Hi,
I developed some Kodak Vision using homebrew ECN-2 developer with ferrycyanide bleach and some frames turned out like this, with some green marks and I have no Ideea why, I washed the film with water between steps like stop, bleach and fix.

Bonjour à tous,

J’ai besoin de votre aide. Je souhaite créer un site permettant de cibler des couleurs précises afin de réaliser des préflashs. Pour l’instant, je vise un site dédié aux agrandisseurs utilisant uniquement la charte Kodak, avec les marques Omega (Chromega), Beseler et LPL (Saunders), car ce sont les plus présentes dans les labos et les self-labs.

Les données que je cherche à récupérer concernent la focale que vous utilisez, les temps d’exposition par bande, l’ouverture de l’objectif ainsi que les réglages des canaux de couleur EN PHOTO POUR FAIRE ANALYSER À CLAUDE.

Donc si avez uen Omega (Chromega), Beseler ou LPL (Saunders), j'ai besoin de vous !

Bien sûr, ces données ne seront pas fiables à 100 % et mériteront d’être testées, car chaque agrandisseur diffère à quelques paramètres près mais ça permet de faire gagner beaucoup de temps et de papier.

Merci d’avance pour votre aide !

Last week I recommended “Way Beyond Monochrome“ and I was happy to see many of you ordered it.

This week I’d like to recommend “Magnum Contact Sheets), a book that’s not only a great joy to read but also an important tutorial that we can all benefit from! (524 pages)

The great photographers from Herni Cartier-Bresson to Robert Capa to Elliott Erwitt show us not only great composition but exactly how they ”work” a scene. Higher, lower, closer, etc until the final negative is selected. It’s difficult to express what a benefit this is for our own work in the darkroom without seeing it for yourself.

And a great story about each artist. Over 440 stories including why some photographers lit their negatives on fire because they felt that the print was the ultimate conclusion of their work or how Robert Capa’s film roll of the landing on the beach on D-Day was ruined except one exposure, his most famous one.

The 2017 published version was it. It’s now out of print so there are only so many copies.

How about you, are you making contact sheets?

I converted an old canning cellar in my basement to a darkroom a few weeks ago and have been learning the ropes. This process is so insanely rewarding to me.

I’ve been lurking on this sub to pick up advice as I go and I’m so appreciative of all the knowledge that’s out there.

Phone pic of the pre-wash bath from this morning because I was feeling pretty dialed in for once.

Once I get running water down there I’ll be unstoppable lol

Finally found my enlarger, a Beseler 45 that I'll be driving back to Brooklyn from Vermont. Any tips on transporting it safely in my suburu forester? Blankets? Bubble wrap?

Hi people!

I never thought to ask- is anyone in NJ (preferably northern NJ) interested in mentoring? I know what im doing in the darkroom but I want to get to the next level so I can improve my skills teaching it as the years go on. Im always looking to improve! Let me know!

I have developed a FOMAPAN 400 action at home with a brand new can of Rollei supergrain. It came out emerald green.

Edit: It was a loading issue -_-

I’m pretty glad with how this one came out any feedback would be nice

clarification: using ra-4 in a camera as a negative and then printing or scanning to see the positive results.

i never seen (or remember) the results of this and the closest thing is the reversal for ra-4 either as a direct positive or (sometimes) for slide printing.

These are pictures (so Wikipedia claims) of William Faulkner in 1924. I find them really cool looking. Is this look achieved largely by printing (dodging and burning?). It looks so similar to art done with charcoal.

Reading my first Faulkner novel and so was looking him up.

Hello, I am interested in doing the RA-4 reversal process, and I have done a lot ofregular RA-4 printing using the Bellini RA-4 kit. I use a Jobo agitator set up, and single use my chemicals. I can’t seem to find any reliable temperature or time numbers for the dektol step, nor can I find color channel info for this process. Do y’all know how to do it or know of any resources I could use for this process?

Thanks

Hello, I very recently started shooting color and developped my first two rolls (portra 400) yesterday using a THD cp 2.0 processor and the chemistry that came with it. I intend to later print a few in my darkroom. I never printed ra-4 before, only b&w. My goal is to shoot and develop as many color rolls as possible while in China and try a few different film stocks and then print them in my darkroom when I get back in my home country.

Since I have no prior experience with c41 and color negs, I'd appreciate any critical/technical review of my negatives so that I can improve on prior mistakes. These were shot during a very overcast day.

Thank you, all comments appreciated!

I recently picked up a vintage Kodak Color Thermometer (CAT 179 7398), but it looks like some of the liquid has separated and become trapped at the very top of the glass tube, above the 50°C marking.

The main column seems to work normally except for the fact that the reading is off by the amount that seems to be trapped at the top. The liquid at the top doesn’t move at all if I heat or cool the thermometer.

I’ve tried tapping the thermometer and swinging it to create centrifugal force, without success.

I was considering using an electric kettle to gradually increase the temperature and hopefully reconnect the liquid columns, but I’m scared it will blow up because there is no extra space for the air to expand at the top at all.

Has anyone dealt with this before or successfully repaired one of these Kodak thermometers? Any advice would be appreciated!

Thanks!!

*mostly working :) some quirks ...

Hi guys! I’m starting to convert my laundry space into a dark room and I was wondering how people create good ventilation in an enclosed area that is supposed to be light tight? Thanks in advance !

Hello!

I used to develop black and white 35 mm film at home, it's been awhile, but I am still fairly comfortable with the whole process. I recently shot on a Keystone 106 everflash with black and white 110 film. I am hoping to develop the roll at home. I already got a reel suitable for 110 film that fits into my patterson tank and am all stocked up on my developing products and tools. My question is about the ratios of product to water, temperatures (still a standard 68 degrees?) and times. I have researched, but I keep getting conflicting answers, so here I am! Below I have written out which products I am using, and I would love for someone to give me some solid answers.

Kodak HC-110 Developer
Kodak Stop Bath
Ilford Rapid Fixer
Kodak Photo-Flo 200

Also, if anyone has any other tips, that would be greatly appreciated! Thank you!

Actually, most of my prints are NSFW. As far as I understand, I should probably look for a different subreddit to post them, right?

I was wondering what kind of paper would be best for achieving this look. I’m particularly drawn to rough, textured surfaces rather than smooth paper.
My university has a darkroom with everything needed for traditional black-and-white printing, and I’d love to experiment with different techniques to achieve this dreamy, otherworldly, almost faded and vintage-looking aesthetic.
I’m also curious about alternative processes like lith printing and kallitype, but I’m still a beginner when it comes to these techniques.
Does anyone have any recommendations for paper types, printing techniques, or experiments I should try? Any advice would be greatly appreciated!

I’ve been obsessed with Polina Ganz’s photography lately, especially the washed-out, grainy, almost ghostly look of her images. They feel like photographs from another time, and I absolutely love that aesthetic.

I know she works with alternative photographic processes and printing, but I’m not sure what exactly goes into achieving this particular look. Do you think she prints her images multiple times, or could it be a specific printing technique, paper, or some kind of manipulation?

I’ve been thinking about getting into alternative processes myself, starting with cyanotypes, since I’m still learning the basics of shooting analog and working in a darkroom. Cyanotype seems like a relatively accessible place to start, although I’m not the biggest fan of the blue tones. I know you can tone cyanotypes brown, so I was wondering if that could be a way to experiment with a similar aesthetic.
I’d love to eventually achieve something with that same faded, ethereal, vintage quality, but I honestly have no idea where to begin.

If anyone has any knowledge or experience with alternative processes, darkroom printing, or how to achieve this kind of washed-out look, I would be SO grateful for any advice or recommendations. I really want to learn how to create something like this myself!

I did a fashion shoot in the Highlands a few weeks ago, developed the negatives and love this one photo. I have a Durst M605 and print pictures on and off in my very tiny darkroom. Usually without too much faff, just so I can show friende and family nice photos of holidays. But for this print I want to sit down and make it work like it could be in a fashion magazine. I could use some help from this lovely community.

The stats:

• Ilford chemicals for dev, stop and fix
• Preflashed paper
• Satin RC paper
• Filter 3½ (M53, Y17) on the colour hear
• 12 second exposure for full image (F11) --> question: can I increase exposure time by adding the blue filter in the colour head as an ND filter?
• 3,5 seconds of burning the mountains on both sides
• 6 seconds burn on the sky for a light gradient
• Selenium toned afterwards

Now I feel like the suit is a tad too dark: up close I can see the buttons, but I want the suit to pop and be the center of the image without creating a halo around it. I love contrast in pictures, I normally print at filter 3 to 4, and I know that splitgrade may give me fine control but when I use that, I find the results too flat.

I have wire and card to create dodging tools but I always feel like I'm just doing something rather than intentionally using time/stops to create an image (do you have to move your dodging tools rapidly like a maniac to avoid clear edges?) I cannot seem to get my head around it without wasting copious amounts of paper in the process (especially since the paper darkens after drying).

Does someone have a golden tip or will it always be a trail and error? Can be more than just dodging and burning of course!

The new CatLABS 320 X Pan film has a pretty good tonal range.

Developed and scanned by Boston Film Lab, using Bellini DEK76 (high speed/high temp developer) and scanned on a Fuji Frontier SP3000 scanner.

I ordered a roll of matte-finish Maxima from B&H in July and finally got notice from them this week that it's been discontinued.

Too bad, I love that paper.

I have another full roll of it and a partial roll of Maxima glossy, but I don't know what will come of the wonderful world of RA-4 darkroom printing.

Anyone have any insight? Please no speculation.