Are these still available?

Now it can be printed with TPU without the art. PS And it can be in orange. Or in red (inside is still black)

Back in 1971 I was a photo student at RIT. Professor Terry Bolman came up with a system where we cut out part of our darkslide (4x5) and taped in a Kodak film step wedge over the hole. This was used to easily calibrate ISO and also shoot a series of images of a large white object to use to develop the film for various levels if contrast. Even using water bath development to extend the dynamic range. You are doing something similar and may want to apply it to The Zone System. Basically you made a crude in the field sensitometer.

if i use the emulsion directly on the plate it will always peel off. i tried to coat with resin primer wich works great in terms of adheasion, but its nearly impossible to keep it clean and dust free. i will always have faults in the picture because some of emulsion doesnt get properly lit and stays white even after fixing.

From where we can get this

I just have a question as long as you are a professional in this stuff..when I wash my cyanotype on fabric, the part that should be white and washed is getting yellow..and I'm so confused because I'm not sure what exactly cause that..I wash it so many times but it doesn't work and it end up getting yellow.

Thanks for making the video, it would have been more helpful if you could shoot from an angle so your head does not block the view. Also a verbal narrative rather than music would have been more informative.

will this work wit amonia dichromate plates? great video

THAT do NOT look like the proper way to make a fine bellow !!!

Kaha milega kitne ka hai

🔥🔥🙏🏽🙏🏽

Bro give me work please jejeje my dream work is chemical photography

What is the fixer?

This, in my opinion is a flimsy piece of junk. You've only had it 2 years and it's already having wear issues? I have a toyo Omega 4 x 5 rail camera that has been dragged all over the United States. It's even survived being checked for an airplane flight.😂 I've only had to replace two knobs that were broken because it fell five or six feet onto asphalt and I've replaced the bellows once. It's going strong, never had an issue with rust and it is still perfectly operational. I bought it new 39 years ago.

Top Content. Thanks for making this!

Narration would have been better

Please link where to buy all of the stuff.

Great video and here is a PRO TIP: I would highly suggest anyone who plans on building this to spend a few dollars and buy connectors for the LED strips. I have years of experience in soldering but I wouldn't spend the time cutting/stripping 40 wires, tinning each end (80 in total) then soldering 40 connections to the end points of the light strips. This takes time even with experience! If something goes wrong you will need to diagnose which contacts are failing. Do a bad job and you could short out your lights. Buy connectors, they are cheap and you can be done in a fraction of the time. That being said, great video for anyone wanting to save money building an exposure unit vs spending $300+ dollars.

the SAME happened to me (a positive have being developed when it should be a negative) using my laboratory camera one day. I was shocked and puzzled and after talking with some friends the conclusion was some kind of solarization had happened.

In 1970-72 I went to Knox College in Galesburg, IL which was had a long history as a rail hub. I was using the Zone System for photojournalism for school publications (for $3 per photo) and whatever other jobs like shooting the Polaroid student IDs (mine said I was old enough to buy beer 😊). The school library hired me to make contact prints from a collection of old glass plates some as large as 11” x 14”, most of them photos of steam locomotives. The amount of detail in them was breathtaking as was the tonality. But they had such a high density range I had trouble finding print paper with enough range to print them. Whatever they used back in the day to make prints must have been very high contrast. In 1974 after a two-years assisting a well known and very successful Washington DC wedding photographer named Monte Zucker I got a dream job in the photo lab at National Geographic. Our section did halftones, duotones, CYM tritones, and color separations on Orthochromatic Litho film with contact screens on large process cameras: one with a 20 x 24 inch film back and the other which could handle 30 x 40 film which filled an entire room. When making the largest wall maps was turned into a giant enlarger with 52” wide film put on the 6 by 8 foot glass copy board and exposed with a carbon arc lamp. We did all the photographic work in the maps. When I started there the proofing system for the maps was a diazo emulsion product. I would put a 30” x 40” sheet of white mylar on a large spinning printing plate coater pouring out the yellow emulsion from a gallon jug under yellow safe lights. It was then dried, exposed with a large Xeon lamp then the process was repeated three more times for magenta, cyan and black plates. It took a good bit of skill to get an even thin coat and if it was done wrong on one of the four colors you started over. Fortunately soon after I was hired it was replaced with a dry powder / photo polymer proofing system from DuPont called Cromalin. I was the Beta tester and got to got the DuPont R&D center to be training in color science by the guy who invented it who explained CIE*Lab 3D colorspace on napkin at lunch over burgers and beer. I was on the cusp between really old analog and more modern 1980s analog techniques, then in the 90s and early 2000s transitioned and offset printing operation from 100% analog to 100% digital for color separation and page layout. It gave me appreciation and a huge amount of respect for the level of craftsmanship and work required for things with now do in Photoshop with buttons and sliders and the same respect for people like you with the curiosity to use old tech like view camera and glass plates.

How many sheets you can fix with One litre fixer?? Congratulations from Argentina

No thanks. Freestyle Photo Hollywood is a just a 30 minute bus ride up the street.

plz i want to contact you fot business. plz send me your email

Just to be clear... that 12 grams of silver nitrate ? +120usd? ouch

NO PARTS LINKS !!

Hi. I wonder why my salt print faded when it few months past.

Amazing Photographs!

This was so amazing! Well Done!

I assume that a standard 4 x 5 film holder will not accommodate a Zebra plate. Is that correct?

Will your Zebra plates fit in the standard 4 x 5 film holders?

Excellent

Do you know where I can find some info on how you would go about homogenizing and regulating the crystal size and shape development? Is this something a hobbyist could do?

I just picked up a Zeiss ikon sonata 9x12 camera for €25! I will need to replace the ground glass as it came with non and I got a 120 film holder for it so I can start to us it when I service the lens. What it did not come with was the glass plate holders so I'm sure that would be easy for you to design. Its great to see your company go from strength to strength.

Do you think you could be able to do sheet film holders ? They are super hard to find in exotic sizes like 10x12 inches...

This is amazing and imaginative work. You take what looks like a problem or challenge - and turn it into the latest Zebra achievement. It's absolutely inspiring to see what you do all the time. You're the J.S. Bach of photographic innovation! Also: you should win an award for One-handed Filmmaking. 😸

You do great work. I have enjoyed all the products that I purchased from you.

so simple that I didnt think of it, awesome

Thanks brother

about the 2% salt solution you diluted it up to 100ml but it seems you filled your 250ml bottle container from that beaker. TIA

Thank You for your simple, to the point explanation of salt printing, easy peasy. I think I will try this method after I work on cyanotype for a while. Much obliged.

Where did you buy your container? Did it have the window and door pre-installed?

If you use an acid stop bath between the developer and the fixer bath you won’t need the chrome alum to prevent frilling the edges. Which emulsion was this?

Hi, thank you for all your brilliant videos. This might be a very stupid question but - is it possible to make the positive plate directly from an enlarged negative, without making the negative onto glass? Thank you!

why would you shoot 4x5 then scan with an iPhone. use better optical scanner.

Why does the camera look like a projector

This is a very helpful video. What temperature do you heat the emulsion to before pouring?

Thank you for a most interesting, instructive and helpful video. I’m completely new to dry plate photography, and I bought a box of your Zebra 9x12 plates earlier this month to try in one of my pre-war cameras. I don’t have access to a dark room, so I’ve bought a Stearman Press 8x10 Daylight Tray. From your video, it seems that developing your plates by observation is ideal for optimum results, so I feel that a completely closed process might not be so successful. Have you used an SP-8x10 for your plates, and if so, do you have any suggestions regarding technique for best results, please?

Me to! 😊

I want to know how much chromium alum should be added

Does any one use this light box for anthotype print using turmeric?