The point is that when using LEDs we are adding colors, so we can include just what is needed, just what we want: blue and green. While a regular enlarger, starting with white light from a bulb or any other source, the process is about subtracting what we don't want. Normally the multi-contrast filters let the red pass by. In this situation, if we are in the low contrast range, red + green gives a yellowish tone. In the high contrast range red + blue + green gives a lilac, violet or magenta like tone.

Hi, I have the footage, but still need to edit it into a final video. It is in my to do list to finish it still this year.

Can’t wait!

Oi Jorge, todas as orientações sobre como medir a câmera estão no site. O link está na descrição do vídeo.

Obrigado!!

Hello, I bought 500g over here in Brazil, a couple of years ago. But now sales are forbidden unless you are a chemist or someone in the pharmaceutical business. I still have some, but I know that sooner or later I will have to resort to the pain killer.

Yes it is leather, at least, Zeiss Ikon advertised that theirs was real leather. This mold is called bloom and it is due to oils and waxes that solidify on the surface. You can wipe off what is loose with a soft brush. The remaining, when it occurs in leather goods in general, can be removed with a solution of equal parts of water and vinegar. But the bellows is so delicate, it is not like a shoe or belt, so I would go extremely careful with that. Avoid by all mean letting the solution to penetrate in the inner layers. Use a cotton swab barely humidified in the solution and try working without actually wetting the bellows. There are commercial products to perform the same job, that could be also a option. Later you can apply a leather conditioner. Good luck!!

Oi Rodrigo, o interruptor mais barato é usar água. Muita gente usa, mas aí eu aconselho passar uns 2 ou 3 banhos para lavar bem o revelador da gelatina. Coisa rápida, enche o tanque agita uns 10 segundos e enche novamente, três vezes. Ou então ácido cítrico. Eu faço uns flaconetes de 5ml de ácido cítrico a 50% e uso um a cada revelação. Mas só água funciona bem também. Usavam muito ácido no auge da fotografia analógica por conta de produtividade, para ser mais rápido. O fixador pode ser só 250g de Tiosulfato de Sódio e 25g de Metabissulfito de Potássio para fazer um litro de fixador. Muito fácil de comprar os dois. É o fixador clássico. Dá para muitos filmes.

Obg@@wagnerlungov1825 fixador se dilui?

@@icerodrigo Não, ele é usado puro. Mas depois de usar você guarda e usa novamente. A parte do filme ou papel que não recebeu luz ainda tem emulsão e esta precisa ser removida ou irá escurecer e manchar. Tem que ficar só a prata que foi reveladas e ficou preta para fazer a imagem. A que não foi revelada precisa ir embora. É o fixador que a dissolve e por isso pode ser usado várias vezes até ficar saturado de prata. Eu dou as instruções mais detalhadas de como preparar e usar nesse post aqui: apenasimagens.com/pt/formulas-laboratorio-fotografico-preto-e-branco/

Thanks Jaco, I will try your recommendation in my next batch.

Deepest thanks to both of you. Your combined expertise will be the first I will try. Cheers

Just tried it. Worked very well. Film is drying now. Soon to scan. Thanks again.

Multiple flashes are useful to make test strips in order to find the right exposure time. It is also a good thing when doing dodging and burning.

I use it whenever I want a contact print. That includes regular photographic paper in regular darkroom. For instance: my Durst Laborator 1000 can handle negatives up to 4x5" in size, but I shoot also 13x18 cm and 18x24cm, in those cases, I place the contact printer under the enlarger light, which is in focus but without any negative, and print it. Prints made by contact are beautiful and even in smaller sizes they worth a try. In former times most of the box cameras images where printed by contact. Thank you for your comment.

Many Paracetamol pills come with some add-ons, like vitamin C or caffeine, aimed to improve an influenza condition. For a developer it is better to stay far from those and look for the ones having only paracetamol and the inevitable starchers. Normally it is all written on the package.

@@wagnerlungov1825 I appreciate you wanting to help...

With regard to the very interesting aluminum coating plate, I wasn't sure how it was heated or cooled, but I will note that at the Eastman House, they had a coating plate from one of the labs (perhaps Kodak) that was an aluminum plate that had pipes running beneath the surface, allow you to pump cold or warm water through it. Keep it warm for coating, then run cold water through the pipe and it would cause the plates on top to set up immediately. I always wanted to try to rig something like that for myself. In the meanwhile, I simply lay the plates down on a slab of granite countertop offcut I picked up out of the trash somewhere that stays cool enough to help the plates set up quickly. I do the hand pouring method you mentioned, which mostly works well enough for me, although it's a bit messy occasionally. I found it helped me to do it over a tray of water so I'd stop worrying about it; staying calmer helped a lot. If you want to dig deeper into this subject (including more modern emulsion making), getting a copy of Ron Mowrey's book on emulsion making may prove interesting to you. Note that some of the recipes from older books (such as Baker; less sure about Eder) expect the use of "active" gelatin, which is not what we get these days. Throws off the percentages somewhat.

​@@RobertBrazile Hi Robert, the aluminum coating table has 6 Peltier (Google it and you will what it is) elements beneath the cold stage. That is an electronic component, 60x60x4 mm, with two wires. When electric current flows across it one side transfers heat to the other in a very high ratio. So one side gets very quickly cold and the other very hot. If current keeps flowing the Peltier will burn out within minutes. To avoid that one has to provide means to remove that thermal energy from the hot side and supply some heat on the cold one. The aluminum plate intended to get cold supplies heat that it gets from the hot gelatin supposed to be over it (that is the aim of the whole thing). On the Peltier's hot side, 6 efficient heat sinkers remove heat as two fans force an air flow across their flaps. There are two tunnels running and connecting both aluminum plates. That hot air passes beneath the second aluminum plate and makes it moderately hot, just enough to easy the task of coating. That is the basic principle behind it. What I have on top of that is a micro processor Arduino with surface thermometers that switches it on an off when the cold plate reaches 20º or so, that is to avoid a burnout. In my first project I had a switch to invert the electrical current flow and reverse the hot/cold Peltier's surfaces (a somehow funny feature it has). But it took a few minutes to bring the aluminum plate from 36 to 23ºC, so I decided to split the table into two sections, one always warm and the other always cool. Hope this has given you an idea about how it works. In case you are interested I can send you pictures and more details about it.

Sim, é preciso fazer o processo em um local com escuridão total, sempre que o filme estiver sendo manuseado. Depois que fez o rolinho, aí pode acender a luz.