Fomatone 132, Lithprint (Kontakt von einem Kallitypie Drucknegativ) mit speziell für Fomatone Papier abgestimmten Easy Lith FT.

sroll down for English

Fomatone und Foma Retrobrom sind die einzigen Papiere aus aktueller Fertigung mit denen farbig gelithet werden kann. Auch das unter dem Oriental Label vertriebene Warmtone ist schon seit Jahren eine Fomatone Emulsion.

In den letzten Jahren traten beim Lithen von Fomatonepapieren Fehler auf. Die Ursache ist laut Foma eine andere Gelatinequalität ab der Chargen-Nr. 0777. Bei Entwicklungszeiten über 6 Minuten können sowohl größere kreisförmige Flecken (Snowball-Effekt), als auch an Marmoroberfächen erinnernde Strukturen auftauchen.

Für den SE5 Lith-Entwickler habe ich schon mehrfach auf die Möglichkeiten der Vermeidung dieser Fehler hingewiesen. Für den fertig abgestimmten Easy Lith besteht natürlich auch die Möglichkeit, durch Zugabe von Lith D und einen veränderten Workflow, dieses Übel zu verhindern. Für Anwender, die ausschließlich mit Fomatone oder Retrobrom Papieren lithen möchten, kann ich eine Variante des Easy A Konzentrates anbieten, bei welcher die beötigte Menge von Entwicklungsverzögerern schon enthalten ist.

Es mag auf den ersten Blick nicht einleuchtend erscheinen, einerseits kurze Entwicklungszeiten als Problemlösung vorzuschlagen, andererseits eine höhere Dosierung bremsender Substanzen zu verwenden. Zum Verständnis sei nochmals auf den Zusammenhang von hoher Lichtmenge für farbige Resultate und die daraus resultierende Notwendigkeit einer hohen Verdünnung des Entwicklers hingewiesen, um damit bei Zeiten zwischen 8 bis 12 Minuten sowohl farbige Lichter und tiefe Lithschatten zu erreichen. Bis vor einigen Jahren hat der Prozeß so funktioniert. Um die oben genannten Fehler zu vermeiden, sollte die Entwicklung mit den aktuellen Fomatone Chargen jedoch nach etwa 6 Minuten abgeschlossen sein. Sind also farbige Ergebnisse (wie früher) angestrebt, benötigt das Papier eine starke Überbelichtung. Der Entwickler darf aber nicht stark verdünnt werden um eine zu schnelle Entwicklung zu vermeiden. Bei der vorgeschlagenen Mischung von 50ml A + 50ml B auf ca. 900ml Wasser, müßte der Entwicklungsvorgang nach 2-3 Minuten abgebrochen werden, ein echter Litheffekt kann so nicht entstehen. Wenn derart fetten Entwicklern jodoch einen Verzögerer zugesetzt wird, landet man bei gegebener Lichtmenge (für hohe Farbigkeit) bei Entwicklungszeiten zwischen 5 und 6 Minuten. Wird mit einem zweiten Bad gearbeitet, sei es eine reine Alkalilösung, oder ein anderer Entwickler, entstehen keine Fehler, auch wenn die Gesamtentwicklungszeit dann bei 8 Minuten oder länger liegen kann.

Bei den speziell für Fomatone abgestimmten Konzentraten, kann die Arbeitslösung mit etwas weniger B angesetzt werden, wenn ein zweites Bad mit Alkalilösung erforderlich sein sollte. Beispielsweise kann dann mit 5 ml B das zweite Bad mit ca. 500 ml Wasser angesetzt werden.

ENGLISH

Fomatone and Foma Retrobrom are the only papers currently in production that can be used for colourful lith prints. Oriental Warmtone is also a Fomatone emulsion since some years.

In recent years, errors have occurred in the lithing of Foma papers. According to Foma, the cause is a different gelatine quality from batch no. 0777 onwards. With development times of more than 6 minutes, both larger circular spots (snowball effect) and structures reminiscent of marble surfaces can appear.

For the SE5 Lith developer I have already pointed out several times how to avoid these defects. For the ready-tuned Easy Lith there is of course also the possibility to prevent this evil by adding Lith D and a modified workflow. For users who want to lith exclusively with Fomatone or Retrobrom papers, I can offer a variant of the Easy A concentrate, which already contains the necessary amount of development retarders.

At first glance, it may not seem plausible to suggest short development times as a solution to the problem on the one hand and to use a higher dosage of retarding substances on the other. For the sake of understanding, Ie would like to point out the relationship between a high amount of light for coloured results and the resulting necessity of a high dilution of the developer in order to achieve both coloured highlights and deep lith shadows at times between 8 and 12 minutes. Until a few years ago, this is how the process worked. However, to avoid the faults mentioned above, development with the current batches of Fomatone should be completed after about 6 minutes. So if coloured results (as in the past) are desired, the paper needs a strong overexposure. However, the developer must not be heavily diluted to avoid too fast development. With the suggested mixture of 50ml A + 50ml B on approx. 900ml water, the development process would have to be interrupted after 2-3 minutes, a real lith effect cannot be created in this way. If, however, a retarder is added to such fat developers, you will end up with development times of between 5 and 6 minutes for a given amount of light (for high colourfulness). If a second bath is used, be it a pure alkaline solution or another developer, no defects occur, even if the total development time can then be 8 minutes or more.

With the concentrates specially adapted for Fomatone, the working solution can be prepared with slightly less B if a second bath with alkaline solution should be necessary. For example, 5 ml B can be used to prepare the second bath with approx. 500 ml water.

Holga, Delta 100 in Tanol,

Fomatone 132

50ml A + 50ml B + 40ml D +900ml water 6 minutes

MT3 Vario toner for more neutral tones.

Kallitype onto Hahnemühle Platinum Rag.

Above untoned.

Below MT3 Toner with less alkali than usual. Bleach 1+100 30 seconds, toner setting 50ml Thiourea + 5ml activator + 1L water 30 seconds.

Easy Lith FT 50ml A + 50ml B + 900ml water. The development time required to blacken the shadows is much longer with retrobrome than with fomatone.

This print was developed for 10 minutes.

During lith development of this paper, defects such as the snowball effect only occur when development times exceed 12 minutes.

As mentioned a few times before, you don't necessarily need the expensive precious metal toners to transform the

reddish tone of Kallitypes into less colourful shades. The MT3 Vario toner with a low alkali content works well for this purpose.

Hahnemühle Platinum Rag, Sodium citrae developer, ATS fixer,

MT3 Vario: bleach 1+75 30 secs, toner setting 50ml Thiourea + 10ml alkali + 900ml water.

Rolleiflex T, Tri-x in Pyro48,

Lith print on the last sheet of Oriental New Seagull Portrait WT,

SE5 Lith: 50ml A + 50ml B + 60ml D + 2200ml water 7:30 mins, followed by Lith B 40ml + 1800ml water 3mins

I usually use Lith G as a second bath to increase the colour intensity of highlights and mid-tones. However, the opposite is also possible with a different adjustment. Fomatone as the only lithable paper from current production is already too colourful for some purposes. With a little more lith G (glycine) and less ammonia chloride, the yellowish or reddish tone is shifted to a slightly more neutral brown tone.

Fomatone 131

First developer SE5 Lith A+B+D+Water 50ml+50ml+30ml+1 litre 6 minutes

Second developer Lith G 20ml +10ml ammonium chloride + 10ml Lith B + 1 litre water 1 minute

A 50ml glass Gin bottle lit by window light on a blue background.

7DWF Crazy Tuesday Theme: "Drinks"

Holga 120N, Neopan400 in Tanol,

Kallitype on Arches Platine,

Sodium acetate developer, ATS fixer,

MT3 Vario toner: bleach 1+100 1:30mins, toner 50ml+40ml+1L

Rolleiflex T, Tri-x N+1 Pyro48,

Kodak Ektalure, SE5 Lith A, B, D each 50ml to 2000ml water, 10 minutes

Rolleiflex T, TMY in Pyro48,

Kallitype, Hahnemühle Platinum Rag, MT3 Vario Toner: bleach 1+75 30 seconds, toner setting 50ml Thiourea 20% + only 5ml alkali +950ml water

Day 26 #raw_june2023 #raw_cocktail

Calvados brandy

Fit for both farmer and king

Apple cider fire

Calvados doré,

Saveur de pommes vieillies,

L'âme de Normand.

Photo: 2022-07-21 by Phil Wahlbrink

Bain-de-Bretagne

#raw_world #raw_Europe #raw_france

#raw_edit

#podium

#raw_potd

#raw_community #raw_community_member #raw_vip_member

#minigroup11723

#52framesphotographers #Arriere_plan #arriere_plan_b2b

#raw_macro

#haiga

#haiku

#visual_haiku

#Photo_haiku

#Refreshment #CloseUp #FoodAndDrink #AlcoholicBeverage #Drink Miniature Liquor bottles From an old collection.

#macromondays #sticker

I decided to share this image for the upcoming #macromondays theme called #sticker

What you see is a Batch Code sticker on the bottom of an 50ml Flakon from the Xerjoff Parfum called "La Capitale". Those stickers are used to verify if the Parfum is legit or not.

Diameter of the sticker is 2,5 cm = 1"

A sticker is a small, flat piece typically made from paper, plastic, vinyl, or other thin materials, with an adhesive backing on one side and a design, text, or image on the other. Stickers are used for decoration, labeling, identification, or expression and can be applied to various surfaces such as notebooks, packaging, laptops, walls, and more.

Common Materials:

Paper: Matte or glossy, easy to write on, ideal for indoor or temporary use.

Plastic/Vinyl: Durable, waterproof, and long-lasting; often used outdoors or on items exposed to wear.

Foil/Fabric: Specialty materials used for aesthetic or tactile appeal.

Features:

Can be permanent or removable

Available in various shapes and sizes

Often printed, but may also be hand-drawn, embossed, or die-cut

Thank you for visits, comments and favs!

Vielen Dank für Eure Besuche, Kommentare und Sternchen!

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

Flickr app doesn't support sRGB color. For best viewing use your browser.

Här kommer mitt bidrag till fotosöndags veckotema - kontrast

Bestämde mig för att använda färger (röd /blå) och temperaturer (eld/is) som kontraster. Det var den LÄTTA biten lol! Jag lärde mig två värdefulla saker när jag tog bilden. Ett - använd inte billiga Ikea glass ifall du har en budget (som mig!). Insåg inte foten var ojämn - speciellt den högra - förrän jag hade tagit bilden. Det andra jag har lärt mig är att du knappt behöver ha knappt en halv tesked diesel och inte en halv deciliter som jag först använde, när jag började att experimentera med eld. Tur att jag gjorde det utomhus, jag fick använda brandsläckaren och städa upp trasigt glas efteråt.

Slutligen tack till min fru (igen!) för att hon låter mig sätta fyr på saker, och för att vara behjälplig med rökmaskinen och is släppandet till den slutliga bilden.

Here comes my contribution to fotosöndag's weekly challenge - contrast.

Decided to use colour (red/blue) and heat (fire/ice) as contrasts. That was the EASY part lol! I did learn two valuable lessons taking this picture. One - don't use cheap Ikea glasses unless you are on a budget (like me!). Didn't realise that the stems were wonky - especially on the right one in the picture - until after I had taken the shot. The second lesson I learned is you only need not even half a teaspoon of diesel and not the 50ml that I used first when experimenting with fire. Lucky I did this outside the house but still had to use the fire extinguisher and then clean up the broken glass afterwards!

Finally a big thank you to my wife (again!) for letting me set things on fire, and also for being on smoke machine and ice dropping duty to get the final image!

Strobist info: One Godox AD200 was used and placed above the cocktail glasses in a gridded softbox (far enough away so as not to catch on fire!). Triggered by wireless remote.

Kallitype on Hahnemühle Platinum Rag.

The print negative was made from a scanned Lumen Print.

Sodium acetate developer,

MT3 Vario toner: bleach 1+75 40 seconds, toner setting A (50ml+40ml+900ml), followed by MT10 Gold toner 4 minutes.

A 4 inch Maker's Mark miniature as served on airplanes, in hotel room mini-bars and the like. Cropped to just under 3 inches. Square. Low key. Single light front-right. Iconic bottle shape with red wax on top. Even these minis are hand-dipped in the red wax to maintain authenticity regardless of the container size of which there are five...excluding occasional special editions.

MT3 Vario Toner 50ml + controller 20ml + 1000cc h2O

Hahnemühle Platinum Rag, Oxalate/Acetate developer, ATS alkaline fixer, MT3 Vario: bleach 1+100 3:30 minutes, toner setting 50ml thiourea + (only) 5ml alkali +950ml water

Da um pouquinho de trabalho mais fica lindo, e tbm um doce super suave... vou fazer pra enfeitar a mesa de natal!!!

Sou péssima pra passar receita nas vou tentar:

4 ou 5 gelatinas de vérios sabores!

1 lata de leite condensado

leite

1º Antes de tudo unte a forma com um pouco de óleo.

2º Dissolva a 1º gelatina em 200ml de água quente e 100ml de agua fria (a medida certa é 250ml de cada mais essa deve ficar um pouquinho mais firminha)

3º Coloque metade dessa gelatina dissolvida na forma untada e coloque no congelador

4º No restante da gelatina coloque 50ml de leite condensado e 50ml de leite e misture bem.

5º Quande a gelatina q estiver no congelador começar a endurecer despeje delicadamente a metade com o leite condensado, e volte ao congelador.

Enquanto isso vá fazendo a gelatina de outra cor e vá repetindo o processo com todas as outras cores.

PS1: O tempo no congelador é rápido, tem q ficar olhando sempre pra não endurecer muito, se vc tiver tempo sobrando pode colocar na geladeira ao invés do congelador, mais demora bastante, cerca de uns 30min entre uma gelatina e outra no congelador é no máximo uns 5 min.

PS2: Não pode deixar ela endurecer muito pois se isso acontecer ela desmonta (separa)quando vc desenformar.

PS3: As gelatinas devem ser colocadas bem delicadamente, pq senão ela vai afundar!!!

Acho q é isso... espero q dê pra entender, qualquer coisa é só perguntar!!!

This tiny bottle only hold 40-50ml of fluid, the top is about an inch across. The debate I’ve had was this use the one where the focus is on the feather ( this one ) or another where you could see the reflection of the table on the right side of the bottle. This is the one I plumped for.

Thanks for stopping HMM

Martin Locke from the eighties carp punk years. Yellow Mix, red mix, yellow mix, red mix.....There was no such thing as 'Little Mix' in those days!

I was a big fan of yellow seed baits back in the day using ingredients like red factor, yes red factor is a yellow seed, not red....Sort your life out son.....Also I didn't mind a drop of Nectarblend. That is in powder form as well, not liquid in case my words deceive you's.

We used to back in the day make all our baits with our bare hands. That's bare, not bear. I did buy some bear hands once on Ebay, but the mix kept getting stuck in the fur. So absolutely useless for hand rolling baits. Though it's now 2018, and I now meet anglers that get every bait rolled for them, and some don't even realise there are eggs or egg powder substitutes in their baits. One angler not so long ago had an argument with me, "Why would they put eggs in my bait mate". Obviously I tied him to a tree, and let him think about it for a few hours.......Lol

Lockeeeeeeeeeeeeee once made the mistake of saying pop over to my warehouse. I totally got confused I thought he was going to have a rave party. He is the only geezer. I have met in the bait business though. That not only give me great advice on bait making, but when buying a load of Squid and Octopus flavouring off of him, he told me of two other liquid forms made by two other bait companies, that worked well with the Squid and Octopus flavouring. They supplemented each other very well. How many bait company owners would do that. When they had many other great liquid flavourings, and oils sitting on their own shelves.

The first thing I ever bought off of Mr Martin Locke though was his stainless steel bank sticks. I bought first set in the eighties, and still use them now, with some others I bought in the nineties off of him. Though some don't recognise them, because I sprayed them black. Actually they need a re-spraying. The reason I use them like that. I catch most of my fish in the margins. I've even sprayed them green before. Black ones for night fishing, and sometimes green ones for day fishing. YOUR GOT TO HAVE A SYSTEM.

Many tackle company's over the years, you can clearly see they have robbed some of Martins stainless steel fishing tackle ideas. Though he is far to much a gentleman to point it out in the press. Also a similar thing as happened with his bite indication ideas.

Though what I discovered about Martin, and have kept secret for many years. Is his intelligence is far higher than most human intelligence. I realised a long time ago he was clearly left here from another universe. The tell tale signs were, he rarely blinks, and he don't really have proper high brows. I have even discovered he is cloned with another who used to visit Bagley's night Club back in the day. Which it was around the back of Kings Cross Station London in the nineties. There was this punk rocker looking geezer that used to have yellow, and red hair. The spit of Martin that loved house music, garage music, and even a bit of hard core trance. I once said to him on one of the dance floors, "Your Martin Locke arn't ya geezer", his eyes got bigger, and he did these strange hand signals. Clearly he did not realise I had not yet mastered their sign language yet.

A funny story I was catching carp on nut meal ingredients, added to yellow Savay seed mix, with some calcium caseinate, with 50ml of Kryston’s Ambio feeding trigger, and 10ml of Martin Lockes Japanese Squid, and Octopus flavouring, and 1ml Rod Hutchinson’s Intense Sweetener. An angler came up to me and said Steve I've tried to make a bait like yours without the nut meals, mainly using Savay Seed mix, but unlike you I'm catching sod all.

So I said to him show us your bait, he passed it to me. I bit into it, and spat it out fast into the lake. I said how much ***k'in sweetener you putting in it. He said the same as you mate. I said you clearly are not mate. I'm using only 1ml, he said no your not your using 10ml. I don't read my own articles I have sent to magazines, because I wrote them, but poor old Rob Maylin the editor used to get mine hand written articles for Big Carp Magazine, and would have to read through them checking all my spelling mistakes, slang words, worded terms and medical conditions, and then type them up himself.

In Big Carp magazine once there was a misprint reading I was using 10ml intense sweetener, and not 1ml. I would of thought myself most would of realised it was a misprint, but some never, and was loading their baits up at South Weald, and at other lakes especially in Essex with high levels of sweetener.....Sorry!......Though I couldn't help laughing for weeks. No wonder only the ducks were only eating their freebie pulted out baits. What a result no wonder the carp were giving their baits the swerve, and picking up mine. A tactical master class, without even meaning it. Cheers Rob!

Hahnemühle Mould-made

developer sodium citrate

ATS fixer

untoned - MT3 Varioschwefeltoner:bleach 1+100 30 secs, toner setting 50ml thiourea + 15ml alkali + 950ml water, about 40 secs,

last step MT10 Gold 7 minutes

Lancome, givenchy, shiseido, biotherm...

Doi` di shopping chung w me voi tu cach la xach do va giu~ do :"> .. nhug ma me. bi 1 cai' diem? yeu la rat si~ dien. =)) vi the k mua cho minh la minh la lang` ai cung dom` => que^ => phai mua =)))))))))))

Tuy la toan small size 50ml tro xuog' nhug ma thoi ke. :( hixxxxxxx

Hi vong lan nay k phai la lan cuoi cung` dc di chung :-ss =))

is spilling out, but my heart will go on.

This is a 50ml bottle from Jack Daniels and the hearts are 0,8cm.

This is a 50ml bottle, size may be deceiving.

Nach Negativverstärkung (Copper Intensifier) Zweibadentwicklung auf Ilford MGWT

Gradationsfilterung 4,6 - Belichtungszeit 11 Sekunden

Erstentwickler SE5 Lith A+B+D jeweils 50ml auf 1 Liter Wasser 6 Minuten

Zweitentwickler 800ml Wasser 8ml VGT A + 20ml Lith B +5ml Lith C + 10ml AmCl 20% 2 Minuten

#Ammonium-Eisen-III-Citrat, 12g/50 ml - verdünnt 1:1, belichtet ca. 2 h

Gelbes Blutlaugensalz, 8g/50ml, Sprühentwicklung

Erstaunlicherweise ergibt getrennte Lösung sofort wesentlich bessere Ergebnisse.

Ich habe einige Stellen wenig und andere stark besprüht. Man erkennt das an braun-orangenen Stellen.

Die Farbe ist insgesamt ungleichmäßiger, das war hier Absicht. Im Kreis erkennt man noch die Färbung vom entwickelten Zitrat.

Die Schere wirkt plastisch, ist ja auch 3D.

Ammonium iron III citrate, 12g/50 ml - diluted 1:1, exposed for approx. 2 h

Yellow blood lye salt, 8g/50ml, spray development

Surprisingly, a separate solution immediately gives much better results.

I sprayed some areas lightly and others heavily. You can recognise this by the brown-orange spots.

The overall colour is more uneven, which was intentional. You can still see the colouring from the citrate developed in the circle.

The scissors look three-dimensional, as they are 3D.

Цитрат железа III аммония, 12 г/50 мл - разбавление 1:1, экспозиция около 2 ч.

Желтая кровяная соль щелочи, 8 г/50 мл, проявка спреем

Удивительно, но отдельный раствор сразу дает гораздо лучшие результаты.

На некоторые участки я наносила спрей слегка, а на другие - сильно. Это можно определить по коричнево-оранжевым пятнам.

Общий цвет получился более неравномерным, что было сделано намеренно. В круге все еще видна окраска от цитрата.

Ножницы выглядят объемными, поскольку они 3D.

Переведено с помощью DeepL.com (бесплатная версия)

Photographed December 2019 / Ricoh 500 35mm rangefinder with RIKEN RICOMAT 4.5cm/2.8 lens. Film was KENMERE 400 bulk stock metered ASA 200 developed in PYROCAT-HD (5ml A + 50ml B > 600ml, 7min, 20*C). Negative was digitalised via a Pentax k3 DSLR and a Schneider Componon-S 80mm/4 enlarging lens on adjustable helicoid extension tubes. The image was uploaded to an iPad mini and edited on the iPad with Snap Seed application.

Lith Print

Camera: Rolleiflex 3.5e

Lens: Schneider-Kreuznach Xenotar 75mm/3.5

Film:Kodak Tri-X 400

Orange filter

Paper: Fomatone MG Classic 131

Developer: Kodalith( A & B 50ml each, 500ml old brown and 2 litres of water)

Southwold

Suffolk

May 2019

Photographed May 2020 / Canon AT-1 SLR 35mm film camera with Canon FD 24mm/2.8 Lens.Film was ILFORD PAN400 metered ASA 200 developed in sodium carbonate version PYROCAT-HD (5ml A + 50ml B > 600ml, 6min 30sec, 20*C). The negative was illuminated on a light panel and scanned with a Pentax k3 DSLR and Schneider COMPONON-S 80mm/4 enlarging lens on a helicoid extension tube. The image was edited on an iPad mini using the Snap Seed application: full frame scan of entire negative area without trimming.

Another shot from Soldiers Beach - Norah Head.

Lee Filters used - Lee Big Stopper & Lee Circ Polariser

Photographed May 2020 / Canon AT-1 SLR 35mm Film Camera with Canon FD 24mm/2.8 lens. Film was ILFORD PAN 400 metered ASA 200 developed in PYROCAT-HD (5ml A + 50ml B > 600ml, 6min 30sec, 20*C).

Brands and Logos Redux

Photographed February 2019 / Konica SII 35mm rangefinder camera with Konishiroku 48mm/2 HEXANON lens. Film was Rollei RPX 400 bulk stock metered ASA 200 developed in PYROCAT-HD (5ml A + 50ml B > 600ml, 7min, 20*C).negative was scanned in a JUMBL scanner unit; the image was processed & finished in Flickr.

Photographed December 2018 / Rolleiflex 'Old Standard' Twin Lens Reflex with Carl Zeiss Jena Tessar 7.5cm/3.8 lens. Film was ILFORD 3200 DELTA PRO metered ASA 800 developed in sodium carbonate version PYROCAT-HD (5ml A + 50ml B > 600ml, 7min, 20*C) negative was digitalised by way of a Pentax k3 DSLR and EL-NIKKOR 63mm/28 enlarging lens on an adjustable length helicoid extension tube. The image was edited, processed & finished on an iPad mini using the Snap Seed application.

Two tray Lith+Omega onto Fomatone

1. 800ml water, 50ml Lith A, 50ml Lith B, 20ml Lith D 2min

2. Lith Omega 500ml water 5ml Omega 1:30min

Take a tablespoon of phosphorous-32 and dissolve in 30ml tritiated water. Add 50ml of gin, ice and a slice. Stir with a spent fuel rod. Enjoy before contacting your Oncologist.

We're Here: Blues Group

15/366

Photographed February 2019 / Canon Canonflex RP, 35mm SLR with Canon SUPER-CANOMATIC R, 58mm/1.2 lens. Film was Rollei RPX 400 bulk stock metered ASA 200 developed in sodium carbonate based PYROCAT-HD (5ml A + 50ml B > 600ml, 7min, 20*C). Negative was scanned in JUMBL scanner box unit; the image as processed & finished in Flickr. Cropped to 4:3 aspect.

A batch of winter shots after a night in the fridge. The bits settle so it's important to shake the bottle before pouring a 50ml daily dose.

Photographed March 2020 / Canon FP 35mm SLR Film Camera with Canon Lens Mount Convertor P and Meyer Optik Lydith 30mm/3.5 lens. Film was Rollei RPX 400 bulk stock metered ASA 200 developed in sodium carbonate version PYROCAT-HD (5ml A + 50ml B > 600ml , 6min 50sec, 20*C). The negative was illuminated on a light box and scanned with a Pentax k3 DSLR and Schneider Componon-S 80mm/4 enlarging lens on a helicoid extension tube. The image was edited on an iPad mini using the Snap Seed application: full frame scan of entire negative area without trimming.

Mordancage print on Ilford FB WT 8x10 Glossy. Mordancage Recipe: Water - 750ml, Copper Chloride - 10g, Glacial Acetic Acid - 35ml, 12% Hydrogen Peroxide - 50ml. Developer: used Ilford MG Paper developer. Not exhausted but just starting to oxidize based on color. Bleached twice on veils began during the wash after the second bleach. Bubbling and more veils after the second redevelopment. This is the print after it dried.

Mamiya 6 rangefinder (6x6cm). lford delta 100. ND 10 filter. Long exposure (time not recorded).

Film developed Xtol stock, 8mins @20C.

Fomabrom 9.5"x12" (24x30cm). Neutol 1+14. Fotospeed Sepia; bleach stage 1+28; toning stage 50ml B 30ml C & 800ml water.

Image size 8"x8"(20.5x20.5cm).

Photograph taken and print made 2009.

Copyright 2005-2008 AlexEdg AllEdges (www.alledges.com).

Nikon D300, Lens - 60mm f/2.8D AF Micro-Nikkor.

ISO400, f/11, 1/80s.

Sunlight. Composition on plastic pad (A4, €3).

Background - diffusion filter (120cm x 100cm €12) / Chris James Lighting Filters - www.chrisjamesfilters.com/diffusionfilters.htm

Photographed January 2021 / Canon PELLIX 35mm SLR Film Camera with Canon FLP 38mm/2.8 lens. The film was FOMAPAN 400 bulk stock metered ASA 160 developed in MCM-100 (50ml stock > 300ml, 20min, 20*C).

Photographed January 2021 / Canon PELLIX 35mm SLR Film Camera with Canon FLP 38mm/2.8 lens. The film was FOMAPAN 400 bulk stock metered ASA 160 developed in MCM-100 (50ml stock > 300ml, 20min, 20*C).