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  1. #71

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    I develop 12X20 and 20X24 film in print drums on Unicolor motor bases. I prefer this to tray agitation because my work space is relatively small and 20X24 trays would take up most of the space. Plus, rotary development in tubes gives very even development, which is one of the reasons Phil Davis promoted it for film testing.

    Sandy King

  2. #72

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    Monty,

    So you are developing 20x24 negatives up to 4 at a time in trays.....you da man!

    Allen,

    Jobo 3063 drums or some other size?

    Once you get to the ULF sizes stuff starts to get a litte crazy. I have learned a LOT from other ULF practitioners when it came to stuff like trays (from a seed company, no less) negative storage isues, print storage issues, jogging strollers to cart gear, etc.

    Thanks to everyone for sharing,
    John Bowen

  3. #73
    Kerik's Avatar
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    After moving from MF to 4x5 to 8x10 in a couple of years, in 1992 I bought a Korona 7x17 with 3 holders that was my main camera until 2000. In the ensuing time, I had my first Korona stolen, replaced it with a second, then replaced that with a Wisner 7x17. I also picked up a couple of 11x14 cameras, but never really took to that format in a big way. Along the way I collected a silly number of great lenses (when they were still relatively cheap), but the most used on the 7x17 were a 14" Dagor, a 30cm Carl Zeiss Dagor and a 450M Nikkor. In 2000 I bought a 14x17 Anthony and Scovill and a year or so after that I bought a Lotus 12x20 (the finest view camera I ever owned). It soon became clear that too many formats was having a negative impact on my work, so I sold the 7x17 and 12x20 cameras and did a ton of work with the 14x17, a lot of it with an 18" Verito that looks like crap but makes a beautiful image. In 2004 I became hooked on the smell of ether when wet plate collodion took over my life. Since then, the vast majority of my work has been done with an 8x10 Kodak Masterview and a Derogy portrait petzval lens. I occasionally pull out the 14x17 or 11x14, but not very often. So, I've been to ULF and back again.
    Kerik Kouklis
    Platinum/Gum/Collodion
    www.kerik.com
    2014 Workshop Schedule Online

  4. #74

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    The Jobo 3063 works well for developing ULF negatives. I use it for 20x24, 16x20 or (2) 12x20s. The 2850 with the 2830 extension tube works for 16x20 or (1) 12x20.

    I have acquired a lot of tubes over the years. I used to bid on the auction site on about every tube that came up. Every once in a while, I would win at a very low price. For some reason, people tend not to bid in mid to late December, which is when I had the most success getting things cheaply. Put in a low bid and forget about it. If you win, great. If not, there will be another one later. Patience, patience, patience.

  5. #75

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    One more thing, the Jobo tubes are not the best for pyro developers. They have ridges that run the length of the tubes on the inside. The ridges create lines on the negatives. There are work arounds, however. I know of several ULF workers who use the tubes with pyro. Personally, I like the results with D-76, so I never spent the time to perfect the work around.

  6. #76
    nick mulder's Avatar
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    Quote Originally Posted by Allen Friday View Post
    One more thing, the Jobo tubes are not the best for pyro developers. They have ridges that run the length of the tubes on the inside. The ridges create lines on the negatives. There are work arounds, however.
    Finally someone who can corroborate on this!

    Yup, working with PMK and a Jobo I ended up with concentrations of stain on the base side where the ribs sit on the film. Almost invisible on the neg, but they ruin highlight areas in contact prints exposed with UV ...

    I haven't used it yet but apparently Richard Sullivans Rollo Pyro is an answer...
    Cleared the bowel problem, working on the consonants...

  7. #77

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    I'm not all the way down the spiral yet but-

    I found Sandy King's description of the carbon print process, and thought WOW, how cool is that. But, being a d***$l guy at the time, I didn't have any negaitves to carbon print. Digital Negs seemed Cheezy, and altogether disingenious. So I started slumming the auciton site for a view camera that would make a negative big enough to carbon print and landed on a eastman No.1 8x10 with no lens, back, GG, or holders, and lots of leaks in the bellows.

    Next I picked up an old 170mm lens that didn't quite cover, but was close enough (didn't know anything about lens coverage at the time.) and figured out how expensive 8x10 film was, so I landed on this site looking for instructions to make film a la the silver gelatin emulsion forum.

    Made a few batches of jello and decided I was tired of Iso 2, and my home-made back and film holders were getting tiresome, I picked up a back, holders, and film, only too remember that (Doh!) my 170mm doesn't cover at infinity.

    So, while I was slumming for an 8x10 lens that I liked, I picked up a calumet 4x5 to play with and really got to shooting. Learned how to print, that buying film was the way to go, confirmed my suspicion that there was something special about contact prints. SO

    about the time I picked up the first kodak lens when I still knew squat about LF lenses I picked up a Kodak 24" F6 for cheap, thinking it'd maybe fit the Kodak view (not by a foot). But it does cover about 2 feet, maybe a hair more. SOO...

    While still looking for a lens for the 8x10, I've got Bellows in the works for a 20x24, and in a couple of weekends a buddy is coming over with a router table to make plate and film holders and a back.

    Why? because I have the lens to do it and I like big contact prints.

    Here I am, 3 formats later - and I still haven't made a dang carbon print.

  8. #78

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    Quote Originally Posted by totalamateur View Post
    I'm not all the way down the spiral yet but-


    .
    It is not down the spiral, it is up the spiral:

    The winding Stair

    My Soul. I summon to the winding ancient stair;
    Set all your mind upon the steep ascent,
    Upon the broken, crumbling battlement,
    Upon the breathless starlit air,
    'Upon the star that marks the hidden pole;
    Fix every wandering thought upon
    That quarter where all thought is done:
    Who can distinguish darkness from the soul

    ...

    I am content to follow to its source
    Every event in action or in thought;
    Measure the lot; forgive myself the lot!
    When such as I cast out remorse
    So great a sweetness flows into the breast
    We must laugh and we must sing,
    We are blest by everything,
    Everything we look upon is blest.

    William Butler Yeats

  9. #79
    Jim Fitzgerald's Avatar
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    Quote Originally Posted by totalamateur View Post
    I'm not all the way down the spiral yet but-

    I found Sandy King's description of the carbon print process, and thought WOW, how cool is that. But, being a d***$l guy at the time, I didn't have any negaitves to carbon print. Digital Negs seemed Cheezy, and altogether disingenious. So I started slumming the auciton site for a view camera that would make a negative big enough to carbon print and landed on a eastman No.1 8x10 with no lens, back, GG, or holders, and lots of leaks in the bellows.

    Next I picked up an old 170mm lens that didn't quite cover, but was close enough (didn't know anything about lens coverage at the time.) and figured out how expensive 8x10 film was, so I landed on this site looking for instructions to make film a la the silver gelatin emulsion forum.

    Made a few batches of jello and decided I was tired of Iso 2, and my home-made back and film holders were getting tiresome, I picked up a back, holders, and film, only too remember that (Doh!) my 170mm doesn't cover at infinity.

    So, while I was slumming for an 8x10 lens that I liked, I picked up a calumet 4x5 to play with and really got to shooting. Learned how to print, that buying film was the way to go, confirmed my suspicion that there was something special about contact prints. SO

    about the time I picked up the first kodak lens when I still knew squat about LF lenses I picked up a Kodak 24" F6 for cheap, thinking it'd maybe fit the Kodak view (not by a foot). But it does cover about 2 feet, maybe a hair more. SOO...

    While still looking for a lens for the 8x10, I've got Bellows in the works for a 20x24, and in a couple of weekends a buddy is coming over with a router table to make plate and film holders and a back.

    Why? because I have the lens to do it and I like big contact prints.

    Here I am, 3 formats later - and I still haven't made a dang carbon print.
    Carbon printing is what I do all the time now. Start with 4x5 or like I did 8x10 to get your feet wet with the mechanics. Take a workshop if you can and have at it. Great process and it is cheap! Best prints I've ever made. When you go larger it get's interesting. 11x14 and 8x20 carbons are as big as I go for the moment.

    Jim

  10. #80
    nick mulder's Avatar
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    Hello all,

    Assuming you use the Autotype papers what are you guys doing about the discontinuation ? I'm keen to get into copper photogravure which as I understand it uses G25 carbon paper.

    The same one (?):

    http://www.macdermidautotype.com/AADocume.nsf/0/2759AC9F75D5DAA580256E680050C3C4/$File/G25%20Pigment%20Paper.pdf
    Cleared the bowel problem, working on the consonants...



 

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