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  1. #71
    fotch's Avatar
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    If Black is perfect, why accept less?

    I can understand that some situations are near impossible to solve however, in that case, a person has to accept the fact that it may or may not be a problem is some or all cases.

    But, if its something a person and control, why not see the light and block it out? To me, this is part of the fun of making ones darkroom, a challenge to my ability.
    Items for sale or trade at www.Camera35.com

  2. #72

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    It should be just as dark as the deleted post has been deleted.
    I brake for fixer!

  3. #73
    Ian Grant's Avatar
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    Don't waste too much time the OP decided APUG's answer's weren't good enough and is now looking elsewhere

    Ian

  4. #74
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    Quote Originally Posted by fotch View Post
    If Black is perfect, why accept less?
    Because unless you live in a cave there is no perfect black? And because a lot of folks don't have access to a perfect darkroom anymore? There are a lot of dual-purpose rooms being used these days, it's not like everyone can dedicate a perfect, windowless room. Newcomers should not be given the false impression that they can't make do with a room that isn't textbook perfect.

    Also there are many ways to get a little extra base fog in a neg, not just some stray light in an imperfectly dark room that isn't hermetically sealed.

    People speak of base fog like it's an intestinal polyp or something. I am still using 40 year old panatomic x that wasn't cold stored and yeah there is all kinds of base fog and it's doesn't amount to a hill of beans. I do have benzotriazole on my shelf and I have yet to use it. Seriously, if base fog is cutting into my contrast, then I guess I am lucky because I am still printing just about everything at grade 2 or 3. And in my darkroom I see my hands, I see my feet, I have two timers with bright glowing faces, a leaky safelight and a leaky enlarger bellows.... not to mention my discovery that residual wd2d+ glows when you transfer the film into the stop bath. So many things I *thought* were big crises.

    If someone is having a really hard time lightproofing a room and is working with fast films then my advice is just to invest in a big film changing tent e.g. 11x14, put a big kitty litter tray in that, and load up all your chems in that. Short of dev'ing HIE in high noon sun, you can use a Harrison tent just about everywhere.

    Again, as has been said many times, people simply need to test. We can't conduct exposure checks over the internet so none of us knows who does or does not have a problem. Test and all will be clear.
    "Only dead fish follow the stream"

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  5. #75
    langedp's Avatar
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    Quote Originally Posted by Mahler_one View Post
    ... IF the light is coming in from the bottom of the door, and is rather faint....since light travels in a straight line, if the light is not bouncing off of anything bright, how can such light affect film on a table some feet above and to the side of the bottom of the door?
    I always find these "since light travels in a straight line" assertions very interesting. Light does travel in a straight line IF.... (insert the many ideal state conditions here). The key point is light coming in under a door is getting scattered by many things like the uneven surface of the floor and even dust in the air. If it were not, then how could you see it when your eyes are 5 feet above the floor?

    I used to not worry about this stuff too until I attended one of John Sexton's Expressive Print workshops and saw the lengths he went to insuring that no white light hit his paper unless it passed through the negative. He devoted a fair amount of time to this subject during the workshop.

  6. #76

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    My "darkroom" ia a laundry room. It has ventilated folding doors and a window whose only covering is a blind. The door itself is made of nothing but slanted wood strips. Light tight? Not in a million years. Add to that the furnace, right there inthe room, and the hot water heater, gas-burning, light emitting beasts - plus white walls and 3 large white appliances - and I have no hope of darkness. I can only work in it at night. During the Winter it works out ok but by summer I have to stay up way past my bedtime to print. My prints don't seem to be affected by it, or I'm just used to the results as I have nothing else to compare to.
    In life you only get one great dog, one great car, and one great woman. Pet the dog. Drive the car. Make love to the woman. Don't mix them up.

  7. #77

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    Simple solution for light coming under the door.....find one or two of those bean bags that one can use to put by the door in winter time to prevent drafts from entering the house. Close the darkroom door, put down the bags, forget about it....end of problem...low tech solution, and you can still use the bags to prevent the drafts....of course, one can always train the dog to stretch out in front of the bottom of the door as well...:{

  8. #78
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    Quote Originally Posted by Wolfeye View Post
    My "darkroom" ia a laundry room. It has ventilated folding doors and a window whose only covering is a blind. The door itself is made of nothing but slanted wood strips. Light tight? Not in a million years. Add to that the furnace, right there inthe room, and the hot water heater, gas-burning, light emitting beasts - plus white walls and 3 large white appliances - and I have no hope of darkness. I can only work in it at night. During the Winter it works out ok but by summer I have to stay up way past my bedtime to print. My prints don't seem to be affected by it, or I'm just used to the results as I have nothing else to compare to.
    Well put. Much better than the folks who claim never to have had a problem with a little light leak. They don't know what they are missing.

    John Sexton knows what he's doing!
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  9. #79

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    My impression has always been that even on the darkest night outdoors and far from the kind of "light pollution" we now experience in most urban areas there is always more light than in a 100% blacked-out darkroom and yet if there is, then it might not be enough to fog film. On the BBC programme "The Genius of Photography" there was an interview with an American army photographer who during World War II has used a 35mm camera instead of the standard issue Speed Graphic. During the fighting in the Ardennes he had obtained chemicals from a shell-damaged chemist's shop and had developed, fixed and washed a roll of 35mm film outside in the dark using three soldiers' helmets for dev, fix and wash, hung the roll on a bush and had a perfect set of negs the next day.

    Assuming his story to be true and I see no reason why its shouldn't have been, especially the part about having to wait until dark and develop it outside, then is there a very low level of light which allows film to be developed.?

    It may be that a very dark night is in effect the equivalent of absolute blackness but I would have thought that even on the darkest of nights there must be more light than in a 100% blacked-out darkroom but presumably not enough to fog film but maybe still just enough for our eyes to discern a difference between 100% darkness and a very dark night.

    Presumably some human eyes are better than others in the dark. Certainly an owl's eyes are. It can fly in conditions in which most or all humans would say that it was impossible to see.

    Just a few thoughts and I hope you liked the story about the photographer. For our U.S. members, he had an Italian name which I cannot remeber but I think he was called Tony something and he continued to earn his living at photography after the war. Maybe someone here will know of him.

    pentaxuser


    pentaxuser

  10. #80

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    Quote Originally Posted by Ian Grant View Post
    Don't waste too much time the OP decided APUG's answer's weren't good enough and is now looking elsewhere
    Ian - that's just not the APUG way, we MUST debate every subject to the most abstract point... Original question be damned!
    Kirk

    For up from the ashes, up from the ashes, grow the roses of success!

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