Re: Night vision solution for brush development / general D.Room work
Thanks gentlemen! I have put this one on my buy list.
Re: Night vision solution for brush development / general D.Room work
Quote:
Originally Posted by
Tin Can
There are several different manufacturers making Pi related stuff. Some cams are focussable, some have illumination leds, some are waterproof etc. etc. It would be prudent to put a known IR filter over the illumination led(s), just to reduce any problems from vestigial visible (to the film or paper) light.
Re: Night vision solution for brush development / general D.Room work
I have been using an IR night vision monocle for over 10 years now and in a controlled environment like a darkroom where it is not subject to abuse, it should have a long serviceable life. The important variable for a night vision monocle is minimum focusing distance preferably down to 12". Secondly, the ability to turn off the IF light source on the monocle is a good idea since you can acquire a 24 LED IR light bank that plugs into the wall and point it against an adjacent wall and reflect the IR light to your darkroom area. I do not want to see the infamous red glow (telling the user of the device that it is "on") and risk film fogging. I also put an LED IR bank on the wall behind my darkroom sink and hang a $1.00 diffused light globe over it and put it on a foot switch for development by inspection. Two things. Different films look different in IR inspection. FP4 looks like it is way overdeveloped with the IR and it is not. You have to gain a sense of visual relativity for highlight density. Secondly is it is important to look at both sides of the film and get a good level of experience relative to what you are seeing and how it relates to a fixed negative. Again, each sheet film has its own unique characteristic. Fabulous tool. Considering the higher costs of shet film I see this tool as a hedge for better results.
Re: Night vision solution for brush development / general D.Room work
Quote:
Originally Posted by
Michael Kadillak
Different films look different in IR inspection. FP4 looks like it is way overdeveloped with the IR and it is not. You have to gain a sense of visual relativity for highlight density. Secondly is it is important to look at both sides of the film and get a good level of experience relative to what you are seeing and how it relates to a fixed negative. Again, each sheet film has its own unique characteristic. .
Can you tell us what TRI X looks like under your IR set up when developing by inspection? Does it look way different like FP4?
Re: Night vision solution for brush development / general D.Room work
Quote:
Originally Posted by
almostpilot
Can you tell us what TRI X looks like under your IR set up when developing by inspection? Does it look way different like FP4?
I would love to be able to answer your question with some of my empirical experience, but unfortunately I do not expose Tri X in my work flow. My primary sheet films have been FP4+, Delta 100, T Max 400, T Max 100 and a stash of no longer available Efke 25 in 11x14. I would also add to this topic that I use my Night Vision Monocle as an integral component to my Reduced Agitation Development (RAD) process with Gaseous Burst Agitation in 3.5 gallon tanks (8x10, 5x7 and 4x5) for development by inspection of individual hangers as well as tray development which is a no brainer with this tool because you are literally processing the sheet film with the "lights on" so you can take a lot of the execution risk out of this process that I think hangs some folks up with tray development in the dark. Tried the dim green bulb years ago one time at a seminar and that was enormously more challenging for me to get comfortable with. I will also add that Delta 100 develops much quicker than the other sheet films I use so I take as much as 20% or more out of the expected development time.
That being said it is a reference point that each photographer needs to ascertain for him/herself and it is not that difficult to obtain. Just like using the outflanking printing process I would suggest getting a back lit IR LED under a diffused globe and put it on a foot switch with which to transmit some IR light from behind the negative being inspected on both sides so one can properly check the highlights in your negative. Taking good notes and reviewing them before you begin processing is advisable so you know where to look on each negative for the highlights. Once you see the degree of visual density on each side of the negative with the IR at close to a normal developing time and lock that image in your head you then have the chance to see what it looks like in the fixer tray so you can make some notes to yourself at that point and also when you print that negative for "fine tuning" of your process. Analogous to the outflanking printing technique your first sheet of processing will likely be on the low density side and you can work up from there and dial in your film, your developer and your optimal negative density.
