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#131
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Taken a break
I have just taken a break from colour printing this afternoon and have made two quite reasonable A4 size colour RA4 prints from negatives that are at least 10 years old
One of a swan pruning itself and eying up a feather it has just pulled from its breast. It is a high contrast print but I set the exposure to ensure that some detail is kept in the white feathers. The reflection in the muddy water in front of it just makes it for me. The other is a lone Hawthorn tree up on the moors above Catterick Garrison, North Yorkshire in very early spring - it must have been around 2008/9. Neither are competition winner,s but to get the colour balance right and the exposure spot on under the enlarger is a bonus for me. I will scan and post them once they are dry. Here they are Last edited by John King; 23rd January 2022 at 05:05 PM. |
#132
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Yeah I thought my times were shorter than recommended. Huh. I haven't really played around with the aperture of the lens too much, but as I recall I did it 2 stops down from max. I think my negatives were decent, they looked ok, but I'm not home so I don't have any of them with me (living at uni atm) so can't check for a few weeks. Theo |
#133
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In terms of my safelight, yeah that's the most likely culprit. I have just been using a red light on a head torch, untested as a proper safelight. However, this didn't seem to be a problem when I developed orthochromatic film (my first ever rolls). I'm looking into getting a DUKA 50 safelight since I am setting up a colour darkroom at uni, so hopefully that should solve that issue. I haven't tried developing a paper without exposure, I will try that next time. I won't be doing any B&W developing for a while, but when I do I'll be back with updates. It's all quite new to me and I'm doing it solo and teaching myself (and everything I do opens up 100 more questions!) Thanks Theo Last edited by theobrown; 23rd January 2022 at 05:09 PM. |
#134
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Duka50
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I have experimented with various positions to place the DUKA. High on the wall reflecting off the ceiling, hanging from the ceiling, on top of a cabinet, again reflecting off the ceiling. What I have found to be the best compromise is to have it on a shelf about 6 feet behind me and about shoulder height also reflecting off the ceiling. This gives me a good spread of usable light which is not too dim, but dim enough to allow easy working. The Duka light output is also adjustable in units up to 50. I have mine set at 10 and I stand in front of the light and work in my shadow. This allows me perhaps 2 mins of exposure to the safelight reflection before it will start to degrade the paper. Another bonus if you are going to be a regular user is a Nova processor. That means there is no cleaning out the drum after each print or test strip or a lot of clearing up after you are finished. Just replenish the developer and blix, wipe it down. pop the lids back in and you are done. I also cover the NOVA with cling film which slows down any evaporation from the slots. |
#135
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The colour balance will be affected too if the film is under or over developed because the mask will also change colour almost imperceptibly. |
#136
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In terms of Nova processors, I was planning on using trays instead of drums. I've always only used trays they seem easier. But to check, if the chemicals are in the tray, I don't have to change them for each print do I? And then how many times can I use the chemicals for subsequent developing sessions, if I put them back in containers? My understanding is that you can reuse both C41 and RA4 chemicals multiple times, hence why trays are easier. Correct me if I'm wrong. My budget is pretty small (I'm a student!), so will try to look into what I need before buying anything. This hobby is so spenny. Thanks Theo Enviado desde mi moto g(10) mediante Tapatalk |
#137
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You mentioned a DUKA with film. No, No, No! Film is too sensitive for even the slightest glimmer of light from any source. That has to be loaded into a tank and processed in complete darkness. Even with printing that room should rally have no light leaks I know of others who develop colour prints in dishes and no you don't have to change the developer after each print. As a rule of thumb (A Kodak thumb) RA4 developer needs replenishing with 100cc of fresh developer for every 80 sq ins of paper = ten 8x10 sheets and this includes test strips you use. You need to keep a reasonably accurate tally of what you use. I would suggest, make up 1 litre of developer and store in a bottle but mark the level on the bottle when new. So if you use a 10x8 dish pour about 1/2 into the dish and work with that. At the end of the session pour it back into the bottle and add fresh developer to bring it up to the same quantity as when you started. It won't be accurate but close enough. Normally RA4 prints are made at 35degrees C for 45 seconds but some use a lower temp and a longer development time, This will need a bit of experimenting with. The crux of the operation is standardisation. Same film, same film developer, same paper, same temperature. It is a bit like walking on a knife edge which sounds difficult, but with experience you will work your own sequence and what is best for you. The blix bath should also be replenished at the same rate as the developer but with 'carry over' from dish to dish the level in the bottle will not drop as much as with the developer so resort to the normal replenishment rate of 100cc per 80sq ins. You could also use a stop bath between the dev and blix but this does not really need replenishment, just keeping up to level until the yellow colour turns to purplish blue. If you have sensitive skin, it may be useful to wear surgical gloves if using a dish especially with the blix. It affected me quite badly, it spread over my hands and wrists and just looked like eczema. Creams even on prescription did not help. Surgical gloves stopped that. You can always use them more than once. just rinse them before you take them off. |
#138
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Ilfords more recent papers have a much brighter finish when dried at room temps. I'm not sure what paper you are using but that might be one of your problems. Martin |
#139
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Alex has basically said what I was going to... The usual recommended time in the developer is between one and two minutes at about 20C and NOT anything shorter, like your 35 seconds in it. Best to check the bottle or online for info on this. When I've used Ilford's multigrade paper developer, I dilute it at 1+9 and give my RC prints a FULL 60 Seconds and NOT a second less. As you become more experienced, you might lengthen this time, but VERY RARELY is it shortened. So try as Alex says. Stop down you lens, which will make your image on the baseboard darker, do a few test-strips if necessary and develop the final prints as above. You should then see an immediate improvement in your work. Good luck in your next session. Terry S |
#140
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Also Theo, as you are at Uni, where studying will take up a good bit of your time (which Uni out of interest and what are you studying?), PERSONALLY I would stick with learning one process well before trying to learn the other. And again personally, I would start out with just B/W and learn it well. A lot learnt with this process, will then put you in a place of better understanding, when you then come to have a go at colour. Just a suggestion of course. Terry S |
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