How-To

Jan

2011

25

Oct

2010

TRAVELING WITH FILM
I have received several inquiries as to how we handle film when traveling. Our photographic outings typically last anywhere from two weeks to well over a month. We each shoot several different formats and we usually shoot a lot of film. We do not process film on the road since it is not practical to work with LF and ULF film anywhere but in our darkroom. So the question comes up, how do you handle several hundred sheets of exposed film when traveling?

First I have to say we keep meticulous notes on every negative we make. Everything from exposure, to location, to time of day is recorded on a small digital voice recorder. Every sheet of film gets an entry detailing all pertinent information. Search here on the jbhphoto.com BLOG for previous posts about our record keeping in these entries; “KEEPING NOTES” and “PRINTING NOTES & CATALOG.”

We only have room to haul just so many film holders in each format. So it is always necessary to carry fresh film and to reload holders on the road. Depending on how much we shoot on any particular day, we may reload every evening, or we could go several days before having to reload. Obviously we carry fresh film and empty boxes. How much film? The rule of thumb is to carry twice what you think you will shoot in any format. How do you know? Experience is the only answer to that question. If in doubt, throw in another box just in case. All I can say is we have never ran out of film on any trip. We always come home with unexposed film.

When reloading becomes necessary it is important to be able to sort the exposed film into groups that require the same developing time. We have printed sheets for unloading film. When it comes time to reload, we go through our audio notes and record the film holder numbers into columns that denote the development of each sheet of film. Once we have the sheet filled out, it is just a matter of locating the holders and arranging them in piles before unloading.

We do not practice anything very exotic when it comes to film development. We expose with the intention of one of three development times for any particular situation. Each sheet of film is exposed to be processed either Normal, Normal +1 ½, or Normal -1 ½. That is it. . . we need three sets of empty film boxes for each format, each labeled for the appropriate developing time. As we load more film we empty more boxes that are then used to unload more exposed film. We carry labels that we print off before we leave and affix them to the boxes as needed. The labels denote film developing time and that the box contains exposed film.

We also carry a handful of large rubber bands. All boxes, whether exposed or unexposed are held closed with two rubber bands. This is insurance against a box coming open or accidentally opening the wrong box. In our scheme, any box with rubber bands on it contains film. . . Do Not Open!

We carry a large Harrison tent, but I hate using it. So, we also carry spring clips, small nails, a hammer, tape and blackout material to cover windows as needed. We can nearly always find a bathroom or other room that is easily transformed into the temporary darkroom for film handling. We also carry a small folding table which comes in handy at times. Dust is always a problem when loading film. We carry a small field service vacuum, see the BLOG entry titled “DUST. . . A Four Letter Word!” Every holder is vacuumed, inside and out, every time we reload.

When traveling and shooting LF and ULF you have to be creative and prepared. This entire process is much more difficult to explain than it is to put into use. You just need a little forethought and planning. Traveling with film is not that difficult.

JB

Posted by JB Harlin in Film, How-To, Photography

18

Aug

2010

PRINTING NOTES & CATALOG
In the last entry I talked about making film notes in the field. That is the first step in the process of record keeping. I didn’t mention the last step which is negative storage. Each negative is marked on one edge with a unique number, then inserted into a clear sleeve then into an archival envelope. Each envelope has the negative number written on the upper edge. The envelopes are then placed into archival boxes, which are labeled with the contents. Also, the smaller film is proofed on our standard paper. These proof sheets are punched, and filed in binders. That pretty much sums up the negative end of the process.

The next step is printing, and yes, we keep notes on the printing process. As each print is worked out in the darkroom, we have printed sheets that we use to record the process. We make our own print planner sheets using the computer to document every step in the darkroom. Our print planner sheets have spaces to record all pertinent information for the creation of a finished print. It includes the negative number and date, along with the print date, printing paper, developer, enlarger settings and such. The print planner sheet also has a series of boxes to record exposure manipulations. . . burning and dodging. That way if we ever need to go back and reprint, we have a record of exactly how we made the first prints. These sheets are filed in a three ring binder and labeled for future reference if needed.

We also keep a computer database which contains our catalog of available photographs. This database contains all of the information from the film and printing notes. The master catalog database also contains information on the number of prints available, price, and exhibition information.

I am sure this all sounds extremely complicated, and I have to admit that if you ever get behind on the record keeping, it would be near impossible to ever catch up. The secret is to continually and consistently keep the records up to date. When we are on the road, the first order of business in the evening, after dinner, is to update the day’s notes and log. Once we get home, the next order of business is to get the film notes done. This has to be done in order to sort the film before development. Our catalog database allows us to keep track of what we have in the way of photographs and serves as a place to search for information when needed.

If you continually keep up with your film notes and records you will always have a way to see where you have been and maybe an aid to where you go next. Is it worth it? We would not do it if we thought otherwise!

JB

Posted by JB Harlin in Commentary, Film, How-To, Photography, The Darkroom Workshop

09

Aug

2010

KEEPING NOTES
I have written quite a bit about LF and ULF photography here on the jbhphoto BLOG since we started back in January of 2009. A lot of it is my rambling about this or that, and sometimes I tend to repeat myself. Oh well, must be old age??? One thing that I do not remember writing about is keeping notes. We are both meticulous about keeping records of our travels and detailed notes on the film we shoot.

We do several things when we go out on an extended trip. One is to make a lot of snapshots. They are an excellent way to keep track of the places we visit and are used to plan future trips and serve as a visual reminder of the places and things we discover. We also keep a daily diary/travel log of what, when, and where we were on a particular day. I have to admit that Susan is better at the diary than me, but at the end of every day before we drop off to la-la land, we try to type a few paragraphs. We keep this on a laptop computer and entries continue till the trip is over. It is a great resource, along with the snapshots, later when trying to come up with exactly what happened on any particular adventure.

But, the most important notes are those that pertain to the film we shoot. I experimented for some time when I first started shooting sheet film and eventually came up with a record keeping scheme that works. We have both used this method for many years and it has given us detailed records that, when needed, are invaluable.

When I first began seriously trying to keep film notes I started off with a small notebook. For me though, having to fumble with pen and paper was just not working. So I came up with the bright idea of using a small voice recorder. This worked great! I would record one entry for each exposure and later transcribe the information into a notebook. We both used a micro-cassette recorder for years, until mine just flat quit working. It was worn out and had to be retired.

At this point the digital voice recorders were available and they opened up an entirely new way of record keeping. With the digital recorders it is even easier to keep up with the daily notes. We make one entry for each exposure. The digital file is date and time stamped and it is easy to upload them to the laptop computer. This we do every evening along with updating the daily travel log.

Originally we transcribed each film audio entry into a notebook by hand, but starting about three yeas ago we began typing this information into a computerized form. This form has spaces for Negative Number, Film Holder Number, Development, Image Orientation, f Stop, Shutter Speed, Notes, Filter, Lens, GPS and Date and Time.

This is a somewhat complex way of keeping film data, but it has proven to be well worth the effort, especially when you need to recall the what, when, or how of a particular photo that you made years back. I can go to my film notes and tell you most anything about a particular negative, including the weather.

Keeping notes is also a way to track mistakes. If a particular negative did not turn out as expected, you have all of the information that can provide a clue as to what went wrong. I also record information on my audio entries about location, the light, temperature and anything else that might affect the image, or the photographer. Your notes can be a lifeline to help you track problems.

Detailed records of each sheet of film are not hard to keep up with if you are diligent and keep the process current. Next time I will talk a little about keeping notes in the darkroom. . . and. . . yes, we also keep pretty detailed records of the prints we make.

JB

Posted by JB Harlin in Commentary, DIY, Film, How-To, Photography

11

Jul

2010

DUST. . . A Four Letter Word!
Yes, the number one adversary of the LF photographer is DUST! Dust is a four letter word in the world of photography. Seems we are always fighting Dust. It gets into everything. The one place you absolutely can not tolerate the pest is on your film. A tiny speck of dust or lint in your film holder will always find its way onto that one area of smooth even texture.

So, the question is how to battle dust? One thing to do is, as mentioned in my previous post titled “Wax On. . . Wax Off” is to wax your equipment. Waxed surfaces are easier to keep clean. Also, vacuum out all of your bags, cases and packs regularly. Before every outing, take the time to disassemble your camera and clean it. Remove the bellows and vacuum out all of the folds, inside and out.

Next comes your film holders. Before you begin loading, dust the table top. I like to go over the surface with a damp cloth just to be sure. Your best friend when it comes to your film holders is a good vacuum. We travel and have to deal with film loading in all sorts of, less than desirable situations. Our number one tool is a small portable vacuum.

I first saw these small commercial vacuums being used by copy machine techs years ago. The vacuum they carry is a small, self-contained, field service vacuum and the most popular seems to be one made by 3M. We searched around and bought a 3M SV-497AJM vacuum on that auction site years ago. One of the best purchases we have made for sure!

A little searching on the Internet turned up this from 3M, “Designed by 3M Corporation for its own office products service department, this durable, reliable vacuum cleaner set the standard for all others. Designed specifically for cleaning toner from copy machines, it also is great for cleaning printers, floors or just about anything else a field engineer might encounter.” The unit is self contained with hose and attachments housed in the top and is 17″ x 6.5″ x 7.5″ weighing 9 pounds.

Our 3M field service vacuum has logged many miles with us over the years and we would not consider travel without it. It is also great to have around the darkroom to help keep dust under control.
JB

Posted by JB Harlin in Darkroom, Film, How-To, Photography, Travel

16

Jun

2010

WAX ON. . . WAX OFF
Well. . . that was a cheap shot, but maybe it got your attention. Care and maintenance of your photo equipment is something that is important. Take care of your equipment, and it will take care of you. We use a lot of gear that is made of wood. We spend a lot of time outside in harsh environments. But, all of our equipment needs protection from the elements. We wax everything. Wood, metal, plastic. . . they all get a generous application of wax.

Wax keeps moving parts moving smoothly and a well waxed surface is easier to keep clean. Dirt and contaminants do not stick to a waxed surface. A slick, waxed surface is easier to keep clean. Also moisture is not as much a problem. I can say that we wax most everything except the lenses.

So, what kind of wax should you use on your expensive equipment? We use only the highest quality Microcrystalline waxes on our gear. Microcrystalline waxes are far and away, the finest wax you can use.

They offer excellent resistance to moisture, food acids, alcohols, moderate temperatures and are pH neutral naturally. Another benefit is that they will not show fingerprints on treated surfaces. Microcrystalline waxes also dry crystal clear, never yellow, leave no chalky residue and resist dust as well!

What brand of Microcrystalline wax do we use? RENAISSANCE WAX-POLISH has been the #1 choice of museums, art galleries and institutions for the preservation of precious items for over forty years. Professional conservators, retailers, restorers and private individuals throughout the world depend on RENAISSANCE WAX to protect their collections and for in home use.

All I can say is, this stuff is great and highly recommended. It is SAFE to protect all of these Materials:

Wood; raw & finished. Leather, Parchment & Paper. Metal; Silver, Silver Plate, Gold, Copper & Copper Alloys (Bronze, Brass, Tin, Zinc, German Silver, Nickel), Lead & Pewter, Iron & Iron Alloys, Tin & Tin Alloys. Damascus; Stone, Marble, Onyx, Limestone, Granite, Brick, Tile, Terrazzo, Obsidian, Alabaster; Gems, Glass, Porcelain, Holloware, Bone, Ivory, Horn, Shell & Mother-of-Pearl, Gutta Percha. Dammars; Gilding & Gold Leaf, Patinas. Enamel, Lacquer, Japanning, Cloute, Pose d’Or, Pique Point, Varnish, Marbleizing, Stains & Artificial Graining. Plastics, Formicas, Paints, Polyvinyl Acetates, Esters of Polymethyacrylic, Polycyclohexanones, Fiberglas Epoxy Resins, and much more!

Guess you can say that we are sold on Microcrystalline RENAISSANCE WAX. You can find it at most woodworking supply stores and on line. A quick Google search will turn up a lot more information. Well worth the cost and time it takes to apply. A little “Wax On. . . Wax Off” and you are good to go most anywhere.

JB

Posted by JB Harlin in DIY, How-To, Photography

03

Jun

2010

COVER YOUR BACK?
Do you cover the back of your view camera with the darkcloth before you pull the darkslide? I certainly do!

Have you ever experienced these pesky little light leaks along the edge of the film that seem to come from nowhere? Gremlins? Not really. They are caused by any number of things that can go wrong in LF. A holder that has a small leak only when the slide is out, one that does not fit tight in the camera back, a light trap that is worn, or maybe you stress the holder as you remove or replace the darkslide. Thing is, it always seems to show up on that one piece of film you really want to print. Light leaks were seldom a problem as long as we were shooting 4×5, but when we moved to larger film sizes it became more evident. I will say, without reservation, as the film size goes up, the problems multiply exponentially!

The good news. . . the solution is simple, and for us, solved 99% of the light leak problems. Leave the darkcloth on the back of the camera while exposing the film. This way, even if there is a problem with the holder seating or the light seal being broken when removing or replacing the slide, you greatly reduce the probability of a leak.

It has become a habit to clip the darkcloth to the camera back once it is setup, and it remains there till the exposure is finished and the darkslide is back in the holder. We both use small, inexpensive, plastic spring clamps available at the local hardware store, to clip the darkcloth to the camera back. Simple, quick, easy. . . and. . . it works!

JB

Posted by JB Harlin in Film, How-To, Photography

17

May

2010

WHERE DO I START?
The question comes up every now and again about getting started processing and printing B&W film in the wet darkroom. Seems that as more and more people come to photography via the digi-snapper route, they eventually become interested in that antiquated art form known as Film. I have said this so many times, have been cursed and belittled by some for my comments, but here it is again. Digital is not a replacement for film. It is simply another art form. There I have said it one more time. If you don’t get it, too bad. Get over it.

Now, back to the subject for today, how to get started processing and printing film in the wet darkroom. The question is, where and how do I start? What do I need? Is it hard to do? There are many answers to these questions. You can take a class, find a workshop, or study with someone that is willing to teach you. Or, my favorite method of doing anything. . . find a good book and learn on your own.

If you choose my method the next question is, what book? There are many good books on getting started with film. Also, there are a lot of good web sites on the Internet that will help you. My recommendation is to start where I did over thirty years ago. I found a great book that is geared to the rank beginner. This book does not outline anything that is set in concrete, but if you follow it you will process a roll of film and make prints. Wherever you go from there is up to you. This is where I started and I can say it worked the first time and though I do not use much of the techniques or materials in the book anymore, this was the launching pad for me to move to more advanced techniques. Some of the materials and chemicals are no longer available, specifically the chapters on color, but the basic B&W techniques still apply. This book is a bare-bones, get you started text.

OK. . . enough of my book review, time to get down to brass tacks. First I have to say that the book I recommend is long out of print. But, the good news is the title is readily available on the used market and it is not expensive. I found several copies on the Internet for $1.00! If you are interested in getting started in the wet darkroom, here is a good place to begin. It worked for me, I am sure it will work for you also. Here it is;

“DO IT IN THE DARK”
by Tom Burk
H. P. Books 1975
ISBN 0-912656-28-X

This is one place to start. . .

JB

Posted by JB Harlin in Darkroom, Film, How-To, Photography

03

May

2010

THE VARIABLE CONTRAST COLD LIGHT
The dual grid, Variable Contrast Cold Light head (VCCL), is a great device for your enlarger if you print on black & white VC papers. These heads allow you to dial in any contrast grade your VC paper is capable of producing. You have continuously variable contrast at your fingertips. And, yes they do work. The trouble is, every paper is different. Setting the dial on the head to any random equal setting may or may not produce a grade #2 contrast. Worse yet, what two settings should you choose?

When you start using a new VCCL head you are now faced with a quandary. How do you calibrate this thing so you have some idea what paper grade you are actually getting? Did you know you can calibrate a VCCL head to a known standard? You can know what settings of the blue and green grid will give you an equivalent grade #2, or #3, or anything within the range of the paper!

Yes you can calibrate a VCCL head, and here is how it can be done. Look at the article “USING BTZS TO CALIBRATE YOUR VARIABLE CONTRAST COLD LIGHT HEAD” originally published in the Sep/Oct 2007 issue of View Camera Magazine in the ARTICLES area of our web site.

Posted by JB Harlin in Darkroom, How-To, Photography

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