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  1. #11

    Join Date
    Jan 2005
    Location
    Japan
    Shooter
    35mm
    Posts
    1,957
    Quote Originally Posted by Quinten
    Whow the contrast is a striking comment. I had some notes from an earlier print of this neg and just copied the paper grade, I thought it was subject to taste but I indeed went one grade higher for this larger print.

    I supose fogging also affects the sharpness when this is the case.

    Can fogging acure sooner because the wall behind the enlarger is white (as is the ceiling) and I tent to use longer exposures (around 15 sec and up to 4 minutes when you add all burning.)

    It's the only professional darkroom I know wich has white walls ceiling and floors.... They might have to ask lower subscriptions
    Be careful with your 4 min. burning-in, which could cause some fogging in some areas of your print if the light was bounced off. Covering the areas of the paper that you're not touching may help eliminate the potential problems.

    And keep all the shinny and reflective things away from the enlarger, such as the grain focuser (with a mirror), the plastic top for a filter box, and etc.

  2. #12

    Join Date
    Feb 2005
    Location
    Richmond, VA
    Shooter
    Multi Format
    Posts
    1,066
    Ditto the comments above on long burning in times / reflective surfaces around the enlarger. I saw pictures of Harry Callahan's darkroom once, a simple and unglamerous arrangement, but what I remember was a large black cloth draped or attached to the wall all around the enlarger - no painting of walls necessary, although watch out for dust (choose the fabric wisely). Also, burning in tools, like cards, etc should all be black, at least on the bottom side to avoid reflections up off of the print and back down again during the burning in process. To compare - do a test strip twice with the card a couple of inches off the paper, one with a white card, one with a black card, process together, you will see the difference.

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