Photo Forum / Film Photography / Darkroom / December 2005
cheap way to make an easel?
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DuffMomma - 06 Dec 2005 06:06 GMT I'm looking to print 20x24 paper, any suggestion on how i can make a cheap easel?
k
David Nebenzahl - 06 Dec 2005 07:30 GMT DuffMomma spake thus:
> I'm looking to print 20x24 paper, any suggestion on how i can make a cheap > easel? Lessee: make a rectangular frame from illustration board or some such; could piece it together and use tape or glue patch pieces over the joints. Now all you need is something heavy to hold it and the paper down: that magnetic strip stuff? Metal, like big washers taped to the frame? I'm sure you can come up with something.
Oh, and you'll need some strips of paper taped down on the baseboard (or tabletop) to locate the paper and the frame. That oughta do it.
 Signature God willing, the many crimes of the Bush Administration will eventually be printed in a nice leatherbound, multi-volume edition that will look fantastic on my bookshelf.
Joshua Putnam - 06 Dec 2005 18:12 GMT The base of my 10x16 inch easel is the laminate counter cutout from a sink, so it was free.
The top is a frame cut from mat board -- the cutout from matting a 16x20 print, so also "free" material. Whate face, black core, makes it easy to get things lined up right.
The corner stops for the paper are small brads driven into the base, aligned with small holes punched in the mat board, so they keep the top aligned as well as keeping the paper aligned.
The hinge is duct tape, of course. Every cheap DIY project needs some duct tape.
I've made hundreds of prints with it and never had a problem, works great.
For borderless prints, I leave the top open, and hold the print down with a really cheap vacuum easel -- there's a small hole in the center of the base, which runs to a small rubber tube that comes out the side, and I just suck on the tube to hold the paper down. Works fine, at least for short exposures.
 Signature josh@phred.org is Joshua Putnam <http://www.phred.org/~josh/> Updated Infrared Photography Books List: <http://www.phred.org/~josh/photo/irbooks.html>
David Nebenzahl - 06 Dec 2005 20:02 GMT Joshua Putnam spake thus:
> The base of my 10x16 inch easel is the laminate counter cutout from a > sink, so it was free. [...]
> The hinge is duct tape, of course. Every cheap DIY project needs > some duct tape. Doh! How could I have forgotten the duct tape?!?
> For borderless prints, I leave the top open, and hold the print down > with a really cheap vacuum easel -- there's a small hole in the > center of the base, which runs to a small rubber tube that comes out > the side, and I just suck on the tube to hold the paper down. Works > fine, at least for short exposures. And with that I hand you the DIY Grand Prize, Simplicity Division. Very elegant.
 Signature God willing, the many crimes of the Bush Administration will eventually be printed in a nice leatherbound, multi-volume edition that will look fantastic on my bookshelf.
Lloyd Erlick - 07 Dec 2005 17:41 GMT >and I just suck on the tube to hold the paper down. Works >fine, at least for short exposures. December 7, 2005, from Lloyd Erlick,
What a terrific idea. And I used to feel pretty special because I took Rodinal out of the bottle with a mouth operated pipette!
How many human powered vacuum easels are there, anyway?
regards, --le
 Signature ________________________________ Lloyd Erlick Portraits, Toronto. voice: 416-686-0326 email: portrait@heylloyd.com net: www.heylloyd.com ________________________________
R.W. Behan - 06 Dec 2005 07:52 GMT If you don't need white borders--if a "bleed" print will do, in other words--cut a heavy board, like particle board, or even a piece of plate glass, 20 x 24". Put some strips of double-sided scotch tape, maybe 3" long or so, in each corner. Position this under the enlarger lens for the print you want, and use a scrap pieceof white paper to focus and compose. (DON'T press this paper down firmly, or the corners will stick to the scotch tape.) Now, place the sensitized paper on the baseboard, and DO press the corners down firmly. Expose. Peel the corners up carefully, and away to the developing tray you go. I have such "printing frames" in standard sizes, using plate glass, expressly for making full sized bleed prints, and they work great. Cheers, Dick B.
> I'm looking to print 20x24 paper, any suggestion on how i can make a cheap > easel? > > k Mike King - 06 Dec 2005 15:25 GMT 3M used to make a sticky substance (actually they make a lot of sticky substances) but this one was called a bulletin board square, 12"x12", 4 to a package, pretty sticky on one side, which you peeled and stuck the thing to the wall, the other side was low tack (not quite Post-It note but much less sticky than most tapes and such) made so you could put your notes on the wall and remove them later. Perfect for this application.
BTW if you're using RC paper it will usually lay flat out all by itself, then all you need is a way to position it under the enlarger.
darkroommike
> If you don't need white borders--if a "bleed" print will do, in other > words--cut a heavy board, like particle board, or even a piece of plate [quoted text clipped - 12 lines] > > > > k Nicholas O. Lindan - 06 Dec 2005 16:37 GMT "DuffMomma" <evokenny@hotmail.com> wrote in message
> I'm looking to print 20x24 paper, any suggestion on how i can make a > cheap easel? I use 'drafting tape' - a less sticky masking tape - and tape down the 4 corners. On large prints I like to have a ~1" margin for [man]handling the print. This margin is covered by the matte board.
I suppose they still make drafting tape. If it hasn't gone the way of carbon paper and typewriter ribbons you should be able to find it at art supply stores or blueprint stores [if they are still around].
3M makes removable scotch tape but it doesn't have much holding power. It is great for paste-ups but then who does paste-ups any more.
-- Nicholas O. Lindan, Cleveland, Ohio Consulting Engineer: Electronics; Informatics; Photonics. To reply, remove spaces: n o lindan at ix . netcom . com
Mike King - 07 Dec 2005 15:42 GMT I still have a couple of rolls, keep mine in a zip top bag to keep the adhesive from oxidizing. I haven't seen it locally in a while but I suspect it's still available (Google came up with 2 million hits!), a locally available alternative might be one of the new high tech easy release masking tapes.
darkroommike
> "DuffMomma" <evokenny@hotmail.com> wrote in message > > I'm looking to print 20x24 paper, any suggestion on how i can make a [quoted text clipped - 18 lines] > Consulting Engineer: Electronics; Informatics; Photonics. > To reply, remove spaces: n o lindan at ix . netcom . com David Nebenzahl - 06 Dec 2005 18:42 GMT DuffMomma spake thus:
> I'm looking to print 20x24 paper, any suggestion on how i can make a cheap > easel? Since we're dreaming up all kinds of schemes here, another approach: the poor man's vacuum easel. Would be cheap but require a fair amount of construction.
Make a shallow wooden box with a smooth flat top. Drill a bunch of small holes in the top in a grid pattern. Attach a vacuum cleaner hose to the side of the box. Turn on the vacuum cleaner before making the exposure.
Main problem here, apart from construction, would be placing the vacuum cleaner so it doesn't completely fill the air with dust. Outside the darkroom would be good.
 Signature God willing, the many crimes of the Bush Administration will eventually be printed in a nice leatherbound, multi-volume edition that will look fantastic on my bookshelf.
Mike King - 07 Dec 2005 15:46 GMT And you could use a piece of tempered hardboard with holes already drilled "pegboard" instead of drilling your own (unless itching to try out the new drill you got from Sears) and borrow the wife's new vac with the HEPA filter on the "exhaust pipe" to minimize the dust.
Somewhere I have plans I clipped from Peterson's Photographic back when they published a lot of DIY articles.
 Signature darkroommike
> DuffMomma spake thus: > [quoted text clipped - 12 lines] > cleaner so it doesn't completely fill the air with dust. Outside the > darkroom would be good. Gilbert - 11 Dec 2005 14:07 GMT >DuffMomma spake thus: > [quoted text clipped - 12 lines] >cleaner so it doesn't completely fill the air with dust. Outside the >darkroom would be good. A cheap small aquarium airpump dose he trick too, with a lot less noise, and a lot less dust. Gilbert
_____________ http://www.apug.org
dan.c.quinn@att.net - 06 Dec 2005 22:53 GMT > I'm looking to print 20x24 paper, any suggestion on > how i can make a cheap easel? If you need to hold the paper flat then you'll need something flat to hold the paper. That right there may be the tough part. When doing process camera work years ago a Sticky Back glass sheet held sheets of film in place. After exposure the sheet is peeled off. Some have recommended and use the 3M product for holding paper flat. I've played with the idea of wetting the paper to the flat support. Either way, sticky or wet, no frame is needed but could be placed on top. Dan
Lloyd Erlick - 07 Dec 2005 17:48 GMT >I've played with the idea of wetting the paper to >the flat support. December 7, 2005, from Lloyd Erlick,
Interesting idea. Have you ever exposed a wet sheet under the enlarger? There must be many interesting issues.
regards, --le
 Signature ________________________________ Lloyd Erlick Portraits, Toronto. voice: 416-686-0326 email: portrait@heylloyd.com net: www.heylloyd.com ________________________________
PATRICK GAINER - 07 Dec 2005 22:02 GMT > > [quoted text clipped - 17 lines] >________________________________ > In some early editions of the CRC Handbook of Chemistry and Physics (ca 1956) there was a section of recipes which had a recipe for the kind of gelatin transfer medium (what the heck was it called?) that was widely used before Xerox. It included glycerine, plain gelatine from the grocery store, and a little hide glue. It was also obtainable in cans at office supply stores. It made a good holder downer for printing paper. I used a piece of plywood with small molding at the edges to hold a layer of the stuff. I can't remember the recipe. Now you know what I have in common with Methusaleh.
Ken Hart - 08 Dec 2005 04:20 GMT >>>I've played with the idea of wetting the paper to >>>the flat support. [quoted text clipped - 23 lines] > a layer of the stuff. I can't remember the recipe. Now you know what I > have in common with Methusaleh. Actually, I remember my first grade teacher using such a device/system for printing pages for us to color! The original was drawn with a piece of something like carbon paper turned wrong way, so that there was a mirror reverse image on the back of the original. This was placed on the moist gelatin for a few minutes, then removed. Much of the carbon (?) was transferred to the gelatin. Blank paper was pressed onto the gelatin and some of the carbon (?) image trransferred to the blank paper. The system was good for about 25 or so copies. I think the process might have been called something like "multigraph".
 Signature Ken Hart kwhart@aec.nu
David Nebenzahl - 08 Dec 2005 04:57 GMT Ken Hart spake thus:
> Actually, I remember my first grade teacher using such a device/system for > printing pages for us to color! The original was drawn with a piece of [quoted text clipped - 5 lines] > good for about 25 or so copies. I think the process might have been called > something like "multigraph". Close; you're thinking of "mimeograph". Remember the way those sheets smelled, especially when they were handed out still damp? Mmmm, I can still remember that smell: it was actually some horrible solvent, probably carcinogenic. And blue printing.
Actually, now I'm not sure just what you're describing, because mimeograph didn't work that way at all: the original was a stencil, "cut" (literally) on a typewriter, then placed on a drum which had an inked pad behind the stencil. The ink came out onto the paper where the typist (or writer) had made marks. So it didn't use carbon or carbon paper at all. Maybe you just misremembered how it worked.
 Signature God willing, the many crimes of the Bush Administration will eventually be printed in a nice leatherbound, multi-volume edition that will look fantastic on my bookshelf.
Joshua Putnam - 08 Dec 2005 05:46 GMT > Close; you're thinking of "mimeograph". Too modern -- Hectograph.
> Remember the way those sheets > smelled, especially when they were handed out still damp? Mmmm, I can > still remember that smell: it was actually some horrible solvent, > probably carcinogenic. Actually, "mimeograph" was a misnomer for those machines.
If the pages came out damp, that was a "spirit duplicator." Lightly wash the paper with alcohol before impressing it on a "ditto master" made with special carbon paper, and just enough of the ink transfers to the paper.
Finally got rid of my spirit duplicator a couple of years ago. The solvent was isopropanol and methanol. Conveniently, it burned quite well in my methanol camping stove after the machine was no longer useful for anything.
Mimeograph was an older process than spirit duplicators, the mimeo used a stencil that was porous where you typed on it. Wrap that around an inked drum and the ink came through the stencil cut.
(Mom was a teacher, Dad's an architect, I know *way* too many obsolete printing techniques.)
 Signature josh@phred.org is Joshua Putnam <http://www.phred.org/~josh/> Books for Bicycle Mechanics and Tinkerers: <http://www.phred.org/~josh/bike/bikebooks.html>
Lloyd Erlick - 09 Dec 2005 06:51 GMT >-- Hectograph. December 9, 2005, from Lloyd Erlick,
... and on my hard drive I find I have a folder called Hectography ...
------------------------------ here are some links:
Hecto Links/Sources/References
Literary source: Stephen Kingís On Writing: A Memoir of the Craft (Scribner, 2000) relates a saga starring Kingís brother, Dave, and Daveís hectographic adventures (pp. 43-44). Unfortunately, my request to Scribnerís to reprint three paragraphs from Kingís work was denied. (Thanks to M. Brown for the tip.)
Literary source: First sci-fi fanzine http://www.comic-art.com/bios-1/siegel01.htm
Literary source: H.P. Lovecraft http://www.yankeeclassic.com/miskatonic/englishl/hpl/hplbio/chaptr02.htm
World War II materials: Abo Library, Estlander Collection http://www.abo.fi/library/pres/samlspee.htm
Recent hectographic art work (by Mae Strelkow): http://www.fortunecity.com/roswell/quatermass/87/mae
Dead Media (moribund, but fascinating source/site): http://www.deadmedia.org
Russian hectography (book by Rozanova & Kulbin) http://www.schicklerart.com/exh/12_rare_books/HTML/3_rozanova.html
Russian hecotgraphy (book by Lenin) http://www.stel.ru/museum/Leninc2e.htm
Russian hectography (book by A. Kruchenykh): http://www.rarebook.ru/ei001.html
Turn of the century "Hektograph," text and illustrations (clicking on search, refining your search using Boolean options and listing "hectograph" and "new" as search terms): http://cdl.library.cornell.edu/moa/index.html
Alaskan Newspaper
http://www.helios-carbex.com.br/usa.html (Go to Products--> General Purpose section)
Additional ink recipes (from Steve Glover): http://www.fell.demon.co.uk/steve/inks.html Anti-Nazi Hectographer Spirit Duplicating/Mimeo Supplies REPEAT-O-TYPE Mfg. Corp. 665 State Rt. 23 Wayne, NJ 07470 U.S.A. http://www.repeatotype.com
------------------------------------------------ http://english.boisestate.edu/ttrusky/hecto.html GELATIN RECIPES The Hectographic ìPressî, Bed or Pad A recipe from the web, used by yours truly and his students:
Turkish Delight Duplicator Recipe
Copyleft Steve & Jenny Glover, 1993,1995
We still use a "Turkish Delight" duplicator for small print run stuff (apa contribs, small con newsletters of the informal persuasion) and security printing (Postscript output -> ghostscript -> 9 pin printer -> coloured Banda paper --> unduplicatable tickets for whisky tastings, etc).
Anyway, here's Jenny's recipe (as obtained from a friend of a friend of a "freedom fighter" who apparently used to run across the veldt duplicating leaflets with one hand and scattering them with another...)
You will need: 1 large roasting tray, big enough for a sheet of paper. This is going to be the 'bed'.
Preparing the "'bed"': (This recipe uses gelatin, which *can* be produced from non-animal sources, but which usually isn't. Somewhere we have an equivalent recipe that uses carrageenin gel or agar agar, but you will have to work these ones out for yourself by trial and error, as we're not so practised with these ones) In a large saucepan dissolve 100g gelatin in 375ml water
then begin to warm it gently while adding 385g of sugar. When it has dissolved,
add 715g glycerol and slowly bring the mixture to the boil. Stir gently for one minute while boiling to avert the wrath of the Foam Ghods.
Remove the mixture from the heat and pour it slowly into your tray (care! this mixture boils at a higher temperature than water -- for the purposes of rug rats and house apes, treat it as molten fat).
Make sure that the tray is on a flat surface where it can be left for a few hours until the gel sets.
While the gel is cooling, the Foam Gods can be further appeased by using tissue paper to remove bubbles, foam and 'bits' from the surface.
This file is sort of shareware: if you use this recipe, we'd like to see a copy of the zine, flyer or artwork you produce. Our address is: Steve & Jenny Glover, 3f2 (t/r) 2 Trinity Court, Trinity, Edinburgh EH5 3LE, Scotland, UK.
Another press/bed recipe (untested):
Recipes for Art and Craft Materials, by Helen Roney Sattler (New York: Lothrop, Lee & Shephard Company, 1973)
Thanks to Matthew B. for bringing this text to my attention.
Hectograph Pad
You Will Need:
2 cups water 4 packets (1 ounce) unflavored gelatin A baking pan, 8 x 11 inches 2 teaspoons boric acid solution
How to Make It:
1. Pour water over gelatin and let stand for 2 to 3 hours.
2. Pour softened gelatin into baking pan.
3. Slowly bring to a boil, then reduce heat and let simmer over a low flame for 20 minutes. Add boric acid solution.
4. Set aside overnight. -----------------------------------------
INK RECIPES from Fortunes in Formulas for Home, Farm and Workshop. The Modern Authority for Amateur and Professional. Containing Up-To-Date Selected Scientific Formulas, Trade Secrets, Processes, and Money-Saving Ideas, edited by Gardner D. Hiscox and T. O'Connor Sloane (New York: Books, Inc., 1907; rev. ed., 1956). (citation supplied by Earl Noe)
Purple Methyl violet, 2 parts Alcohol, 2 parts Sugar, 1 part Glycerine, 4 parts Water, 24 parts
Dissolve the violet in the alcohol mixed w/ glycerine, dissolve sugar in water, mix both solutions.
Ingredients for purple hecto ink.
Black Methyl violet, 10 parts Nigrosin, 20 parts Glycerine 30 parts Gum arabic 5 parts Alcohol, 60 parts
Ingredients for black hecto ink.
Red Fuchsin, 10 parts Alcohol, 10 parts Glycerin, 10 parts Water 50 parts
Ingredients for red hecto ink
Earl Noe also notes two intriguing hecto facts: I saw a Nova program about WWII escape attempts from Colditz Castle, and one survivor demonstrated how the prisoners used their gelatin desserts to make a hectograph, used for making maps. Good luck!
The Fancyclopedia, by Richard Eney, 1959, (mimeographed) has the following entry (right before HELICOPTER BEANIE): HEKTOGRAPHER'S HANDS is a strange malady afflicting users of the above process. Handle hekto carbons, inks, pencils, ribbons ever so carefully, yet smudges of purple will appear on the ends of the fingers, and by some mysterious process spread to the backs of the hands and up the inner side of the forearm. Then, tho the hektoer never touch his face with arms or hands, purple splotches will break out on the nose and one cheek, and on the nape of the neck, tho he can't see it there. What is more, the dye will spread to all light-colored woodwork in the room, and deposit in an uneven film over the lavatory when he tries to wash. The Ditto company puts out a soap which is supposed to ease the condition, but really it comes off only when the skin does.
Hectograph Ink
Another recipe (untested):
Recipes for Art and Craft Materials, by Helen Roney Sattler (New York: Lothrop, Lee & Shephard Company, 1973)
You Will Need:
1 1/2 teaspoons water-based pigment, such as Prussian blue, iodine-green, methyl violet, and so on. (Do not use and oil paint pigment. Aniline dye is best but poisonous.)
1 teaspoon glycerine
4 teaspoons distilled water
2/3 teaspoon peppermint or lemon extract
How to Make It:
1. Mix the pigment with glycerine until smooth and well blended. 2. Add water and extract. Stir or shake until thoroughly mixed.
Makes about 2 tablespoons-enough for several projects.
How to Use It: Store in a tightly capped bottle. Shake bottle well before using. Draw or write with a lettering pen or a fine brush on typing paper. -----------------------------------------
anyway, I've never done anything like this so I know nothing. regards, --le
 Signature ________________________________ Lloyd Erlick Portraits, Toronto. voice: 416-686-0326 email: portrait@heylloyd.com net: www.heylloyd.com ________________________________
dan.c.quinn@att.net - 08 Dec 2005 06:02 GMT RE:David Nebenzahl wrote:m
> Close; you're thinking of "mimeograph". T. A. Edison thought first and invented the mimeograph. Dan
Joshua Putnam - 08 Dec 2005 05:28 GMT > In some early editions of the CRC Handbook of Chemistry and Physics (ca > 1956) there was a section of recipes which had a recipe for the kind of [quoted text clipped - 5 lines] > a layer of the stuff. I can't remember the recipe. Now you know what I > have in common with Methusaleh. Hectograph Filler
1/2 oz of ground dried glue 2 oz of dried gelatine 18 fl oz glycerine
Mix the glue with water and digest it on a water bath (a double boiler may be used) until it has the consistency of cream and is thoroughly melted. Soak the gelatine in cold water till soft, free it from as much water as is possible by pressure in a cheesecloth and then melt it on a water bath or in a double boiler. Pour the three liquids together, and after they are thoroughly mixed, pour them into the pan. If any bubbles appear on the surface of the filer, scrape them off with the edge of a piece of cardboard while the filler is hot. Do not use the filler until at least six hours after it has been poured into the pan. The materials gel slowly. Keep the pan level and covered until its contents is no longer fluid.
(*NEVER* let go of a good reference book! Handbook of Chemistry and Physics, pocket-sized edition, 1959, pp.3288-9.)
 Signature josh@phred.org is Joshua Putnam <http://www.phred.org/~josh/> Updated Infrared Photography Gallery: <http://www.phred.org/~josh/photo/ir.html>
dan.c.quinn@att.net - 08 Dec 2005 02:42 GMT > >I've played with the idea of wetting the paper to > >the flat support. [quoted text clipped - 9 lines] > email: portrait@heylloyd.com > net: www.heylloyd.com Out of the wash I sponge dry FB and RC upon the counter. I've the counter space for that. Using a single tray for processing has helped. Also a help is my now well lite Graded paper darkroom which should work to reduce the issues involved. Essentialy pre-wetting, pre-drying, and placement are the factors involved. I can imagine several approaches. For one, the entire proceedure might be carried out on the flat support which, with guides, is positioned on the baseboard. To be practicable, techniques would need to be developed. Little more than a thought at this time. Of course, setting a wet, pre-dried, entirely flat piece of paper on a baseboard is no problem in itself. Drip drying likely wouldn't do although the ideal of the untouched always has some appeal. Dan
Lloyd Erlick - 09 Dec 2005 07:03 GMT ...
>Drip drying likely wouldn't do although the ideal of the untouched >always has some appeal. Dan December 9, 2005, from Lloyd Erlick,
I've been drying my prints (FB) by drip drying for years. Easy and effective.
I've found it's easier to achieve the 'untouched' (at least for the face of the print while it's wet) by means of the single tray, than it is to set out a long line of trays and lift and lower the wet sheet many times, especially if drying screens and squeegees are involved.
To expose a wet sheet under the enlarger, I guess a dry sheet could be placed on a dry sheet of glass or rigid plastic and carefully submerged in water (hosed down?). The sheet would be stuck to the glass, and easily handled. Maybe the glass can be wet to start with.
regards, --le
 Signature ________________________________ Lloyd Erlick Portraits, Toronto. voice: 416-686-0326 email: portrait@heylloyd.com net: www.heylloyd.com ________________________________
dan.c.quinn@att.net - 10 Dec 2005 23:15 GMT > I've been drying my prints (FB) by drip > drying for years. Easy and effective. [quoted text clipped - 19 lines] > email: portrait@heylloyd.com > net: www.heylloyd.com A brush application may work well. Positioning of the paper after wetting would not likely be possible. The support itself could be shifted about. Exact placement of the paper on the support then would not be needed. On another tack, any of the single-size easels could serve as a model for constructing an easel. That would include Saunder's swing frame. The planes described by the negative and the paper are to be parallel and the two perpendicular to the optical axis. Exact alignment, glass carriers, and perfectly flat paper will extract the most possible from those costly enlarger and camera optics. Dan
seog - 09 Dec 2005 00:19 GMT > I'm looking to print 20x24 paper, any suggestion on how i can make a cheap > easel? Plan A: 1. Plywood cut to size. Screw 3 2x4 pieces to the back to keep it from warping. 2. Glue cork veneer http://mantoncork.com/. 3. Marker. Draw borders for 16x20, 20x24 4. Thumb tacks
"Walla"
Much better than sticky easel as described in Darkroom Cookbook but not as tasty.
Natural Light Black and White Photography http://mysite.verizon.net/vze76ane/ -George-
seog - 09 Dec 2005 00:34 GMT >> I'm looking to print 20x24 paper, any suggestion on how i can make a >> cheap [quoted text clipped - 6 lines] > 3. Marker. Draw borders for 16x20, 20x24 > 4. Thumb tacks Plan B: PROOF READ!
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