Category: coursenotes

from lectures and presentations I’ve taught

Separations: start here

Posted on Posted in collotype, coursenotes, dye transfer, exs notebook, labnotes

notations on making separation negatives. bits from the past intended for today.

DSChromeCN
R252970
G586199
B4747b98
wratten filter numbers

direct seps are easiest, but you create “time seps” as well — trichromie. 

contact seps are easier than enlarged seps. 
learn what standard light is -- then you can begin to translate "old" literature. Use the theory and experience of those who made their living in labs.

contact: standard light
 standard light - tungsten -
first, early innovator lab: Evans & Peterson Color 
K&M filtermatic and K&M Point Light … Omega ULE system
3 FC = .3 density from a 3.0 wedge density
AIM ~= .4 shadow negative

using silver density steps will introduce you to the “green problem” — aka, green gaps
calibrate with color strips &&& silver wedges

derive “Relative Exposures” of the sep set
29, 61, 47b

notes from tabula rosa: super XX to Tmax. XX is twice over. convert those historical refs to current start points. Oh. use HC-110 B at 72F
—
visual evaluation/ no densitometer, make a BW print onto known paper.
print the Green Sep, unless GREEN is the dominant scene color. (then use red)

—
First seps from: DuPont Fine Grain Pan (20x) easy

Grain of seps: 1975-80)
Plus-X -- lowest, best enlargement
Sep Type 1 (reciprocity notes)
XX - highest grain
         -Green: less exposure longer Development
—
DS Base exposure: (working with ‘factors’)
(25) Red ~=~ 1
(58) Green +1/3
(47) Blue + 2 2/3
OR take blue as the base exposure, then apply ND filters to the RED & GREEN exposures.

— newton ring 
offset powder // gum glass
watch RH of film room.
don't mix exposure, storage, processing stages in same room.
—
tmax contact [at asa 6]
29	24 sec
61	14 sec
47b	135 sec

—
HC 110 A,B  // C,F
DK50  st, 1+1 // 1+2, 1+3
D76	st, 1+1 // 1+3
Seps // masks
from back in the day:
Dupont 16D  6,7,8,9  == for gammas of .6 to .9 /.Sure made it easy.
--
watch how you dry the seps. angles matter. never force dry (use "secret" dryer)
learn how to mix D76 so it doesn't "shift" on you. Oh, avoid those who don't know how.

########

two shoes

  • the path is the destination
  • the destination isn’t on any path
  • MA (japanese)

###

PS. what do I currently use? Ilford: delta, ortho plus, fp4+ — not Kodak. I have it. Have used it. don’t now.

Developing Film –

Posted on Posted in coursenotes, labnotes, the Lab

The deeper dive into the way film develops. While learning, try to avoid the post holes..the forums, which may have had good larger intent, but now are often fights between amateurs over who has a claim on meaning.

from Haist

L.F.A. Mason:

  • approach of the developing agent to the surface of the grain.
  • adsorption of the developing agent to the grain surface
  • transfer of an electron from the developing agent to the latent image sight
  • conduction of the electron through the latent image speck
  • combination of the electron with a silver ion from the grain
  • deposition of the silver atom to enlarge the latent image
  • movement of other silver ions through the train toward the latent image site, leaving pits on opposite side of grain surface, where bromide ions are liberated

That is the way to developed silver, no matter how the magic soup is concocted — the magic brew never makes a silver bullet — merely a speck of silver and residue. This process proceeds in three dimensions: from the top of the emulsion downward. Like a sponge absorbing water. The agitation cycle, particularly the initial portion is the key to smooth development. In with the good chemical, out with the exhausted chemical. The breath of life for a silver born image.

More… about emulsions. The magic of gelatin.