Go buy some film, and release the magic.
I agree, about sticking to a film. I'm still learning and don't need more variables to foul me up. I wanted to buy locally, so I started out with TMX and TMY, cause thats what the local guys had in stock. Got my testing all done, then the bozos at the shop switched from Kodak to Ilford, and Fuji. So, I have just a few months of hp5 under my belt. I did order some Xtol, in fact it just arrived today, so I haven't had a chance to try it yet. Pyro, is next on the list, but its a ways off.
Go buy some film, and release the magic.
Always use fiber paper, tones and bleaches better than RC.
Try toning with thiocarbamide (non-smelly) and selenium as well, and even the two together sequentially...you'll be in like Flint.
And dig Jon Shiu's recommendation to look at toned prints every chance you get. The fellows he recommended are the plum place to start.
Oh, and regarding toning...subtlety is where it's at.
Well I'd suggest that you start by using warmtone papers and dilute developers because you can get an awful lot of tone in a print without resorting to the additional process of toning. Toning should be done judiciously to achieve what is not achievable through normal development.
i.e. learn what is capable from paper / developer combinations before jumping to toning. Not suggesting you shouldn't tone but I don't think you need it to get to where you want to be. But if you want green prints then maybe you do.
PViapiano, Thanks, fiber it is, came in yesterday. I did enjoy the websites Jon recommended, just wish I could see the real thing hanging on a wall.
percepts, my current plan is to stick with hp5. Switch over to Xtol 1:1 and live with the pair for a while. If along the way, a print or two should fall in to some toner, it probably wouldn't derail the train on the way to the end goal.
Go buy some film, and release the magic.
Too black and white? Are you meaning that the contrast of your images are too high? I've had this problem also, but I don't mind mixing analog and digital. So, if I'm unsure about the exposure in shooting, I shoot a decent exposure and save it later in PS.
But, to keep it all analog, have you considered using filters in the darkroom? Are you familiar with split-filtering (a more advanced way of controlling contrast in analog prints that allows for more control of tones)?
Thanks for the quick response, "he said with a little smile",
I did come grips with my printing issues, back about 2011 or so.
Go buy some film, and release the magic.
You have two issues. First, it is a very contrasty subject. Second, you are simply developing the film too long. There is no big technology to deal with here, but the difference between your work and Ken's is considerable in the contrast area. The developer won't matter that much, its just the length of time you leave it in there.
There are better developers, and better film, IMO. (Delta 100 and Xtol or Pyro.) But first get yourself a softer neg...
Lenny
EigerStudios
Museum Quality Drum Scanning and Printing
Tim K- what was your issue? I get the impession you were just using a paper that didn't suit you. Something like Ilford warmtone or Kentona was what you needed. Or, a toner like dilute Viradon. Having seen a thread-from-the-dead, what was the outcome?!?
Your style looks like it would lend itself well to Lith Printing.
Last edited by C_Remington; 12-Mar-2013 at 13:37. Reason: Can't spell for crap.
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