> OK, I'll bite. What's "modern" darkroom technology? I wasn't aware
> there had been anything truly new in the past 25 years. :-)
I've talked before about the RH Designs gear. I won't step foot
anywhere new a darkroom without my ZoneMaster II or StopClock
Professional. Add to that, digital process timers.
A lot of the "modern" darkroom technology is also related to modern
darkroom techniques. By utilizing stop-based timing in the enlarger,
and having a programmable timer such as the StopClock, doing
split-grade printing is not anything fancy or out there, it's the
normal way of working.
Split-grade printing is actually a pretty recent development. There
were a few practioners of it early on (not long after variable
contrast papers became available), but it wasn't until recent years
that the process became predictable, programmable and taught.
Split-grade printing essentially allows you to adjust the gamma of the
print. It used to be that the primary controls were exposure and
contrast. Now we have exposure, contrast and gamma. We can actually
control the exposures of the highlights, mid-tones and shadows
seperately now. I'm simplifying a bit, because the casual Uncle Bob
probably isn't going to understand how it works or take the time to
try or invest the money in an expensive analyzer and timer. Let Uncle
Bob eat Photoshop Cake.
Another recent development, which is a game-changer, is ADOX MCC 110
paper. This is a fiber paper using a claassic emulsion, but on a much
brighter and whiter base. Is it good? It's not just good, but it's the
best. Leagues above Ilford variable-grade fiber paper. It's of a
quality and tonality which can only be matched, but rarely exceeded by
even the best graded papers. It's expensive stuff to use (both the
paper and the developer aren't cheep), but you can do stuff with it
that can't be done with other papers. It is simply wonderful stuff.
With my new enlarger and new digs, it will take a few weeks to get
things dialed in and stabilized. But once we have the darkroom
calibrated (you calibrate it in a manner not unlike how you build
profiles in the digital environment), it's a pleasure because I can
take the analyzer, pop a few spot meter measurements on the projected
image below the enlarger, move my exposure dots around with the
exposure and contrast settings, set the enlarger for that contrast and
the timer with the recommended time (mine is electronically linked so
I don't even have to set the timer), load the paper, press the foot
switch and toss the print in the trays. (I use tray process--now even
with voice-actuated auto-stir). Want to do a some additional burns?
(work in burns, not in dodges for repeatability) Just hit the program
button, punch the exposure up button the number of steps (mine is set
to 1/4 stops) that you want to do the burn for. Do this for each
additional burn. Oh, wait! You're doing split-grade printing, right?
Ah, OK, well add the steps to either the 00 or V exposure. I think I
have something like 24 possible programmable adjustments available.
Oops. I screwed up. Everything is perfect except the overall exposure
is a 1/4 stop too hot. No problem, just adjust your base exposure down
1/4 stop and all the burns automatically adjust with it. One of the
adjustments not quite right? Just go to that one adjustment program
step and make your setting change. Ready for the final print? All this
time we're working on a wet work print. The final print, when dry,
will end up going dark as the emulsion dries up and the silver
particles clump closer together. Just press the drydown compensation
button and the timer automatically subtracts the appropriate time
(usually around 8%) from ALL exposures so that when dry the print will
end up looking like the wet print.
A calibrated electronic darkroom is a massive pleasure. No guesswork.
Just meter the enlarged image (which takes care of the fact that no
two enlargers are exactly the same and no two lenses stop down
evenly), set the timer and contrast grade and rock and roll. I still
run test strips for some prints (Bill Barber gave me one picture to
print that drove me nuts), but when all calibrated up and when you are
practiced up in your ability to read a negative, it's easy to zip
through the prints in no time.
I'm staring at a print here at the office which has such incredible
tonal subleties that I really doubt would have been possible in the
digital realm. Granted, I've got a dozen burns, so it's it's hardly
considered to be a straight print, but the fact that I could do the
suble adjustments without causing weird things to happen is a
testament to the fact the technology holds up and holds up well. In
the digital realm, when working with B&W images, you can darken
portions of the image, but rarely can you lighten without bad things
happening. I was able to rattle off almost 20 duplicates of this one
print without breaking a sweat.
Another aspect of the modern darkroom is digital. When I don't know
exactly how to approach a negative I can scan it or do a straight
no-adjustments work print on inexpensive RC paper. Scan the neg or
print and do the adjustments in the computer to get the look you want.
Then go back into the darkroom and start programming the timer with
those settings. I will be adding digital contact negatives to the mix
before too long too, but that takes some additional calibration effort
and work.
LOL, I was going to say that this isn't my Father's Darkroom. But as I
look around at all the piece parts in there, about half the equipment
really is from my Father's Darkroom.
AG
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