View allAll Photos Tagged ADOX
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.
Adox Variotone in Eco4812
alkaline fixer > wash 20 mins
weak MT3 & strong MT1
MT3 Vario Schwefeltoner. bleach 1+200 1 min, toner 25+7+500ml > wash 4 mins
MT1 Selenium 1+10 2:45 > final wash 15 mins
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
Eltville mit Kurfürstlicher Burg (Hesse, Germany) April 2019 --- Minox 35 GT --- Agfa APX 100, Adox Atomal 49 ---
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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
Łódź
eos650,ef50/1,8 silvermax, hc110
You can see the rest of my photos on my second Flickr account : www.flickr.com/photos/169407696@N06
Ein Nachteil dieser Kamera ist der Auslöser. Er lässt sich nur schwer niederdrücken, die Handhabung ist unpraktisch. Die Programmautomatik und die Belichtungsmessung funktionieren noch gut. Die Kamera macht qualitativ gute Aufnahmen, wenn sie denn nicht verwackelt sind (Auslöser).
Techn. Daten:
35mm Kompaktkamera mit eingebautem Selenbelichtungsmesser
Galilei-Sucher mit eingespiegelten Bildfeld- und Parallaxmarken
Objektiv: Adoxon 45mm 1:2,8
Sucher: mit eingespiegeltem Bildfeld- und Parallaxenmarken
Objektiv: Adoxon 1:2,8/45 mm
Fokussierung: manuell
Verschluss: Prontor
Zeiten: 1/30 - 1/250 s "B"
Belichtungsmesser: Selen, gekoppelt, grün/rot Anzeige im Sucher eingespiegelt
Blitz: Hot shoe
Filmtransport: Schnelltransporthebel am Kameraboden.
2020-08-20
Nikon F90X
Nikon Ais 85mm f/1.4 lens
Kodak Tri-X 400 (800-push) 35mm film
Adox Rodinal (1+50) developer
20ºC - 17min
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.
The Royal Iron Factory, Araçoiaba, São Paulo.
Mamiya RZ 67 II, Adox CMS 20, Adotech II 10' @ 24ºC
DT-S 1030 Ai drum scanner wet mount with nafta
As some of you know, microfilm requires special developers to make it accessible for normal photography. The advantage of these films is the high resolution, so that even with 35 mm film you can reach the performance limits of the lenses.
I have now photographed some years with the microfilm ADOX CMS 20II. It can be developed in a special developer "Adotech" but also in Caffenol. The results are good, but you can still see the film's origin, because it reacts very sensitively to incorrect exposure and can get very steep then.
By chance I heard about the POTA developer, which is very simply composed: 1.5 g phenidone and 35 g sodium sulfite per 1 liter of water. That's all.
This developer was used to expose very large contrast ranges on film, from nuclear explosions to aerial photography to astrophotography. 15 to 20 f-stops contrast range can be compressed with it.
Pre-exposure of film with zone II
Exposure: ISO 12
Development in POTA: 20°C, semistand 13:30 minutes. The film has to be pre-watered to avoid streaks!
The developer only lasts for 1-2 hours and 250ml of self-made
developer cost less than 20 cent. Within this time you can develop as many films in it as you like.