You and John Finch(Pictorial Planet) are superb content creators and educators in the art of photography, we are saturated with darkroom videos on UA-cam, but the majority run through the basics without any real insight in the process. Keep em coming, great channel!
Having grown up in the north, I tend to think a good way to describing what the flash is doing in a simple way is to say If getting detail in the highlights is like pushing a car out of the snow, the flash is like when you're pushing the car & the wheels are spinning, just before the car starts moving. Your way of describing that is a lot more accurate though! Great video!
It's good to see somebody have such Passion about Darkroom skills....Some books may cover these steps...but not in detail Like you...Look forward in seeing this series...
I appreciate that! There is a lot of info out there on this stuff, But most is very hard to wrap your head around... especially say reading it at night and the trying to remember the next day or a week later etc...Wacthing someone do it sticks a bit more for me. Plus everyone does (and should) have a slightly different approach to how they print.
Great explanation of this process! Thank-you. I was not aware the process affected the midtones, but it is certainly understandable. Probably the lower value highlights even more (say, Zone 7 or so). I have never used the process. I simply use Kodak abrasive or K+ Ferricyanide (like Ansel did). Both are much more predictable, and if you over bleach you simply retouch in whatever you lost. But, these processes are limited only to fairly large negatives (whole plate--6.5 x 8.5 and larger). Of course, you can also flash your negatives. Ansel used to do this (refer to his book series "The Negative"). That you can certainly do with small cameras. But with negatives you flash only to add detail to your shadows. I never found the latter process made that much difference, and if I needed detail, it is very easy to simply retouch an 8x10 negative. I develop prints only on AZO, which has an ASA of 4, and it takes about 2 seconds under a full bright 150 watt light to begin to gather any emulsion change. (There are no stops, because this is contact printing, and does not use an enlarger). Really, you offer a very fine video here. You will help many people with it!
Matthew, working through the problem-solving process on a single negative in this detail is something that would normally, I assume, be reserved for an extended. workshop (I never had the good fortune to attend one). The pedagogy can be enormously valuable for those new to the process. It's the kind of thing that is virtually never attempted in photography, outside a class or workshop, with respect to composition, for instance. Granted, composition is another domain altogether -- dependent in various ways on technique but not a technical process like that which you are elucidating here, but the matter of systematically analyzing what tools are available and how they may be appropriate for use in combination on a single image offers immeasurably more than the more usual, "On this image I did this, on this one, I did this" -- with virtually no connection made. Hats off.
Thank you Phillip, there are just so many ways to approach some of this… some more time consuming and fitting for someone’s workflow and some might not be so fitting and might want to use different techniques all together… you can get so much more involved in a print if you feel the need 👍
Great stuff! Good advice to fix the height of the flash light. RH Designs make a useful lightweight paper flasher that can be easily fixed somewhere with blue tack.
Very informative and allows more flexibility in the darkroom. I was in the school of thought that VC papers required no pre flashing, but after watching this I'm going to give it a try.
I think for me it is a case by case basis. Most negs are not this out of whack and burning with a low contrast filter would do the job fine. But many times flashing can be combined to deal with certain issues... I find it very useful!
creo que lo probare, ahora que he pedido varios productos en crudo voy hacer el revelador d-23 y Crawley's FX15, muy buen video y esa es la fotografia que mas me gustaba, hasta el proximo video un saludo.
Yes you definitely can. I did not get into it and intend to do a comparison of flashing for different colors (blue/green light) that effectively target the two contrast layers. I still need to test more myself on this so did not include it yet but I do typically flash with a green gel to target the lower contrast which would be the same as flashing under the enlarger with a 00 filter or there abouts. So yes I do think that is a good direction!
Thanks for this video! Instead of pre-flashing the entire sheet of paper can you not instead pre-flash say a portion of the paper? For example, a landscape scene - pre-flashing only the top (local) area of the paper say with your hands (as if you were dodging/burning) - instead flashing the paper and just targeting the highlights only?
You and John Finch(Pictorial Planet) are superb content creators and educators in the art of photography, we are saturated with darkroom videos on UA-cam, but the majority run through the basics without any real insight in the process. Keep em coming, great channel!
Wow, thank you!
The Naked Photographer
@@Nvananon yes, i like him, very good.
Excellent graphic demonstration of how flashing works.
Thanks, glad it made sense!
Really detailed and clear sharing for the flashing. Thank you.
@@MultiGlenn1987 Thank you!
great addendum to that video, to show how you might fix a problem neg. you explain it very well, can't wait for the next installment.
Glad you enjoyed it. Me too... this is sorta forcing me to get in the darkroom :)
Having grown up in the north, I tend to think a good way to describing what the flash is doing in a simple way is to say If getting detail in the highlights is like pushing a car out of the snow, the flash is like when you're pushing the car & the wheels are spinning, just before the car starts moving. Your way of describing that is a lot more accurate though! Great video!
Thank you... Try not to think about snow until November :) Good analogy though!
Nicely presented. The graph really helped my understanding.
Glad it helped!
Great explanation as always, fantastic practical demonstration
Thank you!!!
It's good to see somebody have such Passion about Darkroom skills....Some books may cover these steps...but not in detail Like you...Look forward in seeing this series...
I appreciate that! There is a lot of info out there on this stuff, But most is very hard to wrap your head around... especially say reading it at night and the trying to remember the next day or a week later etc...Wacthing someone do it sticks a bit more for me. Plus everyone does (and should) have a slightly different approach to how they print.
Great explanation of this process! Thank-you. I was not aware the process affected the midtones, but it is certainly understandable. Probably the lower value highlights even more (say, Zone 7 or so). I have never used the process. I simply use Kodak abrasive or K+ Ferricyanide (like Ansel did). Both are much more predictable, and if you over bleach you simply retouch in whatever you lost. But, these processes are limited only to fairly large negatives (whole plate--6.5 x 8.5 and larger). Of course, you can also flash your negatives. Ansel used to do this (refer to his book series "The Negative"). That you can certainly do with small cameras. But with negatives you flash only to add detail to your shadows. I never found the latter process made that much difference, and if I needed detail, it is very easy to simply retouch an 8x10 negative. I develop prints only on AZO, which has an ASA of 4, and it takes about 2 seconds under a full bright 150 watt light to begin to gather any emulsion change. (There are no stops, because this is contact printing, and does not use an enlarger). Really, you offer a very fine video here. You will help many people with it!
@@callmeBe Thank you!
Thanks for sharing Matthew
My pleasure!
Matthew, working through the problem-solving process on a single negative in this detail is something that would normally, I assume, be reserved for an extended. workshop (I never had the good fortune to attend one). The pedagogy can be enormously valuable for those new to the process. It's the kind of thing that is virtually never attempted in photography, outside a class or workshop, with respect to composition, for instance. Granted, composition is another domain altogether -- dependent in various ways on technique but not a technical process like that which you are elucidating here, but the matter of systematically analyzing what tools are available and how they may be appropriate for use in combination on a single image offers immeasurably more than the more usual, "On this image I did this, on this one, I did this" -- with virtually no connection made. Hats off.
Thank you Phillip, there are just so many ways to approach some of this… some more time consuming and fitting for someone’s workflow and some might not be so fitting and might want to use different techniques all together… you can get so much more involved in a print if you feel the need 👍
Great stuff! Good advice to fix the height of the flash light. RH Designs make a useful lightweight paper flasher that can be easily fixed somewhere with blue tack.
I have seen that one... it looks nice! Thanks!
Very informative and allows more flexibility in the darkroom. I was in the school of thought that VC papers required no pre flashing, but after watching this I'm going to give it a try.
I think for me it is a case by case basis. Most negs are not this out of whack and burning with a low contrast filter would do the job fine. But many times flashing can be combined to deal with certain issues... I find it very useful!
Very informative. Well expained. Very addictive contents. Thanks. :)
Great to hear! It can be hard to know how well you are explaining something like this so I appreciate the feedback!
creo que lo probare, ahora que he pedido varios productos en crudo voy hacer el revelador d-23 y Crawley's FX15, muy buen video y esa es la fotografia que mas me gustaba, hasta el proximo video un saludo.
Thank you! I have always wanted to give d23 a try. Let me know how it goes!
The Arch in St. Louis?? A fellow Missourian here. ✌🏻🥳
My Mom lives in Missouri and I come through St. Louis. 👍
I'm curious if it's worth the pain of using the enlarger, since you can flash with a grade zero and (maybe) avoid muddying the shadows.
Yes you definitely can. I did not get into it and intend to do a comparison of flashing for different colors (blue/green light) that effectively target the two contrast layers. I still need to test more myself on this so did not include it yet but I do typically flash with a green gel to target the lower contrast which would be the same as flashing under the enlarger with a 00 filter or there abouts. So yes I do think that is a good direction!
Thanks for this video! Instead of pre-flashing the entire sheet of paper can you not instead pre-flash say a portion of the paper? For example, a landscape scene - pre-flashing only the top (local) area of the paper say with your hands (as if you were dodging/burning) - instead flashing the paper and just targeting the highlights only?
Yes absolutely! Check out my latest video on just that! ua-cam.com/video/fs40DRzprU8/v-deo.htmlsi=8Af_-y4gRySVj2vc
👌🏼
I am curious, what do you use to record your video in the darkroom?
Usually a cannon R5 and prime lens and 24 mm 1.4 👍
Thanks!
Thank you!!!
Great info 👍😌😌
Thank you!
👍👏
👍🏻👍🏻👍🏻👍🏻👍🏻