My DIY film development tubes In my quest for being more efficient with my semi-stand development process for individual films, I needed a method to develop more than one film at a time. 

The approach that I outline below works best when the total time for presoak and initial agitation are greater than the stand development cycles for the two films.  I use 3 timers.  Timer 1 is dedicated to film # 1’s current process, Timer # 2 is dedicated to film # 2’s current process, and the third timer is used for the agitation cycles.  I also recommend numbering the tubes and the timers, to keep track of them and not rely on placement (left or right).  

I use a small whiteboard to write down the development plan and erase each step for each film as I complete it.  You could accomplish the same thing with a piece of paper and mark through each step as it is completed.  

You may want to review the previous articles related to this post: introduction, update # 1, update # 2 

Two Film Development Timeline for Individual Tubes of Film

Step 1 - Film # 1 - presoak for 5 min 
Step 2 - Film # 1 - initial agitation (ranges from 2.5 to 5 min depending on development needed) 
Step 3 - Film # 1 - stand # 1 for 15 min. (this can vary, I used 15 min as an example) 

Step 4 - Film # 2 - presoak for 5 min 
Step 5 - Film # 2 - initial agitation (ranges from 2.5 to 5 min depending on development needed)
Step 6 - Film # 2 - stand # 1 for 15 min (this time ranges between 5 and 20 minutes) 

Step 7 - Film # 1 - agitation cycle # 1
Step 8 - Film # 1 - stand # 2 for 15 min.

Step 9 - Film # 2 - agitation cycle
Step 10 - Film # 2 - stand # 2 for 15 min.

Step 11 - Film # 1 - agitation cycle # 2
Step 12 - Film # 1 - stand # 3 for 15 min.

Proceed to step # 15 for film # 1

Step 13 - Film # 2 - agitation cycle # 2
Step 14 - Film # 2 - stand # 3 for 15 min.

Proceed to step # 15 for film # 2

Step 15 - stop/fix/wash film # 1
Stop bath for 30 seconds with film # 1
TF-4 rapid fix for 5 min for film # 1
Wash film # 1 
Photoflo and hang to dry

Note: I remove my films from the tube and go to trays for stop, fix, and washing.  I am currently testing a new method that will simplify this for my mobile darkroom.  

Step 16 - stop/fix/wash film # 2
Stop bath for 30 seconds with film # 2
TF-4 rapid fix for 5 min for film # 2
Wash film # 2
Photoflo and hang to dry

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

Developing film in my mobile darkroom I thought I would share some information with my readers about how I have tackled the process of developing my large format sheet film on the road and how I make my pure platinum prints when I am away from my darkroom. 

WHY GO MOBILE?

Before I share how I am able to develop large format sheet film on the road and make platinum contact prints, I thought I would discuss some of my key motivations for wanting to do this.  

Many of my subjects are located hundreds, and in some cases, thousands of miles from my home.  Since I use large format view cameras and sheet film, I need to know that I have proper negatives before I depart the location.  Leaving without securing negatives suitable for creating my prints would be a costly and disappointing mistake.  

When I began this journey, my primary goal was to just develop the negatives in the field and then return back to my darkroom for making the platinum prints.  While I still do this, I wanted to work through the obstacles to make platinum prints on the road in my Sprinter van.  I find that I have a desire to stay out in the field longer and I am able to make adjustments that I would otherwise not be able to do.  For example, if I make a print and I think that I would like to modify the composition, I can simply stay another day and purse that and see how it goes.  

Another benefit is the ability to stay busy in between the good light.  I normally only create exposures in early morning or late afternoon light, so that leaves the bulk of the day open.  Many times, I use that time for scouting, taking a hike, or just relaxing, or even a much needed nap!  I like the option to use that time to develop film and make prints.  Then when I get home and back to my full size darkroom, I can relax and evaluate the prints more closely and then pursue making more prints based on the field versions.  I like having time in between printing because I use this reflective time as an opportunity that helps me create better prints.  I also feel like I accomplished a lot more on my trip versus offloading all of the developing and printing post the trip.  For whatever reason, I just feel better about things from working like this.  

DEVELOPING THE FILM

My DIY film development tubes Historically, I developed all of my large format sheet film negatives with a Jobo processor.  I use a CPE-2 processor in my darkroom for a variety of darkroom related work ranging from developing black and white film, to color negative C-41, E-6, and even RA-4 color prints.  The Jobo processor is a versatile tool that can assist the darkroom photographer with a lot of different tasks.  Many years ago, I acquired a smaller processor, the CPP-2 for my mobile processing up to 8x10 film and prints.  Controlling light, meaning eliminating it, can be real challenge when working mobile. The Jobo processor can really help eliminate most of those challenges after you get the film or paper loaded into the processing drums in your dark tent.  

I recently changed from developing negatives for my platinum prints in the Jobo processor to a semi-stand process using home-made PVC tubes.  The underlying reasons for this are beyond the scope of this specific article, but, I can tell you I would not modify a long-standing process unless it was worth the angst and effort.  

Long story short, my process for developing film on the road in my small Jobo CPE-2 is no longer an option for me.  I didn't explicitly state this, but one of the advantages of using a Jobo processor is temperature management.  My film development is tuned for 21C/70F, and while I can modify variables and adjust the development time, I try and avoid that if I can.  

To address the temperature management issue, I found a used Jobo TBE-2, which is a tempering bath.  It is more or less a Jobo processor, without the film processing capabilities.  The TBE-2 comes in a few different configurations.  I went with the smallest version that I could find to conserve space without sacrificing any functionality.  Like the image to the left, my unit has the ability to temper six one liter canisters and six 260ml at the same time. Depending on the size of film I am developing, I usually can get away with one slot for my Pyrocat HD developer, one for my stop bath, and the third for my TF-4 fixer.  I wrote an article about switching to TF-4 fixer that you may want to review.  This choice has simplified my workflow drastically and this really helps when doing all of this mobile be reducing the number of chemicals that I have to manage.  

Another benefit of the TBE-2 is the ability to stand my development tubes in the waterbath if I need to do this for temperature management on long development cycles.  I have onboard solar power in my Sprinter van, and this allows me to power the TBE-2 via solar energy.  I do keep a generator on hand in the event I need more power than I can generate via solar.  

I keep a dark tent on hand to transfer the film from my holders to my development tubes before I begin the development process.  The tent is collapsable and I can easily store it with very little space requirements. I also have a brand new custom-made mobile darkroom box that I use as well.  

I have the film development issue under control and so now I will move onto the more difficult matter of making the platinum prints.  

MAKING PLATINUM PRINTS WHILE MOBILE

The more difficult issue is exposing and developing my platinum prints while mobile in my Sprinter van.  I take a traditional approach to making my platinum prints.  I use ferric oxalate and platinum salts to create my sensitizer and I use potassium oxalate as my developer with potassium dichromate as my restrainer (contrast management).  While it is technically possible to expose platinum prints with sunlight, it isn't a reliable exposure method for making fine prints.  I designed and built a custom UV exposure unit that is small and portable.  

Warming Potassium Oxalate developer for my platinum printYou may also enjoy my free darkroom photography newsletter and my magazine, The Darkroom Underground, devoted exclusively to analog photography covering a balance of technical and creative topics. The exposure is only half of the battle for me.  I vary the temperature of my developer to get the special look I want in my platinum prints.  By controlling some specific variables in my process, I am able to get warmer tones in my pure platinum prints that are often associated with adding palladium to the sensitizer.  

I must have the ability to warm my developer, so this means I need a heating solution that can be powered while mobile.  I have a laboratory grade heating unit that is also has a temperature probe for heat management and it is has a mixing function which I use when making emulsions from raw chemicals.  

THE HOME STRETCH

All of the major obstacles to creating handmade artist original platinum prints while mobile have been addressed.  Sometimes, depending on environmental variables, it can be difficult to manage all of this, but it is doable most of the time.  

As long as I work in subdued light, everything in my process except for the film development process up to the stop bath is easily managed.  For the parts of my process that requires total darkness, I custom designed and built a collapsable portable darkroom (see photo at top of this article).  

I started with a wardrobe cardboard box many years ago, then I reinforced the inside of the dark box with thin sheets of plywood.  The second generation box is actually still a very viable and effective solution.  I needed a new solution that took up less space and so I designed and built my newest and hopefully final portable darkroom.  During the film development steps that requires me to remove the lid and pour in the water, developer, and stop bath, I need to perform these steps inside the mobile darkroom so that I don't fog my films.  After I get through the stop bath, I am able to fix the film in open trays in subdued light.  

My mobile darkroom I needed more from my mobile darkroom, than just being a mobile and reliable dark space.  Instead of offering a low-cost digital reproduction print alternative to my platinum print for my collectors, I keep my workflow completely analog and create silver gelatin contact prints.  

I am continuing to work through the process of creating a single negative that will allow me to create a platinum print and a silver gelatin print, however the longer tonal scale for the platinum process requires a negative not normally suitable for silver gelatin printing.  I am trying to leverage the benefits of Pyrocat HD developer and its staining capabilities for this.  This is a work in process and while it is not a priority for me, I would like to get this worked out over the long term.  

I also installed a light source on the top center of my mobile darkroom that acts as an exposure light source for my silver gelatin contact prints.  Then I develop, stop, and fix these prints inside the box too.  

I hope by sharing my mobile process with readers that it may inspire other photographers to take their creatively on the road.  In the age of all things digital, some people might ask, why go to all this trouble when you could just use a digital camera and eliminate all of these obstacles?  My response is simple...I don't want to do that, I want to keep my creative workflow entirely analog.  

I have tested the creation of digital negatives using Pictorico film using Photoshop and an inkjet printer and I found this process to be very expensive (new computers, Photoshop, inkjet printers, etc).  I would rather use that money to travel to new places.  Large format is my secret weapon and film is the x factor that makes my prints stand out.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

It is difficult to evaluate the status of contemporary photography apart from the avalanche of "selfies" on social media.  I believe that it is natural that photography continues to evolve and change over time.  I have found the majority of photography has evolved to a place where I have no interest.  This statement isn't intended to dimish the current state of all things digital photography, it is simply my opinion and how I feel.  

I have invested a lifetime of attempting to create meaningful photographs.  I come from an era that appreciates something that one can hold in their hand, whether it be a photograph or a product that someone has made.  We each have our own views on things and since this is my personal credo at this point in time, I thought it was best to share mine.  I would love to learn about your thoughts and views on contemporary photography.  Please scroll down and leave a comment.  

In the modern digital age, I think it is safe to assume millions of photos are taken every day with technology gadgets (e.g., mobile phones, tablets, digital cameras).  I believe the vast majority of these digital photos are never printed or viewed for more than a second or two before the next tidal wave of images flashes on social media. All of it to be forgotten in a matter of moments as the next wave of digital images crash over the bow of our tech gadgets.  

I appreciate technology on a lot of levels, however, some things just don't need further improvement in my opinion.  Give me any film camera, a roll or sheet of film, some basic darkroom chemicals, and I can create meaningful prints that a person can hold in their hand and appreciate for many generations.  The notion that advancement and evolution are intrinsically linked to good is not always true, in my opinion.  I feel the majority of contemporary photography that is shared on social media has evolved to a sterile and meaningless place.  I am sure everyone doesn't agree with this, and that is okay.  Please share your views and comments below.  

In 1944, Ansel Adams provided his personal definition of a great photograph in the American Annual of Photography.  "I can answer best by showing a great photograph, not by talking or writing about one.  However, as word definitions are required more often than not, I would say this: "A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety.  And the expression of what one feels should be set forth in terms of simple devotion to the medium--a statement of the utmost clarity and perfection possible under the conditions of creation and production.""  Ansel was an insightful man that possessed many gifts to include writing, music, and of course, photography.  I wish I could state things so elegantly.  

Ansel went on to share that simplicity is a prime requisite in photography.  The equipment of Alfred Stieglitz (1864-1946) and Edward Weston (1886-1958) represented much less in cost and variety than many amateurs could "barely get along with" during that time.  This trend has continued in modern times to the point that many amateur photographers spend more on their gear than people do on automobiles.  The amount of disposable income that people have in modern times is astounding to me.  I don't state this as a negative, simply as an observation.   

The photographs of Stieglitz and Weston were made with intelligence and sympathy--not with camera equipment.  We need more photographers like these two men.  Another photographer that created with her heart and imagination was Julia Margaret-Cameron (1815-1879).  I have routinely viewed her prints in various galleries and museums and I always leave there humbled.  In her day, Julia was an outsider and made fun of.  Today she is recognized as a thought leader and artist that had vision.  While I am not a portrait photographer, I deeply appreciate her ability to evoke emotion via her photographs.  

These photographers and many others inspire me to be a better photographer and continue to create new work.  Handmade darkroom prints are the vehicle that allows me to live out my destiny.  Creating photographs with film, paper, natural light and darkroom chemicals allows me to fully express my deepest thoughts and feelings. I feel that I create my best work in the form of platinum prints because of the unique and extraordinary aesthetics associated with this medium.   

I need to create in order to thrive.  I have been distracted with too many tasks in the last few years.  This chapter is closing and I am continuing my movement towards simplification.  

The musings of Ansel are indeed inspiring and they ring true to me, even 73 years after he wrote them.  I don't believe the prolific adoption of computers and technology has diminished photography, I believe that it has handicapped the vast majority of photographers from creating their best photographs.  

I started a journey of simplification a few years ago by selling my suburban home, building a small cabin and darkroom off the grid, and making a conscious effort to consume less and do fewer tasks that were not tied to something meaningful and important.  I am ready to continue the process of simplification in my creative pursuits as well.  

I am going to do less to create more.  I am going to slow down so that I can go fast. I am going to create new work driven by my personal desires, not based on market acceptance or focus groups.  

This next chapter in my photographic journey will be simple, thoughtful, passionate, and purposeful.  I hope that you will join me.  

For the foreseeable future, I am limiting my photography related social media updates and interactions with my photography friends in the  Darkroom Underground Public Facebook Group.  My most thoughtful darkroom specific technical writings will be limited to the Darkroom Underground publication, my newsletter, and some new premium articles that I am developing.  The premium articles are based on extensive research that also includes my analysis and recommendations.  All of these choices support my movement towards simplification and elimination of unnecessary items.  

Scroll down to the comment section and share your thoughts with me.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

In this video, I share three platinum/palladium artist proofs and review the differences between a pure platinum print, pure palladium print, and a platinum/palladium. 

The Great Smoky Mountains are a mountain range rising along the Tennessee–North Carolina border in the southeastern United States. 

They are a subrange of the Appalachian Mountains and form part of the Blue Ridge Physiographic Province. The range is sometimes called the Smoky Mountains and the name is commonly shortened to the Smokies. The Great Smokies are best known as the home of the Great Smoky Mountains National Park (GSMNP), which protects most of the range. The park was established in 1934, and, with over 10 million visits per year, it is the most-visited national park in the United States.

Get Access Now To Your Smokies Insider Annual Membership.  

• Select a collector limited edition of 25 handmade platinum archival plate every year.
• Get access to quarterly Smokies Insider Guides for hiking, photography, camping, spring wildflowers, and fall colors. 

I publish detailed Smokies Insider Guides every quarter to help you maximize your time in the Smokies and focus on having fun and enjoying yourself rather than following bad or missing information, just to be frustrated or miss an opportunity.

In 2017, I take you behind the scenes with me while I create handmade platinum archival plates of the historic architecture in Cades Cove.

MEMBER BENEFITS

Your membership makes it possible for me to create platinum archival plates and donate them to the proper historic institutions to ensure their protection and availability for future generations long after the historic cabins, mills, barns, and other architecture is long gone.  

• You get to select a collector limited edition of 25, platinum archival plate every year for your personal collection.  I keep the website updated with the availability of each plate.  Just simply let me know which plate you prefer, and I make arrangements to ship it to you.  The platinum plates are a great way for you to continue to enjoy your favorite parts of the Great Smoky Mountains, and also pass these collectibles down to your family members. 
• You get access to my exclusive members only Smokies Insider Newsletter, where I email you timely updates that will help you between the times when the quarterly guides are published.
• I publish Smokies Insider Guides (hiking, camping, photography, wildflowers reports, fall color reports, and more) for some of the best places and activities in the Great Smoky Mountains National Park four times per year (Jan 1st, April 1st, July 1st, October 1st).  The Smokies Insider Guides are provided in PDF format so that you can print them or save them on your smartphone or tablet for easy access when you need them.  There is very limited or no access to mobile phone services in the majority of the areas in the park so the guides become a reliable way to enjoy your favorite activities. 
• My Photography Guides will help you photograph some of the most beautiful and frequently untapped locations, wildlife, wildflowers, and fall colors in the Smokies.  It is critical to know where to go, what time of year and time of day to be in place to have the best opportunity for those special photos. Based on over 30 years of experience, I share insider tips to help you create beautiful images with just about any type of camera.
• My Hiking Guides help you plan and enjoy some of the most beautiful hikes in the Great Smoky Mountains National Park.  I rate the hikes (e.g., easy, moderate, difficult, kid/family friendly) along with photographs and videos to help you determine if the hike is for you or not. I document all of the information a hiker wants to know before deciding to take the hike or not.  Stop wasting your valuable time researching hiking websites when I have first-hand detailed information for you.  I want my members to maximize every minute of their time while visiting and vacationing in the Great Smoky Mountains National Park.  
• My Wildflower Guides help you find the latest wildflowers to enjoy on your hike or photography outing.  I publish "how-to" articles and tips on the best ways to photograph various wildflowers and I also send out time-sensitive updates to you via the Smokies Insider Newsletter.  
• My Fall Color Guides keep you up to date on where and when the best colors are occurring.  I also include special tips and tutorials on how to create the best photographs.  

SUBSCRIBE NOW and start receiving your updates for this year. 

In less than a month, the Darkroom Underground Facebook Group has exceeded 4,000 members and still growing on a daily basis!

It makes me very happy that so many photographers from around the world continue to use film, work in the darkroom, and make real prints.  I think this is especially important in contemporary times since the vast majority of images are created with mobile phones and are never printed.  

A lot of people I talk to think the darkroom is limited to black and white photography.  There are a lot of options for color photography in the analog realm.  For example, you can expose E-6 slide film and either just enjoy the films by holding them up to natural light, place them on a light source, or project them onto a viewing screen.  My personal favorite is to look at a sheet of large format slide film on a light table and enjoy them.  You can also expose C-41 color negative film and use the RA-4 wet color printing process to make beautiful color prints.  The process is very easy if you have a Jobo processor and the prints can be just spectacular.  All you need is a color head for your enlarger along with a way to process the prints in the dark (Jobo processor) and you are making color prints. My favorite color negative film is Kodak Portra 400 in all formats.  I use it in medium format 120 roll film and large format sheet film.  

If you haven't joined us in the Darkroom Underground Public Facebook Group, then head over now and join in on the conversation.   

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

Defacement at Dan Lawson Place - Cades Cove I have just spent the week photographing the historic architecture in Cades Cove, located in the Great Smoky Mountains National Park.  I began a project this week to photograph all of the cabins, mills, barn, and other historic buildings in Cades Cove.  I was inspired to undertake this project because of the fires last year that burned thousands of acres in the park, took the lives of several people, injured hundreds more, and thousands lost their homes.  

Something unexpected happened this week, and I want to share it with you.  As I spent time at each of the buildings I began to realize that natural disasters like tornadoes, fire, floods, etc. are a legitimate threat to these historic structures, people are most likely a bigger threat.  I was sick to my stomach to see the amount of defacement that people have done to these historic structures.  It makes me very angry, and also very sad at the same time.  I can't imagine why anyone would travel to a national park for the peacefulness and sublime beauty, and then decided it is a good idea to damage and destroy the historic architecture.  Once these last few buildings are gone, they are gone forever.  

Defacement at Dan Lawson Place - Cades Cove I am currently developing the sheet film from my efforts this week and I will be posting updates on the Darkroom Underground Public Facebook Group and in the Great Smoky Mountains National Park Group.  If you haven't already joined the groups, head on over there now and join in on the fun and conversations.  Everyone is welcome.  

For the photographers in the group, I used Ilford FP4+ 5x7 sheet film this week and I am developing in Pyrocat HD.  I made this choice because I am creating platinum archival prints of the historic architecture so that I can donate the platinum prints to the proper historic preservation group(s) to properly care for and maintain these prints for future generations.  If you would like to help support my efforts, you can Become a Smokies Insider.  Your support makes it possible for me to create the platinum plates, and I wanted to thank you by giving you a limited edition platinum plate and a ton of park related resources that will help maximize your fun and enjoyment on your Smokies getaway.  More details are available on the project page.  You can follow along with me as I create each of the platinum prints and view the behind the scenes photos and videos for each location.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

I was incredibly happy to learn about a brand new and very affordable 8x10 view camera being developed by Intrepid, a UK-based camera maker.  I thought I would share my thoughts about the new camera, based on specifications posted by Intrepid on their Kickstarter page. Note: all photos in this article provided via the Intrepid Kickstarter page.  

The very first thing that I look at when evaluating a new camera are the technical specifications.  Typically, I am trying to balance capabilities with size and weight for 8x10 cameras and larger.  

INTREPID 8X10 VIEW CAMERA TECHNICAL SPECIFICATIONS

The very first thing that jumps out to me is the weight (or lack of weight more exactly). Coming in at less than 5 lbs./2.2 Kg is really pretty amazing for an 8x10 view camera.  The physical dimensions make it allowable to easily fit into a number of backpacks, making it very reasonable to take into the backcountry for extended hikes.  In comparison, my Chamonix 8x10 camera weighs 4.3Kg/9.48 lbs.  To be fair, this camera is made from solid cherry wood vs. birch plywood.  

I like that the camera uses a standard Sinar lens board.  For me personally, this would allow me to use all of my existing lenses for my Chamonix 8x10 on this camera without any need for modification or change.  

The minimum bellows draw of 40mm is about as low as I think I have ever seen on an 8x10 view camera.  In comparison, my Chamonix is 95mm.

The maximum bellows draw of 600mm is a little concerning to me.  I routinely use my Fujinon compact 600mm lens, so I would have to verify the bellows can be racked out to work with the lens.  I assume that it will work, but this is something that based on specifications, is a little concerning to me.  Also, racking the camera out at full extension all the time is concerning in regards to rigidity, but there again, I would know more if I had the camera in hand. 

The rise and fall are 70mm and 65mm respectively compared to 105mm on my Chamonix.  I routinely use a lot of vertical rise in my landscapes, so I would have to investigate if this is a limiting factor or not.  

The front shift is 55mm compared to 50mm on my Chamonix View Camera.

Front tilt is only limited by bellows. A 45-degree tilt is more than anyone would likely ever want or need. 

There is no rear shift, and this is the same on my Chamonix.  However, the rear tilt of 35 degrees is extremely generous compared to 10 degrees on my Chamonix.  

Standard tripod mounts of 3/8" and 1/4" are included as expected.  

The camera will work with standard 8x10 film holders, so if you already have existing film holders, you are good to go.

The back can be rotated for vertical (portrait) or horizontal (landscape) positions as expected.  

The ground glass that ships with the camera has a 1/2" grid pattern.  There was no mention of a Fresnel lens, so I have to assume it doesn't have one.  I don't know how bright the ground glass is without using it, so I can't provide any feedback or comments on this at this time.  I would expect, as I do with all of my view cameras, I would most likely want a new custom ground glass made that is brighter.  

Bellows are available in four colors (black, blue, green, red) and they are made with ripstop nylon, so they should be very durable and last a lifetime.  They have an internal IR-proofing layer to help assure there are no light leaks.  

The camera is made with birch plywood.  On the surface, I am not too excited about this choice, but I understand it.  This really helps keep the weight down, as well as the price.  Most of my view cameras look and feel like a piece of art themselves, so I am not sure how I feel about the camera being made from plywood.  

The structural components are made from anodized aluminum, so this should provide a lifetime of use.  

The focusing system is rack and pinion as expected.  I can't speak to the accuracy or fluidity of the focusing at this time without having used the camera.  

In comparison to the market, Intrepid is also making and offering incredibly affordable brand new 8x10 film holders that cost less than many of the used holders that are available on eBay.  After the Kickstarter campaign is closed, I hope to see the film holders available in their online store.  

A 4x5 reducing back is available via the Kickstarter page too, but no 5x7 reducing back at this time.  I would personally want and need a 5x7 back because a lot of my landscape projects are either 8x10 or 5x7.  

- 2.2kg/4.8 Pounds 
- 310mm (12.2 in.) x 310mm (12.2 in.) (75mm Folded - 2.9 in.) 
- Sinar Lens Board 
- Min/Max extension bellows: 40 - 600 mm
- Front Rise/Fall + 70 / - 65 mm 
- Front Shift: +/- 55 mm 
- Front Tilt: over 45° limited by bellows 
- Front Swing: over 45° limited by bellows
- Rear Tilt:- +/- 35º 
- Tripod Mount: Standard 3/8” + 1/4”

CLOSING THOUGHTS & SUMMARY

More than anything, I am excited to see a new 8x10 view camera being manufactured in 2017.  This underscores the fact that film, the darkroom, and large format have found its way into the 21st century and younger people are moving forward with the art and craft of large format analog photography.  

Based on price alone, the Intrepid 8x10 camera opens the door to a lot of people that want to explore 8x10 large format photography.  Some of the most iconic images were made with 8x10 view cameras.  I think about Edward Weston creating his contact prints from his 8x10 negatives using a very simple printing frame and light bulb suspended from the ceiling.  

I personally love the 8x10 format because you can either make contact prints, enlarge the negatives to massive mural sized prints, or scan them for endless opportunities. A photographer could use this 8x10 view camera with film, paper negatives, or X-Ray film and make simple and elegant contact prints that rival any enlargements.  

According to the Kickstarter page, the new camera should start shipping at the end of September to their supporters and I expect a little time after this, it will be available via the Intrepid website, at a slightly higher price.  As with their 4x5 view camera, there will be feedback that will most likely lead to a second generation 8x10 camera in the future.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

You can download the Color Film Quick Reference Cards for Darkroom Photographers PDF file immediately for only $5.  You can start using the information that I have been collecting and using for decades in your own color film work.  

I created the quick reference cards in business card size format so that you could print them and even laminate them if you want to put in your pocket, store them in your camera bag/backpack, or hang from your tripod in the field for easy reference.  

• 7 Quick Reference Cards
• Free Lifetime Updates
• FAQ Section
• Specific Details on Each Films Dynamic Range
• Metering Information For Each Film
• Effective ISO Ratings 
• Reciprocity Failure Info
• Color Corrections
• Film Characteristics
• Filter Suggestions
• Lighting Conditions
• Kodak Ektar, Kodak Portra 160, Kodak Portra 400, Provia 100, Velvia 50, Velvia 100

What are photographers saying about Tim's Color Film Quick Reference Chart?

"I can attest to Tim's methods, as I have used his information and it is spot on."  -Favian Roldan, Miami, Florida

"Hi Tim, I wanted to share that I really enjoyed receiving your Color Film Quick Reference Cards. As we’ve discussed in the past, as LF film shooters we don’t have a histogram to refer to. I primarily take one exposure for each composition. I often carry film holders with two types of color film loaded. One transparency and one color negative. I choose my film relative to the contrast range of a scene. Using these cards can be a nice “double check” for me, even as an experienced large format photographer when the light is changing and I am making decisions and choices for that one exposure.

Especially with expensive large format film, if the card keeps me from making one mistake, they have paid for themselves multiple times over. For people just beginning with film photography, these cards are a great resource for them to following along while creating their process in the field. They can build their thought process and an understanding of each films exposure qualities.

I recommend separating the cards and laminating them so they can be used in the field as a reference in all conditions. They can be kept in a camera bag/backpack or hung from a tripod for easy access.” -Jon Paul, John Paul Gallery, Lake Tahoe, California 

“Tim’s knowledge and experience of film photography really show in the Color Film Quick Reference Cards. For me the cards instantly show a solid, proven starting point for creative film photography. When you think about the time, effort and expense it would take to figure out these film exposures and compensations on our own, you’ll quickly see they are a great value!” -Frank Dries, St. Louis

COLOR FILM QUICK REFERENCE CARDS OVERVIEW

In the color film quick reference cards, I provide my personal and detailed notes on how I meter, rate, and expose color films for various types of scenes.  I provide information for Kodak Ektar, Kodak Portra 160, Kodak Portra 400, Fuji Provia 100, Fuji Velvia 50, Fuji Velvia 100.  This is information that I have earned over the years, not just a summary of a manufacturers specification chart.  

I share my ISO ratings and the dynamic range (latitude) for each film.  By knowing the dynamic range of each film, you can make informed technical and creative choices on the fly when you are working in the field with confidence.  I also provide specific meter readings for the dynamic range of each film to help you ensure proper exposure and rendering of tonal values. 

I provide my personal notes of when you should increase or decrease the effective film speed (ISO) based on the scene.  

I provide information on how I handle high contrast scenes for color films while working in the field.  

I also share specifics on which filters (e.g., polarizer, warming) I use and when for the films.

If you want to get the most out of your analog color film, I am sure you will enjoy my quick reference cards.  All the information is presented in a clear bullet point type format, so you can quickly review the information while working in the field. 

Download the Color Film Quick Reference Cards for Darkroom Photographers and get immediate access.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

Monday, May 29th, is the final deadline for ordering custom, unusual size, and ultra large format film from Harman Technology.  It won't be available again until next year around the same time.  

HARMAN technology Limited is the manufacturer of ILFORD black and white photographic products. 

You can order FP4+, HP5+, Ortho+, and Delta 100 films.  View the Ilford data sheet to verify each film and its available formats. 

By consolidating orders HARMAN technology can supply products that would not normally be viable to manufacture.

“This program enables us to further support film photographers who use and value our conventional products” said Giles Branthwaite, Director of Sales and Marketing at Harman technology. “Through running the ULF program each year, we are able to satisfy the strong demand for specialist film formats. Whilst manufacture is not easy, we have been rewarded by high demand ensuring we will continue to address and care for this market.”

You can place your order through a number of film dealers around the world.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

You can download the Large Format Photography Quick Reference Cards PDF file immediately for only $8.  

You can put the information to use right away and continue to refer to the cards every time you are in the field with your large format gear to help guide you through the more complex camera movements.    

I created the quick reference cards in business card size format so that you could print them and even laminate them if you want to put in your pocket. Photographers are putting the cards in their camera bags/backpacks and even finding innovative ways to attach them to their tripods.   

• Immediate Access
• Free Lifetime Updates
• 9 Quick Reference Cards
• Problems & Solutions Page
• FAQ
• Bonus Section on Lens Conversions & Zone System

WHAT ARE PHOTOGRAPHERS SAYING?

“Tim's large format quick reference cards are an invaluable resource for people still learning large format photography. By making them concise and portable, you can easily reference them in the field in order to master what you're seeing on your ground glass. Highly recommended!” -Mark Olwick

“Tim is masterful at taking his 30+ years of photography experience and boiling it down into concise, understandable and actionable information that everyone can use, whether you are a beginner, intermediate or advanced photographer. His quick reference material allows me to focus on the creative while knowing the technical side of large format photography has been handled. His QR cards are like having a master photographer with you on your large format outings!” -Frank Dries

LARGE FORMAT PHOTOGRAPHY QUICK REFERENCE CARDS OVERVIEW

I have taught and mentored hundreds of large format photographers from around the world.  Based on this experience, I have distilled down the most useful information that large format photographers need at their fingertips.  Even experienced large format photographers can benefit from these quick reference cards because it takes the pressure off of having to remember everything and allows you to focus on your subject.  If you don't use the full range of movements available on large format cameras on a regular basis, it is easy to forget the specifics.  No need to worry about that because I have created 9 quick reference cards that will help you make a full range of movements in your compositions.  

I cover everything from selective focus techniques to sharp focus methods using axis, base, and asymmetrical tilts.  I even include cards for metering and development and large format focal length conversions.  I assume that you know whether your camera has base, axis, and/or asymmetrical tilts.  If you are not sure, then a simple google search on your camera model should provide the information you need.

In addition to the quick reference cards, I created an entire page of problems and solutions covering the most common scenarios for camera movements.  The cards are great to give you the steps to achieve a specific result, and the problems and solutions page helps bring the full range of large format movements to life in real-world scenarios. 

I also include a FAQ (Frequently Asked Questions) section where I provide specific information about the quick reference cards and I also provide context to the information. As large format photographers email me with questions that I haven't thought of yet, the great news is that I update the FAQ section and you get an updated copy free of charge for life. 

I also included a bonus section that includes a zone system visualization reference and a large format lens conversion chart for 4x5, 5x7, 8x10, and 11x14 focus lengths.  

If you want to get the most out of your large format camera, I am sure you will enjoy my quick reference cards.  All the information is presented in a clear bullet point type format, so you can quickly review the information while working in the field. 

Download your Large Format Photography Quick Reference Cards now.  

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

You can download the Split Grade Darkroom Printing Step-by-Step Workflow eBook PDF immediately for only $25 and get immediate access.  

I created the Split Grade Darkroom Printing Step-by-Step Workflow eBook to help darkroom photographers of every skill level create winning darkroom prints that have a full range of tonal values from detailed highlights to rich blacks with every tone in between.  

The term split grade printing simply means that darkroom printers use two exposures with two different variable contrast filters versus a single exposure with one variable contrast filter.  

Based on over 35 years of darkroom printing experience, I believe the split grade method is the simplest and most efficient way to make winning darkroom prints from a wide range of negatives using variable contrast papers.  I share my personal workflow with you to include my metering technique, developer choice, and even my development process for my film of choice.  

• Free Updates For Life 
• Step-by-Step Process
• Efficient Method For Printing A Wide Range of Negative Types
• Two Different Approaches Provided in the Book
• Quickly and Consistently Produce High Quality Darkroom Prints 
• I Share My Negative Creation and Film Development Process 
• Visual Adjustment Guides (If this then that type of approach) 
• Advanced Techniques for Dodging & Burning and Flashing
• Bonus Section on Flashing 

SPLIT GRADE DARKROOM PRINTING STEP-BY-STEP OVERVIEW

I have taught and mentored hundreds of darkroom photographers how to develop film and make darkroom prints using a variety of methods.  Based on results, I have found that darkroom printers are able to make high quality full tonal range prints using the split grade method in their first printing session.  With experience and exposure to advanced techniques like dodging and burning using different contrast filters, flashing methods, and toning, your darkroom prints are taken to a new level.  

Split grade printing, either enlargement or contact, is a highly-effective way to control contrast, especially in the important shadow and highlight details. Shadow details and highlights are the magic sauce that makes your darkroom prints come to life and sets them apart from a digital print in my opinion.

I share my exact process that I use to make my darkroom prints, both enlargements and large format contact prints with you in this eBook.  

It is always good practice to control contrast in your negatives, but those times when you got the exposure or development wrong, split grade printing can help you make a good quality print that was previously all but impossible and left you frustrated.  

BOOK TABLE OF CONTENTS

• WELCOME & INTRODUCTION
• BEFORE YOU GET STARTED
• MATERIALS OVERVIEW 
• MISCELLANEOUS SUPPLIES
• METERING TIPS
• NEGATIVES
• DEVELOPER
• THE BASIC SPLIT GRADE PRINT
• TWO METHODS FOR SPLIT GRADE PRINTING
• METHOD 1 - SPLIT GRADE PRINTING
• METHOD 2 - SPLIT GRADE PRINTING
• PRINT EVALUATION & ADJUSTMENTS
• DODGING & BURNING TIPS - PART 1
• DODGING & BURNING TIPS - PART 2
• BONUS - EXPLORING POST FLASHING
• SUMMARY & CONCLUSION

If your prints are lacking that special wow factor or if you are an experienced darkroom printer and you want to pick up some insights from a peer, then this eBook is an effective use of your time.  

You can download the Split Grade Darkroom Printing Step-by-Step Workflow eBook PDF immediately for only $25 and get immediate access.

I am excited to see your darkroom prints, so be sure to share them in the Darkroom Underground Facebook Group with thousands of other darkroom photographers from around the world. 

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

You can download the How to Selenium Tone Black & White Film Negatives PDF immediately for only $5 and get immediate access.  

When you think of selenium toning, your first thought most likely involves either archival processing of your darkroom prints, or toning your fiber prints for an increased contrast and a slight color shift towards neutral with deeper blacks.  

In the How to Selenium Tone Black & White Film Negatives document, I discuss two different methods for selenium toning your black and white films. The first method is for archival purposes and the second is to increase the overall contrast of your negative.  

Benefits of Selenium Toning Your B&W Film Negatives

• Increase contrast and density of your negative that otherwise might not be possible with specific film and developer dilutions.
• Tonal expansion – could achieve N+1 from an N type negative, for example.
• You can develop your negative at N and after inspection, you could selenium tone for N+1 giving you maximum flexibility and options.
• Works with traditional developers and Pyrocat staining type developers.
• Increase contrast of “old negatives” and protect them.
• Increase contrast of individual frames on roll film.  
• Film normally increases grain the longer it is developed.  For roll film, if you know you want to increase contrast, it is a good idea to develop for normal time and then selenium tone for the increased contrast without having to develop for the longer time and the increased grain.
   

You can download the How to Selenium Tone Black & White Film Negatives PDF immediately for only $5 and get immediate access.  

Share your results in the Darkroom Underground Facebook Group with thousands of other darkroom photographers from around the world. 

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format video-based workshops

As a Tim Layton Fine Art Angel Supporter, you make things possible that otherwise would not be an option for me as an artist. Your generous contribution every year is appreciated very deeply. It keeps me creating art and focused on the mission, versus chasing around tasks to earn money to keep the lights on.  

I create exclusive limited edition 1 of 1 fine art Platinum HistographsTM for my angel supporters every year that is not offered anywhere else in the world.  I connect with you to learn about your preferences and then I get busy creating something special for you.  Feel free to email me directly with any questions.  

You can get started immediately by becoming an Angel Supporter today. 

ABOUT PLATINUM HISTOGRAPHSTM

Tim Layton, photographer, darkroom expert and artistic innovator invented the Platinum HistographTM, inviting you to use your senses to take a step back in time. This visceral experience of holding history in your hands delights history buffs, art collectors, photographers and art enthusiasts with craftsmanship, artistry, and history through a curated collection of fine platinum prints.

DETAILS FOR THE COLLECTOR

Each Platinum HistographTM begins by Tim using a 19th-century style large format film camera and exposing large sheets of black and white film.  After the field work, Tim heads back to his darkroom studio in the mountains and develops the sheet film to the specifications suitable to create Platinum HistographsTM.  Platinum HistographsTM are the most archival of all art mediums because of the inherent stability of platinum and exhibit a tonal scale and rendering of tonal values that are described by many as ethereal and three-dimensional.  Once you hold a Platinum HistographTM in your hands for a personal experience, you will understand what makes them so special.  

Platinum is one of the rarest elements in earth’s crust. Because of its scarcity and is valued as a precious metal, the price is elevated and its only used for important reasons. Over the last 10 years, the price for an ounce of Platinum reached an all-time high at $2,270.50 per ounce. 

Platinum is one of the least reactive metals and it has remarkable resistance to corrosion, even at high temperatures, and is therefore considered a noble metal. This is one of the reasons why it is the perfect choice for making handmade Platinum HistographsTM to preserve history. 

Noble metals are metals that are resistant to corrosion and oxidation in moist air, unlike base metals. The short list of chemically noble metals includes ruthenium (Ru), rhodium (Rh), palladium (Pd), silver (Ag), osmium (Os), iridium (Ir), gold (Au), and platinum (Pt), with Platinum being more stable than even gold.

By combing the remarkable stability of platinum with a high quality and chemically pure paper substrate, you get the world most archival photographic print that can last indefinitely when curated properly.  

Each Platinum HistographTM is hand mounted on museum-quality mat board devoid of any optical brighteners or other agents to speed up the deterioration process. 

Each Platinum HistographTM includes Tim's original signature, title of the work, date it was created, edition number, and a certificate of authenticity validating the original artwork.   

THANK YOU

Thanks again for your kindness and willingness to support an artist in the 21st century.  I hope the artwork that I create for you provides a welcomed break from the very busy and fast paced world we live in today.  

Tim Layton

What is D-23 black and white film developer and why do photographers use it? I will help answer those two questions in this article for you, in hopes that you may find a use for it in your darkroom.  

The famous photograph by Ansel Adams "Winter Sunrise from Lone Pine" was exposed on Isopan film and developed in D-23.  "I used my 8x10 Ansco view camera with the 23-inch component of my Cooke Series XV lens with a Wratten No. 15 (G) filter. The film was Isopan, developed in Kodak D-23" - Ansel Adams

As the title of this article suggests, I will be sharing my thoughts as well as my process for using D-23 as a split-bath developer.  When I think about split-bath development, I immediately think variable contrast development and the classic zone system.  

In simple terms, Bath A is where the development agent (Metol) is located and in Bath B is where the alkali resides and the remainder of the development is carried out.  In theory, one can change the contrast of their negative by varying the amount of time in Bath B.  But, is this the case for split-bath D-23? Read the details below to discover how this happens with D-23 and you might be surprised by the information. 

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

I primarily use D-23 on my negatives when I want excellent separation of shadow values and brilliant highlights. I can alter my tray development times to increase contrast and density for my platinum and AZO printing, or I can improve my shadow details by altering my development times in the two different solutions.  I find D-23 to be a very versatile developer whether you and making straight silver gelatin contact prints or enlargements or you need more contrast and density for alternative printing processes such as platinum and AZO.    

I have created a short list of why I like D-23: 

• D-23 has only 2 ingredients making it very simple to mix in the darkroom and it is highly effective.  
• D-23 is a fine grain developer with excellent tonal separation, good film speed and it produces very clean negatives.
• D-23 is incredibly easy to make.  You can mix it fresh from powder every time making it a great choice for any photographer that is not developing on a regular basis.
• I think D-23 is a good developer to have on hand for large format photographers because it can be tailored to each negative that is developed. 
• D-23 can be diluted 1:1 making it even cheaper to use. By diluting to 1:1, you can get longer development times which comes in handy when doing development by inspection.  
• D-23 is a slightly slower developer, which means it has good compensation and less risk of "runaway" highlight values.  I find this useful for my higher contrast scenes.   
• One of the biggest benefits in certain scenarios is my ability to expose my large format sheet film at box speed.  For example, being able to expose HP5+ at EI 400 can be a big advantage in some cases.  

QUICK REFRESHER ON DEVELOPER AGENTS

Black and white film developers typically consist of three main components: developing agent (e.g., Metol), alkaline agent (e.g., borax) and a means to delay oxidation of the developing agent (e.g., sodium sulfite). 

Metol along with phenidone (a newer agent) and hydroquinone are common black and white developing agents. Metol is an organic compound and a colorless salt.  Metol is known to be a good choice for continuous tone and has been widely used in commercial formulas for many years before Kodak discontinued it. Metol is a highly versatile developing agent and a standard that I keep in my darkroom.  

D-23 ECO-FRIENDLY SPLIT-BATH FORMULA

Developer (Solution A)

• Metol.....7.5g
• Sodium Sulfite.....100g
• Water to make 1 liter 

Process to Make Solution A

• Heat 500ml of distilled water to 52C/125F
• Dissolve 7.5g of Metol separately in small amount of distilled water
• Add the dissolved Metol to 500ml of 52C/125F water
• Dissolve 100g of Sodium Sulfite in small amount of distilled water
• Add the dissolved Sodium Sulfite to the 500ml of 52C/125F distilled water with Metol 
• Add distilled water to make 1000ml 

Process to Make Solution B

• Dissolve 2g of Borax in 1000ml of distilled water heated to 52C/125F 

USAGE NOTES

1 liter of developer solutions can process approximately 800 square inches of film before discarding it.  That would equal about 40 sheets of 4x5 film, 20 sheets of 5x7 film, 10 sheets of 8x10 film, and 5 sheets of 11x14 film.  In other words, you can mix up one liter of developer for your film development session and process a lot of exposures.  I usually only create a handful of exposures for a days work anyway, so I have more than enough developer for my session.  I use fresh developer for each session and discard it afterward. You can cut the formula by 50% to make 500ml if needed.  

PROCESSING OVERVIEW

I have found that Ilford HP5+ and FP4+ develops to my satisfaction with divided D-23.  I frequently use HP5+ sheet film in my 8x10 and 11x14 large format view cameras and FP4+ in my 4x5, 5x7, and 8x10 cameras. I process my films in trays, either in my regular darkroom, on in my film changing tent when I am on the road. 

I have three trays lined up (Solution A - Solution B - TF-4). When I am working in my regular darkroom, I have another tray of distilled water to place the freshly developed negative before moving to the film washer.  If I am on the road, I just wash my films by placing them in trays and letting them soak and periodically agitate for about an hour until they are fully cleared.  

Based on the contrast of my negative being developed, normal, expanded, or contracted, I vary my times in Solution A and you will notice that my time in Solution B remains constant at 3 minutes.  

Below are my personal development times for FP4+ and HP5+:

• Normal:  10 min in A + 3 min in B
• N+1: 12 min in A + 3 min in B
• N+2: 15 min in A + 3 min in B
• N-1: 8 min in A + 3 min in B
• N-2: 6 min in A + 3 min in B

Most divided bath developers have the developer in Part A and the accelerant in Part B.  Because of the amount of sodium sulfite in Solution A, your film is actually being developed without the need for an accelerator.  Now that is pretty amazing.  Then when you move your sheet film to Solution B (borax), this is where the magical compensating effect happens because the developer agent (Metol) is quickly exhausted in the high values (dense areas), and the lower values (shadows) will continue to develop.  This basically means that you are developing for your high values in Solution A and shadow values in Solution B.

It is possible to use the development by inspection method on a negative by negative basis, or I just put in the time and found the standard times that work for my style of photography that doesn't require the inspection approach.  

You can develop a single sheet of film or multiple sheets at a time using the shuffle method. 

Your agitation method will impact your development times and negatives, so keep this in mind when establishing your development times.  

Story's Creek Schookhouse at Alley Spring & Mill (5x7 Large Format Negative) For normal and expanded development (N and N+), I place a sheet of film in Solution A and continuously agitate for the first 30 seconds and then 5 seconds every 30 seconds for N development and 10 seconds for N+1 until the development time is completed for this step.  I slowly and gently rock my tray for the entire 3 minutes in Solution B.  The negative to the left is a sheet of 5x7 FP4+ developed for N+1.  The building in the scene is a historic white schoolhouse.  

For contracted development, I place the film in Solution A and agitate for 10 seconds and then 10 seconds per minute until the time is completed for this step.  I then place my film in Solution B and give in just a single rocking motion to ensure the film is submersed.  For N-1, I gently rock the tray for 5 seconds every minute and for N-2, I don't agitate the film at all beyond the initial entry in the tray.  

After you start developing your negatives and review them, keep in mind the following two variables and you can really dial in your process.  If you want to increase the overall density and contrast of your negatives, then extend your time in Solution A.  If you need more shadow detail, process your film in your normal Solution B time, then place the film back in Solution A for 15 seconds, and then to back to Solution B for another period of time.  Start with times in the range of 1 to 3 minutes and evaluate your negatives.   

After development, I move immediately to TF-4 archival fixer which effectively eliminates the need for a stop bath and hypo-clearing agent and also significantly reduces my washing times.  I can even develop my negatives on the road in my Harrison Dark Tent which makes this a very user friend solution in my regular darkroom or in my mini-darkroom in my van.

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

Have fun developing your films and send me an email if you try my method and let me know how things are working out for you. 

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world. Publications are released on Jan 1st, Apr. 1st, July 1st, and Oct. 1st.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format training materials (Video Workshops, Quick Reference Cards, eBooks)

I have been reflecting recently on the last thirty years of being a photographer, and I discovered some things about myself that I suspect will apply and help other photographers.

Depending on some variables, in can be very easy to get caught up in chasing photography for a variety of unproductive reasons. For example, it can be easy to pursue subjects or topics that you think others will approve of or even just simply enjoy.  Based on personal circumstances, it can be incredibly easy to chase subjects based on financial drivers because you think the market will compensate you for your efforts in a particular area.  

I’ve noticed in other areas of life, unrelated to photography, that if people remain true to their original vision, often all of the things that we build up as problems, just tend to work themselves out.  Human beings have a very special skill that helps them transform small problems into mountains and rarely are they logical or true.  

In a society where it appears that success can be won in a day or week, it is, unfortunately, warping reality.  Success, however you choose to define it, is typically the result of consistent focus and hard work and being prepared for when an opportunity presents itself.  

Success can have many faces, not just money, and it frequently comes as a result of many years of hard work and dedication to the basics.  If you look closely at successful people in any field, often you will find they are willing to do the small things that others are unwilling to do on a consistent basis.  This holds true whether you are an athlete, marketing professional, or a photographer.  The truth is that achieving your definition of success is linked to your ability to do the right tasks on a daily basis that forms the foundation for bigger successes.  It isn't some secret "thing" that will unlock the elusive success that has been escaping you.  Success is hiding in plain sight.

I believe the single best question a photographer can and should ask themselves is “What subjects or topics am I intensely excited about and why do they matter to me?”.  If you can honestly answer this question, it will provide the pathway to your creative plans and always keep you centered and focused on the right things.  I’ve started applying this question every time I head out in the field and create.  I let go of all the rules and no longer think about creating a portfolio of images that others want or expect.  I create prints of subjects that I am passionate about and are linked to things that are important to me such as conservation/preservation of natural resources, how nature improves the health and wellbeing of people, and inspiring people to get outside and experience the joy and benefits of nature.  

I photograph with film in large format view cameras and make darkroom prints of subjects that matter to me.  In a digital society that appears to not place a lot of value on physical prints, I am committed to making handmade prints for people that love and appreciate them.  Why would I do this?  First, because it is my passion.  It is what I do, and I love doing it.  I realized that I would rather create and sell 10 or 15 prints a year to people that want and appreciate them vs. trying to sell more volume based on financial drivers or do it in a way that doesn't align with my inner most passion.  

The reality for full-time professional photographers is that you may have to do other things to earn money to fund your creative pursuits.  For some photographers, that can mean leading workshops, teaching, writing books, etc.  For others, it may mean working a part time job to follow your true passions vs. being miserable producing work that you hope or think others will either purchase or confirm is "good."  

By staying true to yourself, you will always create your best work and all of the other variables that people tend to worry about naturally fall into place over time. I encourage you to deeply think about what you are passionate about and let go of all the other baggage that can keep you from reaching your full potential.  I have lost family members and good friends, and none of them were concerned about money in their final days.  Every single one of them valued their relationships and hoped they had made a positive contribution to the world.  What motivates you, what inspires you, and what matters to you?  If you create photographs that are aligned to these questions, you simply can't go wrong.  

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world. Publications are released on Jan 1st, Apr. 1st, July 1st, and Oct. 1st.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

Making AP Platinum & Palladium PrintsYou may also enjoy my free darkroom photography newsletter and my magazine, The Darkroom Underground, devoted exclusively to analog photography covering a balance of technical and creative topics. Paper choice is critical in the platinum printmaking process, arguably, more than all other photographic processes.  That may sound like a bold statement, but since the platinum print is the most archival of all photographic processes, the weak link in the process is the paper for skilled printers. 

I have been printing with Hahnemühle Platinum Rag Paper for almost a year now and I have made over 100 prints so far. Some of the key characteristics of my paper choice besides archival performance includes exposure range, texture, and color (tonal values).  

If my paper choice can't provide the archival characteristics I need, then nothing else really matters.  Hahnemühle Platinum Rag is 100% cotton, has no optical brighteners, acid free, and it is uncoated.  These are key elements that I believe a good platinum paper must have.  Hahnemühle Platinum Rag is a substantial paper at 300 gsm and has some sizing which allows me to easily make consistently high quality coatings with my very expensive platinum emulsion.  I coat with a brush and this paper is well suited to my coating style.  

Getting ready to make some Pure Platinum prints with Hahnemühle Platinum Rag paper.Free Darkroom Newsletter for Analog Photographers - The Darkroom Underground, Your Analog Photography Magazine I have extensively tested Hahnemühle Platinum Rag from an exposure range perspective because it is critical that my paper can take advantage of platinums very broad tonal range.  I am able to make pure platinum prints with none of the issues often associated with pure platinum.  I think it is a combination of the paper and my choice of development chemicals and my printmaking methodology.  I am able to vary the tonality of my prints from classic pure platinum monochromatic to the warmer tones associated with palladium.  I find that Hahnemühle Platinum Rag warms up with just a single drop of palladium and the midtones are very smooth and gradual.  I love having the ability to make pure platinum, pure palladium, or platinum/palladium prints with this paper. 

In addition to exposure range, tonal values and density are important because I feel these aesthetics are the heart of the print.  I love showing my platinum prints to people that have never seen one before.  

The average person has no idea what they are looking at beyond the idea that it is a photograph.  It is a joy for me to watch someone look at the print and slowly start asking questions because they have never seen a platinum photograph in their life.  Most people instinctively know that what they are looking at doesn't look anything like a modern digital photograph.  Watching them realize they are looking at something very special makes all my hard work worth it.  

Enjoy the video below where I share some of my artist proofs.  I created pure platinum, pure palladium, and platinum/palladium prints on Hahnemühle Platinum Rag to explore which version I liked best for my project. 

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world. Publications are released on Jan 1st, Apr. 1st, July 1st, and Oct. 1st.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format training materials (Video Workshops, Quick Reference Cards, eBooks)

I get a lot of questions about the presentation of prints, so I thought I would share some background information about a project that I am working on for next year. 

I typically work a year or more in advance on a new project, while I am still in the process of working on my current project.  I don't like to rush things, especially in the area of presentation.  

I will be using my 8x10 and 11x14 view cameras with my 4x10 and 5x14 panoramic backs to create some new large format panoramic platinum prints.  I am in the process of acquiring a 7x17 large format panoramic camera.  The waiting time is several months, so I have to plan well in advance.  

In the photo above, you will see two formats that I laid out for my 4x10 and 5x14 platinum prints.  I work from the film size out when I design the size of my mount board.  Using the 4x10 as the example, I first add one-half inch on all sides because I like a border around my platinum prints so that I can sign and edition them. I also like the float mount type of look.  Collectors want the original prints signed, not just the mat.  After the half-inch is added, I add another 2 1/2 inches for my border around the entire print, for a total of 3 inches on all sides of the original film size.  

My 4x10 panoramic platinum prints are mounted on a 10" x 16" acid-free museum quality board and then my platinum print is corner mounted in the center of the mat board using acid-free corner holders to keep the print in place. Next, I cut my window mat with the 2 1/2 inch borders on all sides and using an acid-free tape, I hinge-mount the over mat and mounting mat board to work as a clamshell unit.  It sounds more difficult and takes more time to type all this out than it does to just do it in real life.  

In summary, I just take the dimensions of my film size and add 3 inches on all sides to determine my mounting board size.  I cut my platinum paper one inch larger on all sides than my film size to give me the half-inch area between the print and the window mat.  So, for my 4x10 prints, I cut 6x12 paper.  I like using Hahnemühle Platinum Rag paper because it looks natural when I sign my prints.  

I will write an additional article in the near future on how and why I mask my platinum paper and why it is my preference for presenting my platinum prints.

Tim

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world. Publications are released on Jan 1st, Apr. 1st, July 1st, and Oct. 1st.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format training materials (Video Workshops, Quick Reference Cards, eBooks)

I have been thinking about the core elements that help me achieve high levels of success and I wanted to share my approach with other photographers to possibly help in a way that you might not normally expect. 

The single biggest contributor to my personal and professional success is linked to my understanding and application of the 80/20 Principle. 

The principle effectively states that 80% of your positive outcomes are tied to 20% of your inputs.  In other words, four-fifths of your actions on any given topic are irrelevant and only one-fifth have the ability to make a significant impact.  

Once you are able to get your mind around this, it brings clarity to a new level for most people.  If you think about that in terms of your photography, what are some of the 80% tasks you are doing that are leading to very little positive outcomes?  Find them and stop doing them.  On the up-side, what are the few actions that are producing positive results?  Focus on them and go deeper with them.  

In all of my workshops, books, and quick reference cards, this is at the center of how I develop my training materials.  I analyze the topic, then I deconstruct it in an effort to identify the top 20% of subjects that will produce the 80% of returns for learners.  It isn't always a clean 80/20, sometimes it is even more drastic such as 95/5 or 70/30, however, you get the idea.  

In non-technical areas such as my prints sales, I regularly stand back, look at the sales data and review which prints are in the top 20%.  I try and understand if there is a trend and if the sales data can help me understand my buyers better.  Since I only create prints of subjects that I am excited about and love, it is a win-win for me.  I get clear feedback on which ideas my buyers and collectors like the most and I get to make more of what I already love to create.  

I think you will find a number of ways to apply the 80/20 Principle within your photography and also in your personal life to help you achieve more by doing less and by focusing on fewer things which ultimately leads to higher levels of personal joy and satisfaction.    

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world. Publications are released on Jan 1st, Apr. 1st, July 1st, and Oct. 1st.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format training materials (Video Workshops, Quick Reference Cards, eBooks)

I thought it would be fun to share the unboxing of my new 5x7 Chamonix View Camera with everyone, so I hope you enjoy the video.

Join thousands of darkroom photographers from around the world and receive my exclusive Darkroom Digest articles every Saturday morning at 9 AM CT via my Darkroom Newsletter and never worry about missing a new article.

-Tim Layton 

The Darkroom Underground is your analog photography magazine produced on a quarterly basis serving photographers, artists, collectors, and readers around the world. Publications are released on Jan 1st, Apr. 1st, July 1st, and Oct. 1st.  The Darkroom Underground publishes a balance of technical and creative articles in every issue along with featured photographers and their portfolios. We are pleased to offer editorial from internationally recognized photographers and writers and also publish articles and portfolios from our readers. 

If you like this type of article then you will probably enjoy my free darkroom newsletter and my darkroom and large format training materials (Video Workshops, Quick Reference Cards, eBooks)