Search results for: 'pre and on'

Filters have long been a popular accessory for photographers and offer a number of different functions or effects. In both analogue and digital photography it is possible to recreate some of these in the darkroom or digital darkroom. However there has always been a benefit to getting it right in camera. In black & white photography, colour filters in particular are useful as they can control how the colours in a scene are reproduced as greys. Normal black & white films are sensitive to all wavele...

General health and safety advice This section provides advice to our customers on the safe handling, use and storage of our photochemical solutions, best practice for waste disposal and specific advice to women who are pregnant or breastfeeding a child. If you are looking for information on the chemical safety of HARMAN photochemistry solutions, please refer to the Safety Data Sheets (known as SDS or MSDS) 24 HOUR OHES emergency line for advice on chemical incidents Safe working practices It is essen...

Safety data sheets for ILFORD photochemicals when made up for use These safety data sheets relate to the products after they have been prepared for use in accordance with our recommendations. Because we do not supply these chemical solutions ready for use, we are not obliged to provide these SDSs. However, we do so in order to help users, especially those in schools and colleges, to use the products safely and assess correctly the risks involved. These are European SDSs and are provided in English only.The...

Photographic prints are intended to be viewed and when looked after can remain in excellent condition for over a century. However, as they are paper-based they are prone to damage if mishandled. Caring for a print A print intended to have a long life should be processed by methods recommended for long-term stability. If necessary it can be retouched to eliminate blemishes. Prints that are going to be displayed should be mounted, framed and glazed to complement the image and protect it from deteriorat...

Mounting your Prints Even the most stunning print can look better when it has been properly mounted. Mounted prints are also better protected as they are kept flat with the image separated from the immediate surroundings by unobtrusive margins. There are no hard and fast rules about mounting prints; the most suitable results will depend on individual preference, the nature of the image, the intended use and other circumstances. It is recommended that only boards and other materials intended for the p...

The ILFORD PHOTO Archival Sequence, or Optimum Permanence wash system is a method of processing fibre base papers for maximum longevity while reducing the amount of water and time used. Whilst standard fixing and washing recommendations will give excellent print permanence for all commercial needs. When optimum permanence is needed, perhaps for archival storage of prints, the following fixing and washing sequences at 18–24ºC/65–75ºF (including wash water) are recommended using ILFORD WASHAID. Fi...

Split grade printing The version of split grade printing described here is that taught to me by the ILFORD head printers, Mike Walden and Terry Offord, and is the simplest, fastest way to make good darkroom prints from pretty much any negative. (The exception is really underexposed negatives to print these you usually only need high contrast). This is a very powerful technique that can be used routinely with variable contrast (VC) papers, such as ILFORD MULTIGRADE. It makes use of the differing performa...

Making a silver gelatin print Take a look inside the darkroom of Master Printer Tim Rudman whilst he shares the methods that he employed when making a silver gelatin print for his latest book Iceland, An Uneasy Calm Tim discusses various techniques including negative preparation, dodging and burning and using coloured filters for contrast control. Tim also discusses pre-flashing, toning and bleaching.

What is the luminogram process? The Luminogram process is light, directed onto photo paper in the darkroom. About as basic as ‘photography’ can get. It has been with us for a long while. László Moholy-Nagy (1895-1946) started using it in 1922, while Gottfried Jäger described it as "the result of pure light design; the rudimentary expression of an interaction of light and photosensitive material… a kind of self-representation of light." And yet it has always seemed to sit on the sideline...

1992 - How I met Masterji Soon after leaving my staff photographer’s position on the local newspaper where I’d been employed for the previous 5 years and with the luxury of in-house film processing no longer a convenient option I began using my local city centre professional colour lab, in Coventry. During the accumulating hours I spent in that lab waiting for my 35mm films to process, watching small colour prints dropping from the conveyor belt from the end of the machine, I very watched a short In...