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Hi, thanks for watching. I test all of my films and developers and match them to the printing process. I have a video workshop if you want to learn how to do all of that. timlaytonfineart.com/learn/

Yea, the snow is hard to beat. We have been waiting for this opportunity for over 4 years. Now I have the mill in all four seasons. I am working on the same thing for the other 36 historic mills that are left in the state. We also have 4 19th century covered bridges and I have been working on them with the 8x20.

I appreciate it. Thank you.

Thank you!

Hi, thanks for watching. The X-Ray film was exposed at EI 100. There were No movements other than a little rise on the front standard (Scheimflug).

@@TimLaytonDarkroomDiary Thank you. I do not know why I wrote Scheimpflug, I meant reciprocity failure. Given that you exposed for 2 s. L.E. I know it now, in German it is called Schwarzschild.

No worries. I have been building an empirical reciprocity chart for this film, and what I have found is that for a 2-second metered exposure in soft lighting (early morning or late afternoon), the best exposures are in the 6 to 8 second range in D-23. I am continuing to explore all of this deeply to make platinum and kallitype prints and I am sharing my research and proven workflows with the Darkroom Diary Premium members. If that is of interest to you, you can get started immediately via my wesbite at timlaytonfineart.com

Thank you for watching.

I am sure those are wonderful memories. Very special time I am sure.

Hi, thanks for watching. I have been using the high quality Richeson brushes for my Pt/Pd and Kallitype prints for 40 years. I offset the metal feral risk by coating it with clear nail polish or lacquer. I should note that it is a very low risk because I am only using the tip of the brush, and with the larger brushes, the bristles are about 3 1/2 to 4 inches. One would have to be a sloppy pig to get the sensitizer on the metal feral. Never had a problem.

Father and son working together as a team. We have lots of videos on the channel of us working together. That clear it up for you?

What is there to be confused about. Two people are working together to create an ultra large format exposure. What could be confusing about that?

Hi, as you probably know, that depends on several variables, such as the lighting conditions, the developer used, dilution and agitation of the chosen developer, and so on. In my case, I rate this film between EI 50 and 100 for my lighting.

ISO зависит от интенсивности естественного света и времени суток. Значение EI обычно находится в пределах от 50 до 100. Фильм не чувствителен к красному свету, потому что это рентгеновская пленка, которая чувствительна только к синему и зеленому свету. Спасибо за просмотр.

Hi, thanks for watching and sharing your comments.

Thank you.

yea, Ozark county, near the town of Dora. According to the state, this is the most photographed historic mill in Missouri.

@TimLaytonDarkroomDiary I lived in Coldwater, MO about 35 years ago. Now I'm relocating my photo business to Paragould Arkansas from western, NC. Goin' back to my roots.

Sounds awesome!! Thanks for watching.

Hi, it varies depnding on the type of light and also the time of the day. For outdoor light, I rate between EI 50 and 100. For indoor lighting, it is much slower, like EI 12 to EI 6 range.

Thanks for your answer

Hi, thank you. The rating varies depnding on the type of light and also the time of the day. For outdoor light, I rate between EI 50 and 100. For indoor lighting, it is much slower, like EI 12 to EI 6 range.

Awesome. Sounds like you are happy doing what you love and that is perfect. Thanks for watching.

You are welcome, thanks for watching.

oh yea... doesnt get any more fun than this.. thanks for watching.

The 14x17 camera is about 10 kg, so it isn't too bad to get around. The 450 lens on 14x17 format is indeed slightly wide. A normal lens on 14x17 is 550mm. The math says one thing, but the 450 feels much wider on the 14x17 ULF format in my opinion. Thanks for watching.

@@TimLaytonDarkroomDiarynot So bad for the size. Lens looks a Nice wide as you say 👍

Hi, yes, the truck and easy access is always a joy anything ULF is involved! We have some of the historic mills that we photograph requiring over a mile hike in one way. Those are always fun.. :). Thanks for watching.

That is wonderful... Glad you are on track! Thanks for watching.

Thanks, Michael. I have sevral 14x17 Kallitypes to print from this location. More to follow soon.

I guess that is one of the benefits (or possibly hazards) of doing something for 40+ years. Over time, you can accumulate a lot of gear. I also have 4 more vintage 8x10s that are collector editions, but I don't use them.

In this video, I share my unique setup of how I use my 8x10 large format camera system to make silver gelatin enlarges using the Intrepid 4x5 LED light source and controller.

Hi Frank, thanks for watching and for your questions. I used to have the big Heiland systems and 8x10 enlargers for making large silver gelatin prints. I sold all of that because I no longer make work professionally for others. Everything I create now is LF/ULF contact prints and the only exception to that is my wild horse silver gelatin prints (8x10 up to 20x24) which is why I got the Intrepid system. I use the setup as a horizontal configuration because I prefer to work like this versus mounting the light source on a 4x5 camera on a copy stand or something similar for a vertical workflow. The other benefit is that I get to use my highest quality glass with this setup as well.

@@TimLaytonDarkroomDiary Hi Tim, that explains it and makes so sense to me. Many thanks !

You are welcome.

I totally agree. I used the Heiland system on my 8x10 enlarger for years and it was amazing. Let's hope they come out with this soon.

I appreciate that very much. Thank you for watching and commenting.

You are welcome. I really appreciate the feedback and support. It means a lot because most people never take the time to comment, so I really appreciate it.

Thank you... I appreciate it very much.

Thank you! Are you talking about the text on the mill? If that is what you mean, remember that film is a negative and when you put the emulsion down to make the contact print, the text flips back into normal viewing again. If that is not what you mean, let me know.

@@TimLaytonDarkroomDiary Yes, my bad. You are right. I'm a wet plate guy and always struggle with texts on the image. :)

I thought that might be the case... :). Thanks for watching.

Congrats on your print!!! I am really happy to hear the video helped you. It sounds like you are on a good path. Please keep me posted on how your work is coming along.

Hi, never had any issues with the bamboo catching on fire. There is no way to cover every little detail in this quick videos, but my process is to lay down a good coat of wax on both sides of the paper and then let it cool and then I take it to my dry mount press set to 200F and place the paper negative between two sheets of blotting paper and press it for 1 minute. It gets all the excess wax out that way and makes a perfect calotype ready for printing. Thanks for watching and supporting the Darkroom Diary.

@@TimLaytonDarkroomDiary Have you ever tried to melt the wax in a shallow pan, big enough to hold the paper negative, and then place the paper neg in the melted wax, take it out and the let it dry? Then place it in the dry mount press? I guess you would need a large enough pan.

There is a guy in France that used to fully immerse his ULF calotypes and so I have seen that done. My process is easy and It works perfectly. Heating up a large vat of wax and keeping it liquid is possibly more of a fire hazard than a bamboo paper towel. I simply take the Bamboo paper towel on and off the hot plate as needed and I have never had any issues. You will find a method that works for you. Just experiment and find a path that you like the best.

@@TimLaytonDarkroomDiary Yes I think you are right about that.

Thank you. I appreicate the kind words and encouragement.

Thank you... Sounds like you have some good stuff ahead. Keep me posted on how you are doing.

Thank you. I appreciate the kind words and encouragment. I printed several kallitype from silver gelaitn paper negs and calotype handmade paper negs yesterday and I am printing several more today. I am creating some video of this and I will be sharing it soon. Thank you for the feedback. I try and be honest and real with my videos and share the good stuff and the mistakes too because that is real life. Great start to the new year.

@@TimLaytonDarkroomDiary I have some issues with kallitypes, clear stains during development, some dots with rinse water ( I assume because I use tap water with citric acid) and sometimes, when drying,, big white stains I think i dont fix enough.

Hi, thanks for watching. I am making these videos about silver gelatin paper negatives right now because I am developing a new workshop for that process. I use silver gelatin paper negatives quite often, as I do with my handmade calotype paper negatives. Two radically different processes with very different aesthetics. I have 3 major projects that I am committed to for the next 10+ years. One of them uses calotype paper negatives and Pt/Pd prints. Another uses 4x5 sheet film and 35mm film to photograph the wild horses and I make silver gelatin enlargements for that project. And the other project is solely ULF (14x17 and 8x20 with mostly silver gelatin paper negs, x-ray film) to make Pt/Pd prints as well as silver gelatin prints. All of my workflows are 100% analog end to end.

That is great to hear... I knew this would be helpful and that is why I shared my results. Thanks for watching.

I appreciate that very much. I made the decision to go as deep as possible with silver gelatin paper negatives and really explore the boundaries of what is possible and focus in on the strengths and weaknesses to help define the best use cases. Thanks for watching.

awesome... great camera. :)

Thank you, same to you too. Yea, the toned one is my pick too!

Hi Daniel, good to hear from you. I went down the path with Kallitypes from silver gelatin paper negatives a few years ago and I made that work as well. The workflow and the tweaks for Kallitypes are a little different than with other workflows, but I was very happy with the prints. Since I am developing the brand new silver gelatin paper negative video workshop, I am going super deep on testing all sort of papers (RC, Fiber, etc) with a variety of different finishes (matte, glossy, satin, etc.) and then matching them to the various workflows and finding the right chemistry combinations to make them sing. It is a lot of work, but definitely worth the effort as you can see the prints look good.

It truly is amazing what is possible. Thank you for the Christmas wishes, and the same to you and your family too. Thanks for your support.

Thank you.

You are welcome and thank you for watching.

Gotta love it... Excellent timing. I have several more coming in this series and I have been working on a brand new silver gelatin paper negative video workshop where I go super deep in areas I have never seen anyone else do. Keep me posted on how things go for you.

Wonderful stuff... Keep me posted on how you are doing.

Hi, I have not had that issue on my side, but it does make sense how that could happen based on the thickness of the heavier glass. Thanks for watching and commenting.

@@TimLaytonDarkroomDiary BTW your post regarding a new camera for photographing wild horses is a dead link.

Yes, thank you. The system had an error and posted it as a backdated article and I caught it and got it lined it. It is scheduled properly now and will release. Thank you for reporting it.