Fine Art Photography

YOUR DARKROOM

DARKROOMEveryone that has dabbled with their own film and print processing has been forced to build some sort of minimal darkroom. It is amazing to hear all of the darkroom stories from those that have been there and done that. But the truth is, there are many serious photographers, that have created amazing bodies of work with only the most basic darkrooms.

My first darkroom was in a small closet in a small apartment. I bought a garment rack and my clothes hung behind the bedroom door. A working darkroom does not have to look good. . . it just has to work good. You can load film, expose, and process paper in most any area that can be made lightproof. Once loaded into the tank, film can be processed on the bathroom vanity or kitchen counter. Paper, once processed, can be washed wherever you can set up a washer.DARKROOM

When you start out you may move. No telling how many times you may move before you finally settle in one place. An elaborate and expensive darkroom is nice, but if you relocate, you leave most of it behind. If you rent you have to be creative. I have moved numerous times and the more you move, the better you get at setting up some area as a darkroom.

You don’t need running water, it is nice, but not necessary. You can wash prints in the spare bathroom shower, or tub. One time I had a dry sink made from an old door, with sides screwed to it and painted with enamel paint. I later modified this with a drain, but it ran into a five gallon bucket. This was set up in a spare bedroom, with black plastic over the window. I washed prints in a print washer on the floor of the shower.

You can improvise as required when it comes to the setup. Buy a really good enlarger, with a good lens. The rest is up to you and your budget. A few trays, storage bottles, daylight film tank and chemicals and you are ready to get started. The fact is, you do not need an expensive, nor elaborate, darkroom to make seriously significant prints. Learn to make the most of what is available and put your money and effort into making fine prints. Don’t let the lack of a fully equipped darkroom come between you and your creativity. You can build that dream darkroom later.

JB

Posted by JB Harlin in Commentary, Darkroom, Photography

NOT THE KITCHEN SINK

DARKROOM SINK

In the fall of 2002 we made the reluctant decision that we needed a larger darkroom sink. This sparked a month long project of designing a new 3 1/2×10 1/2 foot sink. The new, larger, sink was to be modeled after the current, smaller, sink. The same basic idea was to be employed. The sink height would be the same. The depth would be greater and it would be as long as the room would allow, about 10.5 feet.

Cabinets for storage would be constructed at each end of the sink with slots for trays in between. There would be space in the right hand end for the water chiller and racks for chemical storage at each end. The backsplash would be a copy of the old one, only larger, and would contain the same plumbing, including filters, two mixing faucets and temperature control unit.

Having determined the necessary measurements it was just a matter of gathering the materials and getting to work. It took about three weeks to complete and install the new sink. Construction was my usual battle ship, massive over kill, design, using plenty of nails, screws, lag bolts, caulk and paint.

For those that are interested in seeing what is involved in building a wooden sink, click HERE to visit our snapshot album chronicling that little undertaking. This is not your typical kitchen sink!

 

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

COLD LIGHT?

Ever wonder exactly how a Cold Light enlarger head works? How can light be Cold? The grid lamp-type enlarger light source definitely generates much less heat when compared to an incandescent light source. The heat of an incandescent lamp is generated by the infrared radiation produced by the heated filament in the lamp. A typical incandescent lamp produces more IR than visible light. In the simplest terms, the Cold Light does not generate that much IR, hence less heat. But what exactly is a Cold Light?

Most Cold Light enlarging heads contain what is known as cold cathode lighting. And, yes there is also what is known as hot cathode lighting. You say you have never heard of such things? Maybe not, but you see them both most every day. Cold cathode lighting is simply neon. That neon OPEN sign at the convenience store is a cold cathode light. The fluorescent light in your hallway is hot cathode lighting. In simplest of forms, they are both gas discharge lamps.

There are a few of the larger Cold Light enlarger heads that use fluorescent lamps, but most Cold Light heads contain cold cathode grid lamps. Without getting into a technical discussion, the usual Cold Light head is nothing but a neon sign. The glass lamp is bent into a grid instead of spelling out some advertising slogan or the word OPEN.

A cold cathode lamp depends on high voltage to operate. Your small Cold Light head will use a voltage around 6KV (6,000) volts. A larger head can use up to 12KV to operate. The high voltage source is current limited in order to keep the lamp from overheating. By adding different rare gasses and phosphor coatings inside the lamp it is possible to create different colors of light.

The dual grid Variable Contrast Cold Light (VCCL) heads, used with variable contrast papers, have two grids. One green grid for printing soft contrast and a blue grid for printing hard contrast. Adjusting the intensity of each lamp, by varying the voltage, allows you to mix different amounts of each light to achieved a continuously variable contrast grade on VC paper.

So, now you know! That Cold Light enlarger head is nothing more than a specially designed neon sign. And, one important thing to remember and this is important! There is very high voltage inside that Cold Light, so unless you know what you are doing, Keep Out!!!

JB

Posted by JB Harlin in Darkroom, Film, Photography

IS THAT AN OLD CAMERA?

How many times have I been asked, “is that an old camera?” I usually have to explain that no, it is actually a modern version of an old camera. Seldom am I asked why I would use something like an old bellows-type camera. But I get the feeling that there are those that would like to ask why.

Am I the only one that believes that simplicity has its place? For me, it really has its place when it comes to my art form. When I get out in the field, I want the equipment to become transparent in its function. And, the best way I have found to achieve this transparency is through simplicity.

I have started a list of things that I like about using a view camera. It goes something like this:

No batteries
No multi-function buttons
No multi-layered menus
No planned obsolescence
No little tiny buttons to locate
Nothing new to learn
Nothing to upgrade

I am sure with a little more time I could think of more, but I am sure you get the idea. I love the feel of a view camera. I love the feel of a view camera on a very large, heavy, wooden tripod. I love to climb under the dark cloth and just look at the ground glass. I love the fact that the image is upside down. Nothing will do more to improve your compositions than a flipped image. I like the slow pace of the view camera. I love spending an afternoon just exposing two sheets of film of one subject. Waiting for the light. Waiting for things to come together just right. I like the idea of having only one chance to make the image. I love to just stand next to the camera all set up and ready to click the shutter and just wait. I hate to be rushed. I hate to be pressured. And if things don’t work out, I can just put the camera up and head home. Nothing gained, nothing lost. There are times when just being out there with the camera is the best part of the entire experience. It is great when I bring home a really nice image, but not always necessary.

So. . . does anyone reading this believe I am a view camera advocate? Yep, that pretty much describes me. I would never even consider making a serious photograph with anything but a view camera loaded with B&W film. Just me, but I love what I do, and now you know why.

JB

Posted by JB Harlin in Commentary, Film, Photography

IS THAT A FENDER THIN?

Unless you play guitar, you probably have never heard of a Fender Thin. If you are not a guitar connoisseur, it is a guitar pick. Now why on earth would someone that shoots LF and ULF be interested in a guitar pick, you ask?

Ever try to unload a sheet film holder while wearing Nitrile gloves? Or ever had a sheet of film that has a slight rearward curl. Then you know how difficult it is sometimes to get your finger under the sheet to remove it from the film holder. Now do you see the value of a thin guitar pick?

I keep a small container of thin guitar picks near the back of the enlarger baseboard where I normally unload film. I can locate my stash of picks in the dark and they are invaluable sometimes to get that stubborn sheet of film coaxed out of the film holder without excessive handling or damage. A thin guitar pick can easily be slipped under the film to allow you to get your finger under the film edge.

The next time you see a music store, stop in and purchase a few thin guitar picks. They could save you a lot of frustration. Who knows, you might want to take up the guitar!

Finally, just for the record, I really don’t use a Fender Thin. I prefer the super thin nylon 0.46mm pick sold under the Jim Dunlop name. In case anyone is really interested.

JB

Posted by JB Harlin in Commentary, Film, Photography

WHAT CAN GO WRONG?

Seems as you shoot larger and larger formats, you find more and more mistakes to make. Anyone that has spent much time with a view camera knows all of those common mistakes you can make. No matter how experienced you are, and what you do to create a routine, something happens every now and then.

Just to name a few things that will come up to ruin your film; you pull the dark slide without closing the lens; you forget to set the aperture; you forget to pull the dark slide; you forget to cock the shutter, and the noise of the running water is so loud you cannot hear if the shutter fired; you fail to get the film holder properly seated in the camera back; there is dust on the film, always right in a nice even area of sky; strange light leaks; lens flare; camera flare; you kick the tripod after taking forever to get the image framed just right; and don’t forget double exposure. This can go on and on. Any number of other things, can and will happen, that are just right to ruin that great photograph.

These things never happened to you? Bet it has, even if you are not willing to admit it. All of the above, and many more, have certainly happened to me. The only way to lessen mistakes is to establish a routine. Do everything in the same order and double check as you go. But, even then, every now and again, something will get you. Just learn to live with it. Mistakes are one thing we all share in common. It is just part of being human. But I still reserve the right to express a few choice words when I screw up a good image.

JB

Posted by JB Harlin in Commentary, Photography

SHEET FILM NUMBERING

How do you identify sheet film? You put unique numbers on the film holder, but how can you identify which sheet of film came from any particular holder? You may be able to identify the film by taking notes and knowing the subject. But, what if you make several exposures of the same scene, say using different filters? How do you know which filter was used on each sheet?

We hit this impasse many years ago and I came up with a simple solution that has worked for us for years. All you have to do is file a notch code into the film loading flap. We have used this system to number over one hundred 4×5 holders. Want to learn how to modify your film holders? Take a look at “A QUICK & EASY SHEET FILM NUMBERING SYSTEM” for the details.

Hope you find this helpful. . .

JB

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

WHO USES PYRO?

We have been using Pyro based film developers for some time now. So, what is it about a Pyro negative that makes it so desirable? I have yet to completely understand the desirability of the Pyro negative, but I do know there is a depth that just isn’t there with other more popular film developers.

We used Kodak HC110 for years. We even had our own dilution, that we used based on years of experience with the developer. But once persuaded to try Pyro, the HC110 negatives soon became undesirable. I guess the question is, if you have tried one of the Pyro formulas, did anyone else find that little something extra? Or is it just the mystique of using one of the oldest known developers? There has to be something. I can see it in the negative and the print.

I have been doing a series of detailed tests comparing several of the modern Pyro film developer formulas trying to pick the one that best suits what we do. One thing that is odd is to see all of the different colors of image stain, ranging from near neutral gray to bright green. I have about reached a conclusion as to which formula best suits what we do. . . and. . . I may just write about what I found at a later date. . .

JB

Posted by JB Harlin in Darkroom, Film, Photography, The Darkroom Workshop

OUR REVISED WEB SITE IS UP!

Finally!!!. . . Our updated web site is now up and hopefully running. We have added new snapshots and we both have completely reworked our gallery pages. Please take a moment to browse through. . . and. . . if you find something not working, drop us a line???

As always, thanks for your support,

JB & Susan
jbhphoto.com

Posted by JB Harlin in Commentary

HAVE YOU EVER HEARD OF FRED PICKER?

ZONE VINever heard of Fred Picker? How about Zone VI Studios? If not, and if you are a serious practitioner of photographic art, I would suggest you learn about all of the aforementioned.

Fred Picker originally was a commercial photographer that developed a one-of-a-kind photographic specialties business in Vermont. Zone VI Studios manufactured and sold view cameras, B&W darkroom supplies and custom built equipment. Sadly Fred sold Zone VI to Calumet Photographic in the 1990’s. He stayed on for a few years and finally retired completely. Calumet has slowly phased out Zone VI products and they are now relegated to only being available used. Sadly Fred died in 2002. This was a great loss to the photographic community.

One of the best things that Fred left for all of us fellow artists is his newsletter. He published the Zone VI Newsletter, a quarterly little pamphlet filled with wisdom, wit and information, from 1973 till 1995. There are 83 newsletters in the collection and if you can find a set for a reasonable price, buy it! (Watch eBay)

Fred Picker also authored a great book for the beginning B&W photographer titled “The Zone VI Workshop.” This is another good book to add to your library. It is based on simplicity itself, and if you are a beginner experimenting with B&W, you need to read this book.

If you can find a copy of one of the Zone VI Catalogs, this is also a great reference for your collection. Not that any of the items are still available, but just as a collector’s item for your reference.

We still own Zone VI 4×5 and 8×10 cameras. These are well-designed, rugged, bullet-proof view cameras. If you are thinking of getting a wooden field camera, be sure not to pass up a look at a used Zone VI.

Zone VI also manufactured several innovative and unusual pieces of equipment for the darkroom. The Zone VI Compensating Enlarging Timer and Compensating Developing Timer are a permanent fixture in our darkroom. Though none of this equipment is available new, you can find it used. Check out eBay, and be ready to pay near original retail for some items. They are that good!

So. . . if you have never heard of Fred Picker, and are serious about B&W photography, you should take the time to familiarize yourself with the man and his products. We have a complete Zone VI Newsletter Index on our web site available FREE as a PDF download. Look in the Articles Area.

Posted by JB Harlin in Commentary, Darkroom, Film, Photography