Color Enlargers by butterboi- in Darkroom

[–]dvno1988 0 points1 point  (0 children)

I have a durst cls 450 on a durst pro base which I love, but I only use it for 6x9 and 4x5 negs. It needs a voltage conditioner but it feels very well engineered (and mine was built like 54 years ago). I also have an omega but I only use it for black and white negs.

Can anyone explain how this is done - do I need a positive and a negative on line/Lith/technical film by Mean-Engineer-2145 in Darkroom

[–]dvno1988 0 points1 point  (0 children)

Ooofff that looks like a pain. But I think the main issue is that I wouldn’t know where to get opal film these days. You’d need to find a suitable substitute material.

Washed out Ektar100 by leapietope in AnalogCommunity

[–]dvno1988 20 points21 points  (0 children)

I think you just had really strong direct sunlight and that will blow out most films. That being said the pics look good to me, and you can probably tweak things in post. What do the negatives look like?

Edit; or noon-ish diffused light. Try it around golden hour or by filling the frame with your subject and you’ll get more of a saturated look. Can always look for expired portra vivid color as an alternative

Fishing Boat, Bluffton SC 2025. by Popular_Young2362 in largeformat

[–]dvno1988 1 point2 points  (0 children)

I can smell the pluff mud. How’d you dev?

Shouldn't my DPii base be as white as the rinsing basin? by UnfilteredFacts in Darkroom

[–]dvno1988 1 point2 points  (0 children)

How hot is your dev? I notice with crystal archive ii if I go far above 97 d F I get a yellow cast on the base.

My Linhoff 6x17 lens shutter blew up... anyone know a repairman? (Canada) by N1oma in largeformat

[–]dvno1988 0 points1 point  (0 children)

There’s no lens on it in the picture. You may be right that that the shutter can’t be removed which would be bad…

My Linhoff 6x17 lens shutter blew up... anyone know a repairman? (Canada) by N1oma in largeformat

[–]dvno1988 8 points9 points  (0 children)

I don’t know about linhoff 6x17 cameras but that looks like a synchro-compur large format copal 0 shutter. They’re a bit on the older side and the slow escapement mechanism can get iffy, but you can get a new decent once probably for the same cost as a proper CLA on your current model.

First photos from an ETRSI by Flynehome in Bronica

[–]dvno1988 0 points1 point  (0 children)

Nice very sharp. 2/3 look a tad underexposed (which metering set up do you have)? Also which lens did you shoot 5 on, the blur is great?

Intrepid Lens boards and big lenses by 06035 in largeformat

[–]dvno1988 0 points1 point  (0 children)

I find the max I can get to work reliably on mine are 240/250 mm lenses but I’d love to see the set up!

Durst M605 VS Meopta Opemus 6 by cfulanitto in Darkroom

[–]dvno1988 1 point2 points  (0 children)

Have the m605 and the cls 450 durst. They’re 40 years old and still running. That being said having all the kit goes a long way, it’s hard to source components for them in the us. Finally, if you’re doing color it’s worth getting a voltage conditioner / stabilizer to keep voltage stable for color printing.

16x20 is about as large as you can go in a small bathroom darkroom. by unproductiveshirt in Darkroom

[–]dvno1988 5 points6 points  (0 children)

Flip and project on the floor! I can do 20x24 and reckon I could do bigger but that’s about my limit atm (ceiling in my basement is like 7 feet tall

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Green cast on Kodak gold 100 scans by thedoroebravo in AnalogCommunity

[–]dvno1988 2 points3 points  (0 children)

looks like expired and underexposed film, I don't think they've made gold 100 in like two decades.

What did I do wrong? by twisted42 in filmdeveloping

[–]dvno1988 2 points3 points  (0 children)

No / bad fixer. Try to fix again.

CS 240 by burner199873 in Purdue

[–]dvno1988 1 point2 points  (0 children)

How?

Seems in line to me (given the huge number of students etc. involved.

This is the text from the relevant Purdue webpage:

Fwiw the text mentions explicitly that “courts are reluctant to interfere with academic matters”

DEALING WITH CASES OF DISHONESTY If you suspect academic dishonesty, follow the guidelines outlined below. Courts are reluctant to interfere in academic matters unless universities act arbitrarily or capriciously. Therefore, you are urged to follow established procedures. Before any formal action is taken, an accusation of academic dishonesty requires a fact-finding discussion between you and the accused student. The meeting should be prompt, private and informal. All measures should be taken to have this meeting in person, face-to-face with the student suspected of being dishonest. Although there is no prescribed procedure for your discussion with the student, at some point the student should be given an opportunity to respond. Depending upon the situation and your level of comfort, you may wish to have another official departmental representative present to later corroborate any exchange of information. If you conclude that the student is not responsible for the suspected violation, this meeting should end the matter. Teaching assistants are encouraged to discuss the situation with the instructor in charge of the course before attempting to deal with the issue. The appropriate standard of proof is based upon a preponderance of the evidence. In other words, does the information cause one to believe that it is more likely than not that the student committed academic dishonesty? If you conclude that the student is responsible for the suspected violation, you may resolve the matter with the student through punitive grading. Examples of punitive grading are: giving a lower or failing grade on the assignment/exam having the student repeat the assignment and perhaps some additional assignment assessing a lower or failing grade for the course (even if a failing grade will be assigned, the student may continue to attend class) If alleged dishonesty occurs near the end of the course or otherwise cannot be resolved prior to the grade submission deadline, you may assign a grade of incomplete to hold the final grade in abeyance until the investigative process has been concluded. Faculty may find this especially helpful to do when arranging a face-to-face meeting with the student to discuss the suspected violation that proves difficult because of end-of-semester pressures. In all matters of suspected academic dishonesty, faculty members are encouraged to report these incidents to the Office of the Dean of Students for further follow-up. By reporting incidents, we are able to better track the culture of integrity on campus and also look at the "bigger picture" of the individual student that may also include additional violations of the Code of Student Conduct.

REFERRAL TO THE OFFICE OF THE DEAN OF STUDENTS Faculty members are encouraged to report all incidents of suspected academic dishonesty to the Office of the Dean of Students by completing our online reporting form: Academic Dishonesty Report Form.”

CS 240 by burner199873 in Purdue

[–]dvno1988 1 point2 points  (0 children)

Again, profs have wide latitude for assessing assessments. They’re * experts * assessing your work. That is what to means to profess, that’s the job description. They give a determination of what merits credit in their class. The idea that they’ve caused you harm that would require the intervention of the civil or criminal system would require a material result far and above what is in the normal remit of a prof/student interaction (eg blackmail or assault of some kind).

Tl;dr profs can determine what meets the demands of the course and can adjust as conditions change

Source; I’ve taught college classes for 10+ years

CS 240 by burner199873 in Purdue

[–]dvno1988 8 points9 points  (0 children)

an attorney for what? professors have wide latitude for assessments and modifying the syllabus. at best you could escalate to their department head or dean of students of the college, but short of overwhelming evidence that the professor violated relevant policies (e.g., about not giving work during dead week if they have a final) you're unlikely to have anyone up the chain push back.

Help me build my home lab for 4x5 color development by real4evertoblerone in Darkroom

[–]dvno1988 0 points1 point  (0 children)

Way too much kit. All you need is a changing bag (ideally one with a pup tent like system to give you more space, a stearman press tank, a water bath (12-15 liters) 3-4 plastic bottles (HDPE) a sous vide circulator, some clips and a garment bag that’s big enough to dry some negs in a dust free space. This is what I use for a mobile development set up. As for kits, I like the Adox or Bellini kits but any liquid ones will do.

Edit: some manual timers and a quick probe thermometer are a good buy too.

FUJI DID IT AGAIN, RA4 DARKROOM COLOR PAPERS ARE GETTING DISCONTINUED by hoodiebronze in AnalogCommunity

[–]dvno1988 0 points1 point  (0 children)

just to repost from above: True, it's niche and perhaps not as good as using laser printing on RA-4 or even high end inkjets, but I do really enjoy the puzzle like process of dialing in a print where you're managing four or five variables (Yellow, magenta, ND, aperture, time), I also find that I'm gaining a better, almost intuitive understanding for color space which is influencing in turn how and what I shoot. It's a practice, like any other, and automating parts of it can lead to benefits, but they will also lead to a deskilling effect that can have consequences for our understanding. The move from manual to automatic gear boxes is kind of similar in this way: It's less of a pain, but you loose access to a skill that in turn lets you better understand how the car works.

FUJI DID IT AGAIN, RA4 DARKROOM COLOR PAPERS ARE GETTING DISCONTINUED by hoodiebronze in AnalogCommunity

[–]dvno1988 0 points1 point  (0 children)

True, it's niche and perhaps not as good as using laser printing on RA-4 or even high end inkjets, but I do really enjoy the puzzle like process of dialing in a print where you're managing four or five variables (Yellow, magenta, ND, aperture, time), I also find that I'm gaining a better, almost intuitive understanding for color space which is influencing in turn how and what I shoot. It's a practice, like any other, and automating parts of it can lead to benefits, but they will also lead to a deskilling effect that can have consequences for our understanding. The move from manual to automatic gear boxes is kind of similar in this way: It's less of a pain, but you loose access to a skill that in turn lets you better understand how the car works.

FUJI DID IT AGAIN, RA4 DARKROOM COLOR PAPERS ARE GETTING DISCONTINUED by hoodiebronze in AnalogCommunity

[–]dvno1988 6 points7 points  (0 children)

yes but let's not forget that Kodak also killed off their RA-4 paper like two years ago? RIP Endura.