Learn To Make a Print In The Darkroom
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- Опубликовано: 6 окт 2018
- This video will go over how to make a print from your negative in the darkroom. I cover cleaning the negative, making a test strip, determining the correct exposure time and contrast filter, basic dodging and burning, and processing to archival standards. This roughly follows instructions in Kodak AJ-3 imaging.kodakalaris.com/sites/...
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How are you not a big RUclipsr? This information you are giving out to people for virtually free is priceless.
You know, I watch your videos every night for two reasons. 1. To learn the details. You are in my view the most dedicated in youtube when it comes to to the subject. 2. To fall asleep. And I mean this in the best sense. I find the videos (and your voice) very soothing.
Thank you!
Excellent video! Thanks so much for sharing your work!
This was an astoundingly helpful video
Thank You very much for this informative and enjoyable video; I grabbed some interesting tips! I am looking forward to seeing the split-filter printing video as well...
I love your channel. I discovered photography last year.
I since have gotten into film, and shoot a lot. I develop at home and scan.
I hate how things look scanned, and I just bought my enlarger and other darkroom needs.
I shoot 35mm, 6x6, and 4x5 large format now,
Thank you for the content.
Farout Brother, very nice video.. I to an a darkroom pro. I have been in my darkroom for 25+ years. I have taught at college level. My Father showed me about film dev, when I was 12 years old, and have not looked back. I love photography and darkroom.
So glad I found your channel.
Thank you!
Love your videos, thanks so much! To clarify, can you explain the fixer A formulation and the fixer B formulation (before selenium toning). Are these dektol fixers? Thanks again, your videos are so helpful!
Thanks a lot for the video
Thank you so much for make so complete videos! The best channel! Is there any reason you prefer kodak soft fixer and not the rapid fixer? If you use the rapid one, is only 1 bath or the same numer of 2 baths but different times?
I use what I can get on my budget at the time.
Super!
Thank you ! )))
I just got my first enlarger. It is the same devere 504 with the same huge easle as yours just a condenser head not the colour head. Even tho it came with the transformer snd colour analyser
I use Selenium toner on movie film after a print is made and is too light or reversed and is too light. The toner restores contrast and darkens leader.
Great tutorial. Can I ask why you don’t use the enlarger filters on your colour head rather than the ilford filter for contrast.
Thanks.
I don’t want to assume people watching have a color head too
Wow, your youtube channel is a gold mine of valuable information. Question: is there a specific reason as to why you use Warmtone paper yet cool it down with a Selenium bath?
I use a fairly weak dilution for the toner so it doesn’t cool the color all that much. It’s really only noticeable when placed next to in untoned print. It usually keeps the warm tone but removes the greenish tint.
@@TheNakedPhotographer oh I see, very interesting. Thanks!
Really liking your videos. What’s the advantage of ‘traditional’ fixer over rapid fixer? I’ve only used rapid.
I can mix it cheap, that’s all
@@TheNakedPhotographer and smell...
Good
Excellent video. Do you think you can make a video covering split-filter printing?
Yes, it is in the planning stage right now.
In the long distant past when I used to do darkroom work (getting back into it!) I was told I should put the grain enlarger on a sheet an old sheet of the same kind of paper I'd be printing on rather than directly on the easel. Is this good practice or is it a mistake? Maybe that minor thickness difference wouldn't have any visible effect?
You are correct, the thickness of a sheet of paper is inconsequential to focus. Alignment between the negative and lens stages are far more critical.
@@TheNakedPhotographer Wow, that was quick! Thanks for the answer. I love your videos - keep 'em coming!
Hi Gregory, the only info I miss in this video is that the final print will be 10-15% darker after making it dry. Otherwise, great video. I am glad I realize that over ten years of my darkroom practice I have practically the same workflow as you have. By the way, when you are in Prague, the Czech Republic, you are welcome in my darkroom!
The dry down you describe is different for each type and brand paper. The Ilford FB that I am using has little to no change, but I’ve never tried Adox or Foma.
@@TheNakedPhotographer i have this experience with ilford fb glossy papers
Do you ever choose ilfords classic over ilfords warm tone fiber papers for any reason?
If I’m out of WT and have classic, then I use the classic
Hello, in other tutorials I saw/read people were very strict about using different pincers for moving paper from developer to bath and from bath to fixer, whereas you use one hand. So how is it crucial?
It’s not as crucial as other people make it out to be. I either wash my glove or change it before handling a new piece of paper, and I never touch a tray after moving to the next step.
@@TheNakedPhotographer got it, thanks!
Hi...just saw this video...is CF 2 the first filter to use for all ASA and brand of film?
Pretty much.
@@TheNakedPhotographer thank you
Thank you so much Gregory for all the content, im learning a lot!!! I really need your help now. So i live in a city where theres not a single shop of analog photography and im asking an uncle that travels from Spain this christmas holiday to bring some equipment. My question: if i only have an enlarger (Fujimoto G70) and some shooted B/W film cans, Which is the more neccesary/economic equipment needed to set a basic darkroom, start practicing and making my very first black and white prints? and which paper and chemicals are better to a newbie? Thank you so much for reading this i really hope you can help me.
You will need a film developing tank with reels, measuring cups for liquid, an enlarger with lens, an easel for the paper, and trays to develop the prints in. A thermometer would be good, too. I would recommend using Ilford film and paper (the new RC paper is very good). It is high quality and consistent.
@@TheNakedPhotographer Thank you so much. This info is really important for my darkroom project. Congrats fot the content, i will be following closely.
Does anyone know what kind of squeegee this is? I have a Paterson print squeegee and I'm sure its damaging prints!
It’s called a “smoothie”. Last I saw you can still get them from Freestyle Photo under the Legacy Pro brand name www.freestylephoto.biz/9114-LegacyPro-14-in.-Tube-Squeegee-for-Prints
Is your squeegee/inspection board just a dry erase board?
No, it’s a 6mm thick piece of white acrylic sheet
Your darkroom is probably air conditioned but, beginner question sorry 😊, you never check chemicals baths temperature ? 🤔 🙏
Not for printing. The room is steady at 21C.
@@TheNakedPhotographer Thank you. I've gotta find a way to set temperature at 21ºC too in my darkroom.
Depends on your room.
Im confused when doing a test strip. Do you start at 2 seconds then add more time as you go down? Wouldn't that just over expose the whole frame?...Wouldn't the 2 second strip at the top end up being the multiple of every other amoutn of time as you go down? Also, my color head goes in increments of 10, all the way to about 170.
Is "20" considered an ilford "2" grade?
Every exposed section adds two more seconds, so I end up with sections exposed for 2, 4, 6, 8, and 10 seconds lined up next to each other. A color head with the filters set to “0” for each color is the same as an Ilford grade 2.
@@TheNakedPhotographer So when I make the test print. I expose for 2 seconds, then cover, and expose for 4 seconds (count to 4?) or do I expose that for 2 extra seconds, and then the 3rd section is 4 extra seconds, etc.
Lol I'm hopeless when it comes to making a test exposure...Don't you have a video that covers that?
Also, if all of them are set to zero, and that's a "grade 2", if I crank the red color to, 20, what is that the equivalent of? Anywhere I can find more information on that?
Thank you very much!
Expose for two, cover a part, expose two more, cover a little more, expose two more seconds, etc. I go over test strips in several videos. I also have a video about using a color head for black and white contrast control.
@@TheNakedPhotographer Awesome, thank you!.
why put emulsion side down? when i scan film , i read to scan emulsion side up. what do you think?
This isn’t scanning
Shiny side goes towards the light... At least that is how I remember
No Farmer's reducer!!!!!??
Not for this print. I do, however, use it in the video for removing black spots from prints.
Why do we care about camera lenses so
much but when using an enlarger the advice I had was the lense wasn’t critical and the $30 Nikkor or Schnieder I got were just fine?
Someone told you wrong
Like companies guard this stuff like vegetable tanning is guarded. Lol. They want you to pay for this.
I have a passion for teaching photography
Fixing for 5 min. is far too much. You won't get rid of hypo even using hypo clearing.
It is a weak fixer. If you use a weak fixer solution such as this or Kodak’s you must fix longer than the strong dilutions that Ilford recommends. If you fix for one minute in this fixer you will not have a fixed print at all.