View allAll Photos Tagged ADOX
Now I really am into the exotic. My regular flickr contacts know I use film as well as digital. This set is taken on Adox Scala - a black and white slide film (used to be made by Agfa). It's not easy to use, exposures have to be spot on. However while I normally under-expose slide film by 1/3 stop this requires under-exposure, you have to use the same skills and techniques as with B&W negative film but with the added complication of slides! However it does work very well. They were taken on a Zeiss Ikon Contarex Special that you can see in the last photo of the series. These are my father's tools that he bought in the 1930s and lasted him for is working life as a carpenter.
Adox Silvermax ASA 100
Leica M6 TTL
Voigtländer 35/1.2
Orange Filter
www.youtube.com/watch?v=ANj8-8WLW0o
www.reutlingen.de/de/Leben-in-Reutlingen/Kinder+Jugendlic...
am 3. Juni 2016 um 18 Uhr in den Räumen der p91 –
Information und Form, Mebert Fotografie, Musikverlag Edition Brendel und G. Braunsberg
Die Ausstellung wird anschließend am 2. Juli in Pilsen, Galerie Restaurant Artamo und am 15. Oktober im Artehof, Valley gezeigt.
Musikalische Umrahmung bei allen Vernissagen:
Alena Tichá, Cembalo
mit Werken von Holmer Becker, Jiří Bezděk, Frédéric Bolli und Karel Pexidr.
Adox Film in Praktina IIa, Flexon 2/50
Linhof Technica V + Ilex Acu Tessar 210mm 2s f16
4x5 Adox CHS100II at EI100
Dev in Pyrocat HD2:2:100 9min (jobo CPE2)
Epson scan 4000dpi
Superb film !
Comme j'allais commander quelques ADOX en 35mm, j'ai fait un retour sur ce négatif de 2014 en 4x5". C'est un cliché pris à Plouguerneau (Bretagne) un soir de septembre au début de l'automne. J'essayais de saisir la magie de ces chemins creux dans l'humidité du soir (un thème récurrent) et ces notions subjectives sont très sensibles au caractère propre du film.
Pour ça, j'aime beaucoup l'ADOX CHS100II. Par rapport à la Fomapan que j'utilise beaucoup en 4x5, elle est plus tolérante, plus douce mais aussi plus riche. Un petit caractère rétro mais avec un look à-la-néopan Acros (tellement chère).
Et puis il y a ce fameux Tessar : très doux au centre et très précis aux bords à cause de son plan de netteté assez peu corrigé (4 lentilles, 3 groupes). Ca rajoute au caractère de la photo !
A continuer donc !
Adox HR-50 at iso 50
Minolta X-700
Minolta MD 50mm f/1.7
Kood IR720nm Filter
HC-110 dilution H 9 mins at 20 celcius
Scanned with Ion Slides2PC 35mm Scanner
processed with Affinity Photo
China. Shanghai. 2017. Scene of old city，Girls .
Shot on Kodak 5222 film with Leica Summilux 35 pre-asph lens. Developed with Rodinal 1:50 for 11 mins. Scan BW film on Unis FS7200ice scanner. No edit. (徕卡MP相机， Kodak 5222电影胶卷拍摄，雷电露1:50显影11分钟，紫光fs7200扫描，用48位彩色模式扫描黑白底片，无任何后期)
Kentmere 400 in 2nd used adox aerotech iv. Supposed to be a one shot Dev but it’s expensive. 11 minutes 80f . Negatives were good, little dense.
It took me a few years to finish photographing with the last of about a dozen rolls of the discontinued Adox Silvermax film. Even though I try not to 'waste' film, I am also generous with my use of it. I worked especially hard to ensure that the images I made with this dead film would honor that legacy. I won't claim that the resulting photographs have anything 'extra special' about them, other than to try and make them worth of each other.
Birches ( Adox 100 ):
Yes, I know, we all did that and do it ever again, trunks of birches. I wanted to try this before the new foilage comes out (which will be soon, hopefully!) using the ADOX 100 Film and a R60 red filter to tune down the blue sky in the background. It worked resonably well, although I underestimated how fast it gets darker in the afternoon, still, so the (infamous) Minolta 5.6/100-200 struggeld with the light. (The wider frames are with the 58/1.4) I needed to underexpose some even more than I wanted to. (Used a Minolta SRT - and again fell in love with the simple match needle metering. Why cant anybody make something like this, it's intuitive, fast, analog ...)
I like some of the shots although many are not as sharp, because of shake / Focus / depth. But moody they are.
Farmland on Film ( Adox 50 ).
I learned the Adox 50 film has enhanced red sensivity and some IR capabilities. SO I thought it might be a good match for a 630nm filer. This is not really a IR filter, but something really dark red. I exposed at ISO 64, still the negatives are quite dense, I think I easily could have used ISO 100! These are all taken with a 50mm f/1.4 lens, mostly open. Sometimes I missed focus quite a bit, I'm afraid. The sky is not as dark as I thought it would come out. I do own an even stronger 665nm filter, I think i'll try it a some point, there really seems to be enough sensitivity to shoot without problems on a bright day.
I have one more roll of that, but no time to scan, now.
The green vegetation is here seen through crystal-clear water, but today (2016) this historic beauty spot is looking rather sad. Having lost many of the great trees that once stood by them, the pools are now clogged up with invasive New Zealand Pigmyweed, and all that can be seen below the surface is the fabric sheeting laid over it in an attempt to starve the weed of light and the ugly sack weights to hold it down.
Pentax MZS with smc Pentax 31mm Ltd; f8, 1/125 sec., Adox HR-50. Developer: Adox HR-Dev, 1:49 dilution, 11 mins. Tank – Agfa Rondinax 35U.
ADOX CHS 100 II
Olympus OM-2
Sun 80-200mm f/4.5
HC110 dilution B
Ion Slides2PC 35mm scanner
Affinity Photo 2
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ADOX Silvermax 100 shot at EI 100
Black and white negative film in 35mm format
Large version at: emulsive.org/photography/35mm-format/coiled-adox-silverma...
Filed under: #35mmformat #Photography #2016November #35MmFormatFilm #ADOX #ADOXSilverMax100 #BlackAndWhiteNegativeFilm #EI100 #EMULSIVEDailyPhoto #ISO100
Olympus PEN EE-3
Red filter
Adox HR-50 film @ISO 50
Adox HR-DEV 1+49 developer, 10 minutes @24 °C, 30 seconds continuous inversion, then once every minute
I definitely should have set the camera to ISO 25 instead of 50, and maybe the development time was too short. I shortened it because the water temperature was too high (the destilled water had been stored in the garage under summer conditions). Then, apparently the underexposure warning of the PEN EE-3 was not working. So at least three factors lead to most of the images of this film being underexposed …