I only use 2 cameras…
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A 35mm Nikon FE SLR produced in 1979-84. I’m currently using my third and fourth bodies… metal is best! I use two prime lenses, a Micro-Nikkor 1:3.5 28mm and a 55mm 1:2.8, and a 35-105 Nikkor zoom
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For my ‘portrait’ work I have a 20 year-old medium format Pentax 67. For this camera I have two lenses. A Takumar 55mm and a 135mm macro lens.
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I shoot mostly on Ilford HP5 400ASA film and for those dark corners, Delta 3200ASA, but I’m increasingly finding the 3200 just too grainy for me. For the Pentax 67, the above films in 120 format.
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At present, all my films are processed by Peak Imaging in Sheffield.
In my darkroom I have the following equipment.
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A Meopta Magnifax 4 enlarger with built-in filters.
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I use a Durst Labotim enlarger timer. I have two – one adapted to incorporate a foot pedal on/off switch.
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Two enlarging easels.
For work up to 16×12 inches: a French Ahel Marge 4; and for 20×16 inch prints: an RR Beard. -
I begin by producing a ‘digital contact sheet’. I scan the negatives into lo-res jpegs on my Epson Perfection V500 Photo Scanner. The scanner programme compensates for each frame on the negative strip. The frames are then placed into a ‘digital contact sheet’ format. After assessing the scans on my computer, I then digitally print a chosen frame at A5 size before I go into the darkroom. This allows me to easily see areas of the image that will need working on – ie. dodging and burning or split grade printing.
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I print on 16x12ins or 20x16ins Ilford Classic fibre-based glossy paper.
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After superficial drying on a ‘washing line’, the prints are then flattened between stiff blotting paper in my Ademco 1620 Dry Mounting press (cold).
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Once flat, the prints are then dry mounted onto a backing card (0.45mm Lion Conservation Barrier Board) using the Ademco Dry Mounting press (hot).
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My window mounts are Colourmount Black-core Chalk White board, and cut using a FrameCo Mat Master mount cutter.
