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  1. #91

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    Quote Originally Posted by Jenni View Post
    I had so much fun testing my film that I tested ALL of it!!! The results are great, now I know what I need to do to each type of film to get proper negatives. I'm shooting Thursday--- a couple of models and I'll try printing next week. wish me luck!
    Jenni,
    Could you share how you did the tests?
    Thanks,
    --
    Kenton Brede
    http://kentonbrede.com/

  2. #92
    Jenni's Avatar
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    There are many different ways. Thomas is the one who should tell you how to do it. He is the one who told me. I feel I'd be plagiarizing if I told you.


    Thomas may I share your instructions?

  3. #93
    Katie's Avatar
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    Thomas is da bomb, is he not? He is so helpful And just a wonderful person to "know".

  4. #94
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    Quote Originally Posted by Jenni View Post
    There are many different ways. Thomas is the one who should tell you how to do it. He is the one who told me. I feel I'd be plagiarizing if I told you.


    Thomas may I share your instructions?
    Sure, it's no secret.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  5. #95
    Thomas Bertilsson's Avatar
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    Quote Originally Posted by Katie View Post
    Thomas is da bomb, is he not? He is so helpful And just a wonderful person to "know".
    Blush...
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  6. #96
    Jenni's Avatar
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    These are the instructions Thomas gave me. "- Film and film developer: This is where it all happens, where most of your darkroom technique will matter in obtaining a good work print. If you expose too much, you will get very dense negatives and gobs of shadow detail. Unless you compensate for it by developing a little less, you may block up the highlights. If you expose too little, you will not get enough shadow detail, and while you can compensate somewhat by developing longer, you can never rescue lost shadow detail. Developing less time means less contrast, and developing more time means more contrast. These are variables that you use to your advantage to create negatives that print with ease.

    1. What I do is that I find a scene of average contrast, and I shoot many exposures of the same scene, but I use different exposure. If I were shooting Foma 200 like you do, I'd start at EI (exposure index) 50, and then shoot additional sheets at EI 100, EI 200, and EI 400. Then I would develop those according to the manufacturer's instructions, or some arbitrary time that doesn't seem out of whack.
    2. Print all of the negatives as a simple proof print, using Grade 2 filtration. Four 4x5 negs fit on one 8x10 sheet. Expose and process this proof print enough so that the edge of the negative basically disappears and is completely black. Do the 3 minute developing here.
    3. Now evaluate the contact sheet / proof print with your eyes and determine by looking at shadow detail only which exposure you prefer. Do not look at mid-tones or highlights at this point. It is not important yet. Only shadows. Pick one that you feel have ENOUGH shadow detail for you and your aesthetic.
    4. Next step is to expose yet another similar scene (or the same one if the light is similar) at your chosen film speed, let's say it's EI 100 for now.
    5. Now process one of the sheets. Print the negative (again grade 2 contrast filtration) so that you have still have the maximum black through the film rebate. At this time you evaluate the entire print, from shadows to highlights, and you determine whether you think you have too little or too much contrast. If you have too little, you develop next sheet 25% longer. If you have too much you reduce by 20%.

    Repeat step 5 until you have a print with nice shadow details, good highlights, and decent midtone separation. This is how you dial in your film and film developing to fit your paper. Of course, if you switch paper or film you have to go do it all over again, so try to remain constant with the materials you use.

    It will NOT help to switch papers in search of a better print. It will NOT help switching film or developers either, to get a better print. The only thing that will get you there is technique, and that's the harsh truth."

    Thank you Thomas for your direction!

  7. #97
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    Has anyone tried arista ultra 100 in ilford LC29? Im finding it difficult to get info anywhere on the specific combo. I'm guessing 7.5min at 20 C for 1+19 would be ok or should i expect a longer development time?
    thanks.
    pentax 6x7,canon eos 300, crown graphic 4x5

  8. #98
    viridari's Avatar
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    I bought a box of Arista.EDU Ultra 400 from Freestyle last Autumn. There is no blue tint on my negatives, but I did pre-rinse the antihalation layer off before developing.

    No prints yet as I'm not yet set up for LF printing or negative scans.

  9. #99

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    Quote Originally Posted by viridari View Post
    I bought a box of Arista.EDU Ultra 400 from Freestyle last Autumn. There is no blue tint on my negatives, but I did pre-rinse the antihalation layer off before developing.

    No prints yet as I'm not yet set up for LF printing or negative scans.
    I can't say for sure, but I think Foma changed the base some and it's not blue anymore. I also thought the blue tint was in the base material itself, but I could be wrong. I have three 120 rolls of Arista 100 EDU and will find out shortly. JohnW

  10. #100
    viridari's Avatar
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    If it wasn't clear, as I wasn't explicit, my observations were for 4x5 sheets, not for roll film.

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