The photograph

The photograph is the positive result of a long journey from making the negative to the print. Once you get to the point of printing it starts another odyssey of creativity, along with another set of decisions as to what materials you are going use to produce those wonderful photographs.

Recently a photographer said he only uses the materials of his chosen manufacture to produces his images. His position is they know best so why make things difficult by using different products. At one time I was the same using paired paper and developer to produce prints. But with the death my father I'm questioning this approach; it has made me seriously think about the materials I choose to use. Why? Because life's too short for such restrictions and I've started to believe that the choice of materials you choose to use has a direct impact on the look of the final image and therefore it's style.

In today’s world of analogue photography there is not the vast array of papers there used to be. Light sensitive papers fall into three tonal types: neutral, cold and warm and come as resin coated and fibre base with a number of different finishes. Now-a-days the main stream papers are variable grade meaning you no longer need to stock a number of set grades of each type of paper you prefer to use. This has given greater freedom to stock a number of manufacturers paper types. For example I have stocks of Ilford, Foma, and Adox on the shelf in warm, cold and neutral tones. This has given greater creative latitude when it comes to exposing negatives, this has lead to less stringent light meter readings and less time trying to make the conditions fit the grades of your printing stock. I have in the past used a particular developer for my prints so it conveys a feeling on the subconscious level, for example, adding warmth when in fact the scene is cold. Is this not part of the creative process? For some it would seem not.

Analogue photography is all about the photograph. If you do not hand print your pictures you are missing out.

Accompanying pictures: 

All images scanned from photographs. The papers used in order of appearance, Kentmere VC select RC gloss, Ilford Multigrade 4 RC gloss, Fotospeed RC gloss, Foma 542 chamois FB gloss. 

Since writing this the wonderful Foma chamois has been discontinued.

Basic kit for producing Black and white negatives.

For those who are thinking of processing their own film it can be quite daunting for the first time. If you keep things basic by using popular brands like Ilford and Kodak for film and chemicals not much can go wrong. What people don't tell you is that film like FP4+ is quite forgiving and a good place to start processing for the novice, making it quite easy to get good results.

With the advent of digital the darkroom has become a lightroom with the help of a scanner and changing bag. You no longer have to look for a place in the property that is or can be made light tight.

The basic kit:

Changing Bag: looks like a tee-shirt without a hole to put your head through and is double lined to make sure it is light tight. It will take time too get used to and will require some dummy runs to get the feel of it. Developing tank: there are two types, 35mm and universal. The universal tank will allow you to process 120 format as well as 35mm; you will also need to practice loading the film onto the spiral. Oh! before I forget there are two types of spiral plastic and metal each uses a different Technic to load. I would suggest starting with the plastic type first as it easier to get the hang of. Force film washer: is a tube that fits onto the water tap and into the top of the developing tank. It is for putting water into the tank for the wash cycle. Three measuring jugs that will cope with more than 600 mls of fluid, Chemicals: Developer, Stop and Fix, all come as concentrate or powder and will require mixing with water to get the right working strengths. Spirit thermometer: for checking that the chemicals are at 20 degrees C. Storage containers: of a suitable size will be needed to keep diluted chemicals. Wetting agent: by putting a couple of drops in the developing tank after you finish washing the film and a minute before you take the film out helps to prevent drying marks on the film. Film clips times two: so you can hang the film up to dry and if you place one on the bottom it stops the film curling while drying. An alternative is to use Pegs.

Photographys. Bigger again?

To make enlargements over 50 x 60 centimeters requires a different working practice and a large darkroom.

If your negatives allow you to print them at 50 x 60 centimeters this is not the end of the story, you can go bigger with roll sized paper of 65, 100 and even 130 centimeters wide. But to go larger you will need a different method to produce them and a larger negative to start with which will increase the quality of the image projected by the enlarger. Your darkroom will need to be big enough to cope with the increased size of equipment. You will need an area of clear space that the enlarger can project the image onto whether it is the floor or a wall. Of the former the latter is the better way of doing things as you are less likely to get dust on the paper, it also makes it easier to dodge and burn if you need to.

Darkroom fog!? Safe light.

No I'm not talking about the weather but about the lighting in your darkroom. Is it safe? Is it the right colour? Is it to close to the enlarger or developing dishes? How do you find out?

There is a simple test, you will need to cut some photographic paper into about 6x6 (150 x150mm) and lay them flat in various places with the lights off around the darkroom with a small object like a coin on the top. Don't forget to mark each piece with the location you have placed it in. Switch on the safe light(s) and leave them for five minutes.

Then develop all the pieces as you would normally, if they all come out blank then there is not a problem. However if you can see the image of the object/coin on any of them you know that the light is too strong in that place and will fog any paper you leave out. You could move the light further away. Now if all the bits of paper show signs of an image it means that the safe light is the wrong colour and will need to be changed or your darkroom is not light tight.

Washing your negatives

This is just as important as the developing, stop bath and fixer. The temperature of the water needs to be close to that of the previous process of 20 degree C.

The purpose of washing is to remove the last of the fixer from the emulsion and needs to be done thoroughly to ensure the longevity of the negatives.

Which method to use? One way is to empty the tank and refill with fresh water and agitate for a few seconds, this should be repeated several times. Another way is to use a wash hose that is specially made to fit into the top of the developing tank and attached to the tap. I personally favor this approach with my own refinements: after fitting the hose in place I open the tap till it is nearly fully open and leave for thirty seconds, this vigorusly removes the last of the fix that remains. Then slow the flow right down for the next ten to fifteen minutes. It is a simple straight forward procedure that has served me well over the years.