The Paper Negative & Gear & Technique

Some posts ago, I was shortly talking about "paper negatives" and here comes what the excitement is all about.
As the name suggests, a paper negative is a negative on paper ... haha ... you might think. But, think again!
The idea is to take photos, i.e. negatives, using photographic paper. Photographic paper itself works very much the same way as photographic film, despite being a lot less sensitive.

First thoughts before jumping into the experience of the paper negative:

• what kind of camera?
• what kind of tripod?
• light-meter?
• paper?
• lab equipment?
• chemicals?

The Camera

I would  suggest to get a folding camera with a film format of around 9cm x 12cm (I will come back to this later).
Those cameras usually come with a 135mm lens and various shutters.
Often the shutters make the difference. Since we are aiming for using the camera with paper, it is important that the slow speeds are working properly. I recommend looking for a "Compur" with self-timer. Those are "fairly" modern and can be fixed with some patience. As I wrote before, make sure the slow speeds are working, unless you're confident you can fix the shutter.
As important as a working shutter is that both parts of the lens (if it is a 2 part lens) are clear. I have seen lenses so fogged up that you cannot see your finger touching the opposite side. (Stay away from those! - no way to fix easily!)
Shutter and lens, the most important items to an old plate camera? No, not all... bellows can be a big deal problem. If the camera is expensive, make sure that the bellow is light-tight! If you can get the camera for cheap, you might accept a leaking bellow, since it can be fixed by either gaffer's tape or replacement.
Right, and now comes the really important part of buying an old plate camera! Make sure that you get some fitting plate film cassettes with it, in good shape that is! Said cassettes are usually made from thin sheet-metal, which can corrode easily! Corroded film cassettes are very hard to restore! Also, finding cassettes for your particular camera can be really difficult.
Hence, the most important part when looking for a folding camera is the presence of cassettes in good condition.

The Tripod

You'll  need a tripod no matter what! Exposure times will be between 1s/10 and several minutes.
This particular tripod needs to be equipped with a 3/8 inch screw, since this was the gauge of the time. It is the gauge of today too, but not for the camera. 3/8 is still used to mount your tripod head onto the tripod itself. However, this requires that you selected one with a removable head.
For my very own camera, I use a MeFOTO RoadTrip.
A camera that does shift, rise and fall, you would usually not need a ball-head. However, if it makes you feel more comfortable, you will need a 1/4 inch to 3/8 inch adapter screw.

Light-Meter

Unless you are very sure what you are doing, you should get a decent light-meter. Why am I saying this? A decent light-meter will allow you to get exposure values for ISO 3, which is exactly what you need for paper negatives. Mine is a Gossen Starlite II. 
You might use a general purpose meter and calculate your way down from ISO 100 to ISO 6 or ISO 3, no problem, however, I prefer spot-metering: "expose for the shadows, develop for the lights" (we'll come to this later again). So, is you meter shadows, put them on zone 3 on your Starlite II (which does actually know the zone system!).

Paper

Here, the opinions split. Well, not as to the type of paper to use, PE (aka RC) is the call!
And here comes the split:

• fixed gradation
• variable gradation

My experiments were inconclusive so far, what a favorite is considered. I used long expired gradation 4 and gradation 3 paper to the same success as very fresh FOMA multi-grade paper.
Most photographers working with paper negatives recommend a #2 gradation (which is "medium soft" photographic paper). Paper, in comparison to film, is considered "hard", i.e. having high contrast.

The following needs to be considered when choosing the paper:

1. photographic paper is very blue-green sensitive
2. variable gradation paper provides specific contrast for specific wavelengths of light

Both factors, 1. and 2. point towards the use of filters.

1. fixed gradation paper with colored filters will lead to a defined sensitivity of the paper negative
2. variable gradation paper with gradation filters will lead to a defined contrast of the paper negative

The choice is yours!

Pre-flash the Paper

This is a trick to sensitize the paper by homogeneously pre-exposing the paper, shortly before the shot, with an amount of light that does not (substantially) darken the negative. The effect is believed to be temporary only, since the Bromine in the emulsion might re-collect the lost electron.

Many folks pre-flash by means of their enlarger of other contraptions in the darkroom. 

Personally, I figured out a different method:

• meter a homogeneous light source (e.g. the sky) for zone IX or X
• de-focus whatever was metered for (e.g. close focus for a cloud)
• open the dark-slide
• expose widest open as possible
• close the dark-slide

Now the paper is pre-flashed and ready to take a picture.

This procedure might give you 1 stop of sensitivity.

Lab Gear

This is real easy, you need to pick some meals from your favorite Chinese take-away, and you'll be supplied with plenty of paper processing trays.
OK, there is some equipment you really need: a safe-light!
Why is that? While film is developed in total darkness, paper can be developed in safe-light lit environment. Meaning, you can actually see for yourself the development process and stop it at your liking! How cool is that?!
That brings us back to the "develop for the lights" part ... well ... you'll see them coming up!

Chemicals

Well, that's a good one. Of course you can use whatever you want or are used to. I am actually using a Caffenol developer. Caffenol is a lot slower than traditional paper developer, so be patient. I once developed a paper negative for 70min. The good thing is, using paper, you can observe the developing process under safe light conditions.
The paper is fixed by a 9+1 Ilford fixer solution.

Some results 

In a previous post, I already was displaying what can be done with an old camera and photographic paper.


At a later point in time, I will add photographs showing the various peaces of equipment I am using personally. Stay tuned!

Daylight Development Tanks - Agfa Rondix 35 & Caffenol

As mentioned in the introduction to the topic, I purchased, 2nd hand, an Agfa Rondix 35 daylight development tank. On the interwebs, it seems that some folks had questions about the performance of the tank when used with Caffenol.
Eager to test the tank, in particular with caffenol, I loaded an ISO200 C41 film into my Canon QL17 and went out shooting.

You might be familiar with the fact that you should over expose by 2 stops when planning use caffenol on a C41 film. That precisely I did, I exposed the film as if it was ISO50.

The Agfa Rondix holds 200ml of fluid only.

So, the following recipe was used today.

• 200 ml water
• 2 tsp washing soda
• 2+ tsp coffee crystals
• 1/4 tsp ascorbic acid

The temperature of the mix was more than room temperature, however, I did not measure it. Concerning temperature, I developed films between 18C and 26C at the same timing.

Processing with the Rondix requires constant agitation. Still I kept my timing the same (slightly reduced ascorbic acid in the recipe thought).

• 17 min Rondix type agitation
• 3 water changes for washing w/ several cycles (wash should pour out clean)
• 3 min fixing
• 5 water changes for washing w/ several cycles
• 1 last wash w/ a drop of dish washing soup, several cycles

The process resulted in really nice negatives.
Washing according to the Ilford method takes less time in a regular (reversible) tank. However, I am confident that the Rondix provides all one needs for developing film in daylight easily.

Observation: My tank was sold to me with the remark that it might be unused. I believe that, since there was no smell to the tank at all. However, that also means that the seal never has seen any moisture. My tank leaked a little bit at said seal, with a little I mean like 5 drops during the entire processing. Still, I should try to find a solution (new seal) to this issue.

As soon as the film is dry, I will provide some scans.
2 more tanks to test, stay tuned!

Daylight Development Tanks - Introduction

Daylight development tanks, very convenient to film shooters, are not made any longer. That is a real pity, since those are really convenient for developing your (B&W) film w/o the need for a darkroom or even a changing bag.

In today's digital age, that means that one can shoot "full frame" (135 film that is) with moderately price to extremely inexpensive cameras, develop the film (in bright daylight, using coffee) and scan to produce the images, w/o any need for a darkroom whatsoever!

As mentioned above, daylight development tanks are not made any longer and they are more and difficult to obtain on the 2nd hand market.
Personally, I got lucky on 3 daylight development tanks, I am sure that I overpaid, but, at least I can call those mine now (in order of purchase):

• Jobo 2400
• Agfa Rondinax 35 U
• Agfa Rondix 35

Interestingly enough, all those tanks are German brands. I wonder if there were daylight development tanks of different makes too.
Concerning 120 film, I am aware of the existence of the Agfa Rondinax 60.

All three of the above 135 film tanks work on very different principles.
The Jobo 2400 and the Agfa Rondinax use reels, similar to conventional development tanks, on which the film is rolled onto. In contrast thereto, the Agfa Rondix 35 does not employ a reel at all.

In the Jobo 2400 the film is fed onto the reel in a way similar to the any other Jobo or Paterson reels, it is slid in, although, from the inside rather than the outside. At the end of the process, the film is cut from the cartridge. The advantage of the Jobo 2400 is, that it is watertight and can be used as a regular developer tank, also for stand development. Here is a video with a demonstration of the tank.

Loading the film onto the reel of the Agfa Rondinax 35 U is similar to loading a steel-reel. The film is fixed to the inner part of the real and rolled on, slightly bulged. As soon as the film is completely loaded to the reel, a knife needs to be engaged to cut the film next to the cartridge. Due to the fact that the reel is upright in the tank, the reel has to be turned at all times during processing. The Rondinax is not water-tight and therefore has to be kept upright during precessing. Check out this full tutorial.

The Agfa Rondix 35 is the most economical amongst the three, in terms of chemicals' volumes. However, when it comes to washing the film, it is the one that requires the most activity and time. The Rondix does not employ a reel, the film is wound onto itself on a spool. Agfa's advice is to actually roll the film onto the spool when there already is developer in the tank. My advice is to install the film and spool, fill the tank with developer, than close the lid and start winding the film.  The Rondix will keep you busy turning a little crank back and forth for the entire time of the processing. The cartridge will be attached to the film throughout the entire processing, this allows the reversal of the film onto itself. Actually, I use the cartridge to anchor the film for drying. The Rondix is not water-tight and therefore has to be kept upright during precessing. Again, someone else already did a video on the topic.

It is my turn now to use said tanks with alternative developers, e.g. Caffenol, and share the results.