The darkroom has been the recipient of electronic gadgets for decades. Many of the private darkrooms were equipped with electronic aids long before the digital upgrades. The intent was convenience, as well as ease of operation for the casual darkroom printer.
The first items were timers. After that came analyzers – darkroom meters used for judging exposure and contrast selection.
Enlarger timers, usually, control time. First ones were mechanical, much like a clock. Digital timers provided more features, including “f-stop” timing. In wet room (side) are process timers; some are multi-step, or even multi-process capable.
Exposure/ Contrast Meters
Technically they are on-easel meters. The readings are taken at the printing stage. The negative is projected onto the easel; the meter probe (sensor) is positioned on the easel to capture the light from a spot of the image.
Darkroom 21: Tron
[OFFLINE is zenLite key]
Published source, DIY build information: timers, light sources, meters
Trying to find words that reveal without condemning. Over the past several years, I have sought a shorthand for describing the commonplace avid photographer. Those who believe photography is an art, but don’t follow art. I’ve not wanted to hit them, even though their chosen position is to disparage much of what I view as constructive in a world.
Most of the <unnamed> use film and have for decades.
Who you know about; who you use as guide of your first efforts — these are the people of your first principles; your foundation. This foundation limits the size as well as the dimensions of growth. How big. How high.
I have known of Jungiin Lee for years, but have only recently heard of Clyde Butcher. These two serve as exemplars of two different paths. I heard of Butcher in online forums as a claimant of the mantle of Ansel Adams, and as working the manner of Hudson River School. Oddly, he misses the key to understanding the color notions, by not using color. Oh well, his real background is in selling clocks and walks.
Make no mistake, he is a success, and has been for decades. And so is Lee. These success are characteristically different. Butcher’s followers are buying art that provides functional memory of a place. Lee provides conversation with a history of art which includes photography. Her followers must understand relationships of place and object.
Their distinctions aren’t desert and swamp; they are ways of working with a place. In both people, we see continued working of their subject.
The Gallery world has accepted Jungiin Lee. Clyde Butcher has made his own gallery. In fact, he made his own destination bed and breakfast, which provides tours.