There goes my cent to the thread.
I use changing bags. I use a lot of film holders too. As much as I can I
avoid changing films in sweating conditions. As much as I can I try to
change films indoors (be it in a house, a car or a tent), specially at the
night before, so that it wont be necessary
Dick Blick handles most of the easy printmaking supplies, asphaltum's at
http://www.dickblick.com/zz452/05/products.asp?param=0ig_id=1830
Mike Keller
http://www.mikekellerphoto.com
With every mistake
We must surely be learning
Still my guitar gently weeps
George Harrison 1943-2001
You can find Asphaultum as a liquid or powder at Printmaking supply houses.
Rembrandt Graphic arts: http://www.rembrandtgraphicarts.com/
Renaissance Graphic Arts: Inc www.printmaking-materials.com
then look under :Intaglio:grounds for etching
powder
Joao Ribeiro wrote:
My home solution is a heavy cloth curtain wider and longer than the door
placed
right behind it, so when I'm in with door closed, the curtain cuts all the
light
leaks comming in.
Yep. This is the way I work too: it's simple and economical. The only
shortcoming is
Gordon J. Holtslander wrote:
Can't imagine doing handling roll film in a bag. I've reloaded an 8X10
pinhole camera in a changing bag - thats difficult
I used to use a changing bag to load exposed roll film (both 35mm and
120) onto development tank reels. It's not nearly as hard as it seems.
Hello,
On Sat, 1 Dec 2001, Andy Schmitt wrote:
(sorry Europe but there really is a use for inches)
I doubt it ;-) Since the method you used was based on fractions, it does
not matter at all which units you use. So no excuses for not using
metric! ;-)
Regards,
Robert
Hi,
On Sat, 1 Dec 2001, Sue T K wrote:
All this talk about long exposures and reciprocity have made me think of
trying a indoor low light pinhole pic. For what I want to do I'm guessing
the exposure should be about an hour long. No one mentioned shorting
Exposure guessing indoors is
That was my instinct, Guillermo, and thanks for your
answer.
Funny thing is, I tried it yesterday at a minute and a
half--my rough calculation, which was close to your
suggested 84.5 seconds--and it completely overexposed
the film. It was all white (using Polaroid Type 55).
Then I tried it
At 09:53 PM 11/30/01 -0500, you wrote:
oh sure ! at home in france aliance francaise in n.y.see
pinhole news non.25-01
What did you think of that show, Mickey? I'd like to hear about it.
- Gregg
_
Pinhole Visions at
Hello!
Or buy the book Printmaking in the Sun. Buy a photopolymer plate.
Expose your positive with an aquatint screen (80 or 90%) on the plate in
the sun or under UV light. Develop under running water with a brush. Give
it a final exposure to set the plate, And Intaglio print. Safe, Fast and
I've used a changing bag for years. Haven't noticed any problems -though
I contact print mostly. I used to take my 4x5 on camping trips. Load
and reload film in the bag on a picnic table etc.
I didn't want to limit the shots I took on a trip to the number of
darkslides I have.
Can't imagine
Eric S. Theise writes:
aquatinted with resin
Geez! Rosin. Pine tar. I need to s-l-o-w d-o-w-n.
--Eric
Gregory Parkinson writes:
How 'bout some more tech talk :)
How are you making the gravures?
How 'bout we wait until after the reception?
How 'bout you take my workshop next year? 8-)
I'm not sure what you're asking, anyway. It's one of the standard
variants: full-size positive on lith
There is no rule of thumb, just plain physics of light.
This case is in no way different than if you were using a glass lens.
I guess you could say the rule of thumb is to add 2 stops every time you
double the focal lenngth.
You can think of it this way... If you have a 50mm lens at f/16,
I don't remember guillermo explaining it, so here's my shot at it.
Every time the bellows extension is doubled, you have to increase exposure
by 2 stops. If you extend the bellows by a factor of 1.414 (the square
root of 2), you must double the exposure.
so... sqr(2)^x = extension factor. x
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