Show me your latest darkroom prints

First print on a new paper, Bergger fb warmtone. I must admit it took me two waste sheets to dial in with the developer I use. The first print was too light, the second too dark and not contrasty enough, the third, the one before your eyes, was to my liking. Praise the Heiland!

U7147I1388486228.SEQ.0.jpg
 
WAITIN' FOR THAT TRAIN,
TO TAKE ME FROM THIS LONESOME TOWN

U7147I1388831524.SEQ.0.jpg


And an available bulb shot; man heavily clinging to his family:

U7147I1388831525.SEQ.1.jpg
 
Hi,
I've printed several copies of the same subject taken at various apertures (Helligkeit or H as called by Rodenstock) of my Imagon to study its characteristics.
Unfortunately I've only registered the data on my App Photo Tool Pro. It would have been better I included a cartel with the data in every shot (more simple and "analogic"). Now I don't know the correlation from data and the negatives (I can only imagine from the softness) 😬😩.
Anyway here are the photok I took with my only digital camera, my iPhone.
One of them is a strip test done in an exponential way following the excellent book "Way beyond monochrome" by Lambrecht and Woodhouse and usin an App I suggest you (Darkroom), that gives the values of the strip in exponential manner (I'chosen increments of 1/3 EV).
Any comment, question or suggestion?
Thanks,
Antonio

image-2113987346.jpg



image-1719118969.jpg
 
Benjamin, when I started printing not to long ago, I got the Book "Way Beyond Monochrome" it had a section on presentation including matting and mounting photos, I also knew about fiber paper and keeping it flat, so I used 2cm on the sides and top. I also learned about non-permanent mounting, and leaving a 5mm edge of the print paper showing and 1.5cm at the bottom to sign the print. Now that I've matted and framed one using a "T" mount of self adhesive linen tape, only on the top of the print to tape the print to the back board I will reduce the sides to 1.5cm, it should still keep the print flat.
 
semrich said:
Benjamin, when I started printing not to long ago, I got the Book "Way Beyond Monochrome" it had a section on presentation including matting and mounting photos, I also knew about fiber paper and keeping it flat, so I used 2cm on the sides and top. I also learned about non-permanent mounting, and leaving a 5mm edge of the print paper showing and 1.5cm at the bottom to sign the print. Now that I've matted and framed one using a "T" mount of self adhesive linen tape, only on the top of the print to tape the print to the back board I will reduce the sides to 1.5cm, it should still keep the print flat.
Click to expand...

I'm really bad at getting consistent borders, especially when I want to get the entire composition of the film, but at the same time want to 'fill the paper'.
 
Exellent work above - always adored hand-coloring.

You guys made me horny as well and yesterday I decided to go back to the darkroom. Running Moersch chemistry with me own recipe mixtures and used Foma Fomatone 132 MG baryta paper for the first time and really impressed with it so far.

Some work drying using a new-to-me taping method (shot with a crappy digital p&s):



IMG_0271_s.jpg





IMG_0270_s.jpg




Margus
 
Well ... after a 8 month break I gave it a try again in my make-shift darkroom / bathroom combination. Initially, the biggest problem was focusing onto the grain using a grain magnifier. It took me about one hour to "see" the grain (and only after the trick to make a scratch with some sharp knife into the emulsion of a black frame and use that scratch as focusing aid came to my mind again). Next problem was light, I had only one (portable) safe-light that I change between a place closer to the enlarger and closer to the trays to control developing. While developing the first print the safety-light slipped and the bulb broke, no spare at home....
 
Will, thank you for your comment, considering the signature is at the end of the process and easy enough to ruin a print if you are to slow or fast doing it.
 
tsiklonaut said:
Exellent work above - always adored hand-coloring.

...
Click to expand...

Thanks Margus! It's been about 15 years or so since I painted prints. Surprisingly, the bottle of PM solution (linseed oil and solvent?) was intact! I will have to give your tape drying/flattening method as well. Multigrade fiber prints seem to take months to self flatten!
 
Michael, thank you. There is a lot to be said about framed prints hanging on the wall compared to viewing on a monitor.
 
maddoc said:
Well ... after a 8 month break I gave it a try again in my make-shift darkroom / bathroom combination. Initially, the biggest problem was focusing onto the grain using a grain magnifier. It took me about one hour to "see" the grain (and only after the trick to make a scratch with some sharp knife into the emulsion of a black frame and use that scratch as focusing aid came to my mind again). Next problem was light, I had only one (portable) safe-light that I change between a place closer to the enlarger and closer to the trays to control developing. While developing the first print the safety-light slipped and the bulb broke, no spare at home.... That is the result: Now I only wonder abut the reason for the bright stripe in the middle of the print.
Click to expand...

Hi Maddoc,
I don't know the reason for the bright strip. Try to print it again, if the negative doesn't have any gray-black strip. May be the problem disappear without finding the cause. Who cares. The image is very good and original. Next time I'll be in a bus here in Italy I'll shot a similar one (with your permission😉).
Thanks
Antonio
 
maddoc said:
Now I only wonder abut the reason for the bright stripe in the middle of the print.
Click to expand...

I usually got those when the ambient temperature is cold (and therefore developer too) and then I hesitated when I put the paper in the tray, so it is unevenly submerged for a short period of time.

Print it again.
 
You must log in or register to reply here.
Back
Top Bottom