Workshop results

[Photo Engineer]

I thought it would be appropriate to post this here rather than under the Workshops forum, so here goes.

Workshop #2 went very well. I am including a picture taken by the students using a 4x5 camera at CFAAHP in NYC last week.

This was from an ISO 40 exposure using an AgBrI SRAD (Single Run Ammonia Digest) emulsion with ortho sensitivity. The contrast and dmax were low, but the fog was good. Basically, I compressed into 24 hours what should have taken 72 hours, and therefore the low contrast and dmax. I may adjust the silver level in the coating in the future to give it a 'kick'. You can do this with the coating blades by adjusting the blade height.

This is a scan from about 2" x 3" of a 4x5 which was then adjusted for brightness and contrast after scanning. (I allow myself this, as I would have had to do the same in printing by using a grade 4 paper and by adjusting exposure time) Your objections (if any) are understandable, but I wanted to get this up so you could see it. Besides, the irony of using digital means to show you what you can do at home in analog making your own emulsion is not to be lost.

Blemishes and spots are an expected result from our drying conditions, as they were moving some equipment in the lab that day, and the fact that the students were just getting up to speed on technique. It is like learning to paint and trying to create a perfect masterpiece the first try. All in all, they did a fine job and I'm proud of them.

Thanks guys for coming to the workshop. We are planning to have the next one at the Formulary in June.

PE

 

[bill schwab]

Very impressive Ron. I'll keep an eye on the June workshop.

Bill

 

[David A. Goldfarb]

Not bad. I'm surprised that the fog wasn't more of a problem, given the concerns we had about safelight exposure and light leakage from the darkroom door during coating and drying.

Is that glow from using a classic uncoated lens, or is that halation from the film? I realize this is way beyond what was covered in the workshop, but say one managed to perfect a film emulsion and wanted to add an anti-halation layer, how would one do that?

 

[Photo Engineer]

Not bad. I'm surprised that the fog wasn't more of a problem, given the concerns we had about safelight exposure and light leakage from the darkroom door during coating and drying.

Is that glow from using a classic uncoated lens, or is that halation from the film? I realize this is way beyond what was covered in the workshop, but say one managed to perfect a film emulsion and wanted to add an anti-halation layer, how would one do that?

David, the lighting was from the right at a very sharp angle, causing a lot of the problem. The camera was an old antique supplied by Eric Taubman. I am sorry but I don't remember the particulars on the camera or lens. If you could see through the building behind the chart, you would see the site of the former WTC. The window was facing almost due west and it was about 10 AM.

If I were to develop a full film package, I would not use antihalation, as it is probably too hard to coat. You would have to coat either both sides of the film support or coat 2 layers on one side. I plan on using acutance dyes for this problem. I have one in-hand, but am waiting to see if this look is suitable for the era intended. Only more pictures will help us answer that question. If I do use it, I expect the final film speed to be about 25.

I might add, we did the same thing at the first workshop, but there was more fog. Dmax and contrast were higher, but we processed the film too soon after coating and had too much reticulation. The above film was dried overnight.

Both workshops got an ISO of 40 from this emulsion. Exposures were made at ISO 25, 40, 80 etc...

PE

 

[Peter Schrager]

workshop details

The camera was an Ansco 5x7 fitted with a 4x5 back. The lens was the kodak 203mm. I was the taker of the photograph and made up my own reciprocity for the exposure. I would just like to comment on the workshop briefly. Ron is a wonderful and extremely knowledgeable gentleman. Never in my widest dreams did I ever imagine that I would be coating my own paper and film. Highly recommended to you all!!
Best, Peter

 

[Ole]

I've been interested before, but now I'm even more interested!

 

[Photo Engineer]

The camera was an Ansco 5x7 fitted with a 4x5 back. The lens was the kodak 203mm. I was the taker of the photograph and made up my own reciprocity for the exposure. I would just like to comment on the workshop briefly. Ron is a wonderful and extremely knowledgeable gentleman. Never in my widest dreams did I ever imagine that I would be coating my own paper and film. Highly recommended to you all!!
Best, Peter

Peter, with my sincerest thanks, I enjoyed your participation. You were a superb coater. Thanks so much.

Ron

 

[c.d.ewen]

As another workshop participant, I'll heartily second Peter's recommendation.

Ron's clear answers to our many questions and Patty Katchur's organizational skills made the workshop a pleasure.

Charley

 

[Photo Engineer]

As another workshop participant, I'll heartily second Peter's recommendation.

Ron's clear answers to our many questions and Patty Katchur's organizational skills made the workshop a pleasure.

Charley

Thanks Charlie. I appreciate the comment.

Look at the Photoformular.com for the 2007 schedule.

Reards.

Ron

 

[Peter Schrager]

looking back to this thread where it all started for me. At that time lots of the analog materials were disappearing because of the digital revolution.. I had already learned how to do platinum printing at the New School for Social Research. I took Rons workshop on a lark ; never in my wildest dreams would I ever have thought that I would become an emulsion maker. here it is almost 20 years later and with the wonderful book published by Denise Ross (thank you Denise!) and people like Mark Osterman (I learned colloidal chloride POP from his workshop) I've been making and doing emulsion making mostly for POP printing.
Anyone can do this. it is not complicated and I urge anyone interested to feel free to reach out to me or ask questions on this forum. I do teach this from time to time at the Vermont Center for Photography and am available for travel to teach.
Thanks Ron!! may your memory be a blessing! Pray for the emulsion!!

 

[dwross]

Peter, you are most definitely one of the Keepers of Light. The book of that title is what started me on my journey. Back then, silver gelatin wasn't an alternative . I did albumen for years. I guess I love glossy silver! It is amazing how far we've taken the historical and the new-alt processes. I am delighted to hear that you will be teaching. POP has a great advocate in you.

 

[Peter Schrager]

I'm so convinced working with making emulsions brings us so much closer to what; at least for me ;brings us closer to the true essence of photography. technology is great and the intersection the digital
world and the past opens up so many more worlds. it's not a one trick pony anymore!!
thanks again!!

 

[dwross]

I couldn't agree more about bringing us closer to the true essence of photography. To realize that a photon can strike a silver halide molecule, and change its state to produce a fixed record of an object in one time and space, stills gives me goosebumps.

 

[BurntOutElectronics]

looking back to this thread where it all started for me. At that time lots of the analog materials were disappearing because of the digital revolution.. I had already learned how to do platinum printing at the New School for Social Research. I took Rons workshop on a lark ; never in my wildest dreams would I ever have thought that I would become an emulsion maker. here it is almost 20 years later and with the wonderful book published by Denise Ross (thank you Denise!) and people like Mark Osterman (I learned colloidal chloride POP from his workshop) I've been making and doing emulsion making mostly for POP printing.
Anyone can do this. it is not complicated and I urge anyone interested to feel free to reach out to me or ask questions on this forum. I do teach this from time to time at the Vermont Center for Photography and am available for travel to teach.
Thanks Ron!! may your memory be a blessing! Pray for the emulsion!!

I'd certainly love to learn more theory and the underlying variables for emulsion making and coating camera film.
Certainly Ron's contributions to this space are totally invaluable as a starting point but there's so much to learn when everything from timing, temperature, impurities and additives all react in different ways and lead to different results.
My eventual hope would be coating an ortho emulsion to acetate or polyester, whenever that day may come.

 

[retina_restoration]

I'd certainly love to learn more theory and the underlying variables for emulsion making and coating camera film.
Certainly Ron's contributions to this space are totally invaluable as a starting point but there's so much to learn when everything from timing, temperature, impurities and additives all react in different ways and lead to different results.
My eventual hope would be coating an ortho emulsion to acetate or polyester, whenever that day may come.

Have you considered Denise Ross’ book The Light Farm?