See in the dark

Nobody ever sees what a colour printer does! . . .  as there are no safe lights in this darkened world. Colour paper is obviously sensitive to all visible wavelengths of the spectrum.
But here goes with a video clip of a test print made of ‘The Barn’ from Gillian Gilbert’s series. The negative is shown in a previous post.

2 minute video of a test print of ‘The Barn’

Should download into a media player. Warning, bit surreal.

Two pieces of equipment that perhaps have the greatest influence on the quality of one’s prints is the processor and the lens.

IMG_0042                                            IMG_0049
Optimum professional chemistry that is tested and maintained with a good throughput is essential. So included for tech minded folk is a picture of my Kreonite KM1V 30 inch RA4 processor. All my exhausted chemicals are by the way, captured from the machine, stored until I have 300 litres and it is then collected by Wastecare, who re-process the silver and heavy metals from it, to the current EU legislation. Not a drop pollutes and I couldn`t have it any other way.
The contrast and sharpness of the image in print form can be affected by the nature of the lens chosen to enlarge. Quality of optics, coatings, condition and alignment are all critical. I have a variety to use for all formats, 35mm to 10×8, but a favourite for medium format are a couple of Apo-Rodagon 90mm by Rodenstock. Apo lenses have additional elements to focus a greater range of the colour spectrum to the same focal plane, therefore reducing aberration of colour and increasing image sharpness.
That’s it, no more tech stuff !

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