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Found 19 results

  1. The 5219 was exposed and developed both rating at EI 800. So the developing time was extended for 40 seconds. The other process are as the manual tells of the ECN-2 kit I bought. Noted: I tend to overexpose one stop than the meter suggests at daylight when the meter is pointed to the lightened ground. I have got decent results and better histogram distribution on digital. The film density looks very high, the film roll looks darker than the previously lab-developed 5219. My father uses Silverfast 8 and Plustek 8200iSe to scan my film. He turned on the ISRD feature to remove dust and scratches. However, with the ISRD on, the images are fine on preview, but all corrupted at the final output. Normally, when clicking into the infrared layer, only dust and scratches are shown. However, on this 5219, it shows the whole image in the infrared layer. He took a picture of the screen display: The SilverFast claims that the ISRD function does not work for BW film and Kodachrome because there are silver grains on the film, which reflect or deflect the infrared ray, and let the ISRD function mistakes the grains as dust and scratches, corrupting the whole image. Examples are easily found on google. Summarize the information I collected, I highly suspect the bleaching process with this ECN-2 kit was incomplete on this roll of 5219. It left a layer of silver grain upon the emulsion. I googled and learned the “bleach by-pass” for cinematography film processing, which creates the special visual effect with the silver atop the dyes. To support this, the provided image from the Plustek 8200i “Quick scan”, shows highly washed color and overexposure in scanning:
  2. Joerg-Peter Rau shares his thoughts on the loss of his darkroom that was located in the basement of his mother's home. Reading this essay is but one of several recent serendipities that are compelling me to revisit black and white film photography and to get my film developing gear out of the cabinet where it has laid dormant for too long... Turn off the red light: My farewell to the darkroom https://www.macfilos.com/2023/01/18/turn-off-the-red-light-my-farewell-to-the-darkroom/
  3. We made a short Video of making prints in my old B&W Darkroom. The Video is here.
  4. Do you know where can I order basic photographic chemicals to prepare "non-commercial" recipes in the Netherlands? Like thiosulfides, hydroquinone etc.
  5. One guy was offering a complete darkroom equipment for 50 euros incl. Durst M605 bw enlarger with Schneider companon lens (he doesn't mention which one). I will go and see its condition but I have very limited knowledge. So I need your help. I would like to ask what should I look for? Only things that I am think of the film carriers, fungus/scratches on the lens, timer, bulb. Thanks a lot in advance!
  6. Just thinking here: I'm wondering what elements go into getting those gritty, contrasty, photojournalistic darkroom prints that I see from way back? I know that normally we want to see all of the tones available but I was wondering about this particular style? I'm guessing that the first element is a pushed negative, but the darkroom part of it is what I'm wondering about. Is it just a matter of upping the contrast using a higher contrast filter or is there something else? Does cropping it also help accentuate this look? Here is a link to what I think is representative of what I'm getting at: http://thebangbangclub.withtank.com
  7. Good morning, I am going to Amman next year to continue my arabic language studies at the university and do a lot of photographic work in the old palestinian, and new syrian refugee camps. Instead of ordering film and chemicals when I get there I was thinking someone here on the forum maybe live there or has experience of buying these things in Amman? Would be nice also to meet some local analog photographers.
  8. Here is an interesting story of how one man's photographic journey went full circle, bringing him back to his roots in film photography. He shows some interesting images along with the essay : http://emulsive.org/articles/return-to-film/my-return-to-film-adib-mufty
  9. Hello all, Just want to introduce myself - I am doing photography since 1985. As the headline states, I grew up in Germany but live for professional reasons not related to photography since 2005 permanently in the US. I just recently acquired my first Leica camera - the Leica M6 since I always wanted to have a fully mechanic reliable camera including a light meter. I want to do B&W film photography with this camera since I still develop my own film and use my darkroom to make silver gelatin prints both from digital files (using homemade digital negatives) and from film negatives. My style is predominantly landscape and fine art photography combined with B&W converted infrared photography. This said, I am also using digital cameras in parallel to film cameras. For infrared, I am currently using a converted Canon 5D MkII full frame DSLR with 715 nm cutoff filter, for digital landscape/macro/fine art work I am using a Sony A7R - predominantly with Leica and Voigtlander lenses plus adapter. I am not fixed to just one brand regarding photo gear and simply use what I consider best for my needs. I am looking forward to share photos and experience regarding Leica cameras and M mount lenses. Martin
  10. Well, I finally got all of the gear necessary, I got it all together and did my first test print! How danged exciting! I know I made tons of mistakes, but this really is amazing to me. I've never done this before. I do have a question now that I've done this; Do I leave the chems in the trays or do I have to bottle them up pretty quickly? Do they stay effective if left in the trays for days?
  11. I'm still investigating darkroom printing and have been surfing YT videos. I found this one and was intrigued that he circumvented many of the steps that folks use (such as separate tongs for each chemical and having only one safelight and making sure that the safelight is well away from the paper. I didn't spot any more than that but he sure made it seem like it was very routine without a lot o fuss. I'm just trying to get my bearings, gain information and know as much as I can before diving in so I'll ask; what is your take on this guy's video?
  12. Hi Everyone I've just got a film back from a develop and scan, with apparent processing problems - I wondered if those with more experience might tell me what I'm looking at - are these drying marks on the negative, or a (Noritsu) scanner problem? If the problem is that the negs haven't been dried correctly and marks are showing during the scan, is there any way of getting the marks off the negatives ? Thanks in advance for your comments (for info camera is 11f Red Dial in great condition, 3,5 Red Scale Elmar the same, Fison hood in place, film is XP2 C41 processed)
  13. Hi everyone, I'm planning to switch to Leica IXMOO reloadable film cassettes for bulk loading. However, the 5 cassettes that I managed to purchase all contain some degree of oxidation, so I'd like to give them a clean before putting them to use. Can anyone recommend a product and method with which to do this? I've heard vinegar works quite well, but obviously an IXMOO is a little more advanced than a doorknob, so I wanted to check first. Thanks in advance
  14. From the album: Manuello Paganelli

    Leica M6 35mm Lens Kodak Tmax 400

    © Manuello Paganelli © 2018

  15. Hello everyone, I recently bought a Leitz Focomat II and discovered that when printing from the 60mm Focotar lens that two dark lines forming a triangle appear on either side of my prints. I also noticed that there are four light spots hitting the rim of the lens (these increase in size when you open up the aperture) and 'Im pretty sure this is related to the problem. I'v looked at the enlarger from every angle and checked that things are all in their proper place I have attached images to demonstrate what I'm describing above. You can see one of the dark lines forming a triangle clearly in the sky above the lion's head (the same is mirrored on the other side of the print but harder to see), and there are a couple shots of the light spots hitting the rim of the lens. Could anyone please tell me what might be causing these light flares and how I could fix the problem. All insights are greatly appreciated! Rene
  16. Hello everyone, I recently bought a Leitz Focomat II and discovered that when printing from the 60mm Focotar lens that two dark lines forming a triangle appear on either side of my prints. I also noticed that there are four light spots hitting the rim of the lens (these increase in size when you open up the aperture) and I'm pretty sure this is related to the problem. I'v looked at the enlarger from every angle and checked that things are all in their proper place I have attached images to demonstrate what I'm describing above. You can see the two dark lines forming a triangle clearly in the sky above the lion's head (the same is mirrored on the other side of the print but harder to see), and there are a couple shots of the light spots hitting the rim of the lens. Could anyone please tell me what might be causing these light flares and how I could fix the problem. All insights are greatly appreciated! Rene
  17. Hello everyone, I recently bought a Leitz Focomat II and discovered that when printing from the 60mm Focotar lens that two dark lines forming a triangle appear on either side of my prints. I also noticed that there are four light spots hitting the rim of the lens (these increase in size when you open up the aperture) and I'm pretty sure this is related to the problem. I'v looked at the enlarger from every angle and checked that things are all in their proper place I have attached images to demonstrate what I'm describing above. You can see the two dark lines forming a triangle clearly in the sky above the lion's head (the same is mirrored on the other side of the print but harder to see), and there are a couple shots of the light spots hitting the rim of the lens. Could anyone please tell me what might be causing these light flares and how I could fix the problem. All insights are greatly appreciated! Rene
  18. I've been thinking about it for some time, but I have finally decided to give it a go. I'm talking about popping off a roll of Tri-X and souping it at home. I have never developed a film in my life, so I would like some guidance, please, as to: 1. What equipment do I need? I think I need: - a daylight changing bag (yes I know I can black out a room but I'm assuming that this is easier) - a film can opener - a light-tight tank - a reel to go in the tank - a clip to hang the roll up with - a set of tongs to dry it off 2. What chemicals do I need? - insert as applicable 3. What do I do? I appreciate that this may all seem noddy, but please be gentle with me. I have done some internet searches and can find most of the equipment either as part of a kit or separately, but I cannot find a "starter" kit for chemicals. All the ones I have found so far seem to be big containers and I know that some of them (all?) can oxidise so I would prefer small ones to start with. To be clear, the end result I am aiming for at this stage is developed negs that I can scan myself - I am not going to wet print... yet... Thoughts? Suggestions? Resources etc that you can point me at? Regards, Bill
  19. Sad day, boys. I take the day off. Head to local darkroom in the visual arts center to make prints. I have an M3 around my neck. My conversation with the receptionist goes like this: Me: Hi, Can I have 6 hours of darkroom time? Lady: Digital media room, second floor Me: No, I'm here for the darkroom Lady: We got rid of that Me: What? Why! Lady: Because people use digital cameras now Me: Bu bu but... what happened to the equipment? Lady: We threw it out Me: You threw out all the darkroom equipment and film processing gear?!? Lady: Yeah, sorry, film is a thing of the past. This last line echoed in my mind as I drove home to scan yet another roll of film.
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