait I'm confused, why would extending the exposure to two months produce an image? You're saying that this works in reverse where the denser areas with then suddenly get later overtime? I'm a little confused about the time frames when you only did this for three days you said right or four days? maybe it's just late and I'm confused. Lol
 

Wayne

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Extending the exposure would bleach the pigment under the less dense areas of the negative, leaving...another negative image underneath. Which I hadn't thought about when I set this exposure up. Best to use positives for anthotypes, if you want a positive image.

The process basically works by bleaching what isn't covered, but there are some other chemical effects/interactions with plant material I think because I've seen some multi-colored ones . I don't understand much. This is my first one ever, and my second one, with blackberry juice, is still printing after 5 days. I put many layers of pigment on the second one, so I think maybe that is why it is taking so much longer. Hopefully it will be a more pronounced, contrasty image when done.
 

StoneNYC

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So... If you framed this, and then hung it near a window, would the image bleach out?
 

Newt_on_Swings

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3 rolls of trix in d76 stock. Came out fine, one roll was from the summer, 2nd from a wedding this weekend, last was a short 12 exp roll to test a camera. Can't wait to look at them on the light box tomorrow.
 

scheimfluger_77

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Yes, this is essentially a direct positive process. Something that's not clear in most of the Anthotype literature. I also suspect it will work best with high contrast subjects.

Steve
 

Kyle M.

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I developed a roll of 120 Plus-X that expired 11/2000 last night in Rodinal, it was a test roll from my new to me 1958 Yashica-Mat, I'm happy to say that everything came out wonderful.
 

TheMissingLink

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4 rolls of HP5+ in D-76 1:1 ... 11 min at 20C, Jobo inversion tank ... again too dense and cloudy.

There are still waiting 20 rolls I don't remember when and where I have taken them to be developed.

The next I will develop with Rodinal again, looks like D-76 doesn't like me or I got bad lot.

Tss, never change a running system ...

And it looks like my old RB is dying: either absolutely underexposed (clear film) or the shutter of one of the lenses doesn't work properly anymore.
 

Thomas Bertilsson

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If the shadows in your negs are too dense you are overexposing them. If you have too much contrast you are overdeveloping.
There is nothing sacred about that 11 minutes.
Take a fresh roll, bracket exposures of the same scene, and see where you get best shadow details for your purposes. Then expose a whole roll at the EI you arrive at in the first roll. Now cut the roll in thirds and process one third at a time. If you have too much contrast, shorten dev time. If too little, increase. Repeat until your negs are perfect.

With HP5+ and D76 I have found you must agitate quite vigorously.
 

eddie

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Stone- The WT Semi Matte is a great paper for hand-coloring, if you ever want to give that a try.
 
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