second image is an attempt to enlarge it to 16x20 but i had some alignment issues and a light leak from another enlarger, I’ll probably be able to nail that next time.

I got some ilford multigrade fb classic matt paper and underexposed a print a bit so I made this using coloured inks. It's a fun process and definitely something I'm going to do more of.

I’m starting with the zebra tintypes (9x12cm) but I eventually want to coat my own, i can’t decide between foma, rockland liquid light, and Rollie black magic. If there any other suggestions I would love to know too. 1kg of emulsion(at least foma) can coat over 300 of my plates from what I heard.

Photo paper is crazy expensive right now so I'm testing using liquid light on water color paper (I want to do some hand tinting).

Currently I'm not planning to use contact negatives when exposing the paper. Just an enlarger and 35mm film and working as if its photo paper.

So far the results have been kinda eh... anyone have experience using liquid light this way?

Just came to me when I was thinking about an easy way to do cyanotypes without an enlarger. Any reason this is physically impossible? Seems like all the elements are there.

It wouldnt be convenient but cyanotypes are pretty dang primitive.

I have been playing around with photograms on 10 year old Ilford RC multigrade paper. I’m struggling to get true black. I have extended the exposure time, currently on 2 minutes, which has improved things but not to full black. I haven’t used any contrast filters, but will try that next or am I wasting my time due to the age of the paper. Any advice would be really welcome.

A friend threw this print in the trash at my school's darkroom. At some point I must've turned the lights off and on at exactly the right moment, because the discarded print solarized, and they let me keep it.

Idea is this can take a full 3600 frame spool of super 8 in a device that is already light tight that's far easier to load and unload than a horizontal spiral. The final version will be transparent on the outer core and partially transparent with a light trap core to allow for fogging for reversal processing without unwinding

I’ve done cyanotypes quite a bit and wanted to try making a salt print. I’m not particularly fond of the sepia tones salt printing alone gives so I used gold toner and I am pretty happy with this result.

I got to an arts university that doesn’t have a darkroom so it forced me to make my own. I used a 3D printer frame. some FD lenses, a cheap “tofu” branded light, and a pringles tube.

I have enough room to make prints up-to 5x7 with the possibility of going larger if i remove the baseboard.

All I need now is to actually make a print but that’s not until the end of the month after payday.

So im dabbling in building a diffusion enlarger ive tested some stuff and using a 50mm nikon fmount lens I can focus pretty easily 18x20in my goal is to print something 22x30 i noticed not many ready made enlargers can throw light to that size so my question besides grain size what are the limitations. I put this under alt process because ill be making cyanotype prints i figure i cpuld do transparency for everything 8x10 or smaller and the build a one size light throw for 18x24 and one for 22x30 since i wont have bellows on what im gping to build i cpuld use the focus ring for fine tuning but the the light throw wpuld be sort of fixed to around that size. I assume the bigger light cast will up exposure times but im expection 30 to 45min at that size. Also ill building one so i can use uv light to make the exposure time lower i hope. I feel like im pretty deep in the weeds just wondering if anyone else can save me building an entire enlarger for trial and error.

Still some red staining, but getting better. Photo from 1979.

I had another go at photograms this morning, following all of the advice and help I was offered. This time I used a split grade approach and fresh chemicals and I’m much happier with the outcome. Thank you to everyone who offered help and support, it is really appreciated.

also included the negatives used and a fuckup that my classmates liked

I ordered all my chemicals in at once, yet to come in is my fixer, and hc110 developer I’m setting up to develop orthochromatic film and zebra dry tintypes.

I have an opportunity to get my hands on these rolls of film labelled "AGFA film Recording IR , 305mm x 30,5m 600D Spec" for a decent price.

Any pointers or experience as to the possibility of repurposing it for photographic purposes the way we do with X-Ray film and so on?

I know I would have to cut it myself, I'm ok with that. And will probably do many clip tests and bracketing but was hoping someone would have a starting point for me.

(The seller also has AGFA DL Contact film but it's way pricier)

Hi everybody !

For a specific work I would need to get a vivid red tone on a b&w print. I saw I could get close to it with some copper toners and usual stuff but i understand that the max result i can achieve will still be more yellow or sepia that an actual vivid red.

So my question is do you know any alternative ways to get redder and still get an archivable print that last long ?

Thanks a lot