Ilford ID-11
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FP4 N+1 in Tanol,
Gold toned Kallitype after fixer,
paper Hahnemühle Platinum Rag
developer Sodium acetate
Hasselblad 501CM, Planar 100 with extension tube, yellow filter.
FP4 in Pyro 48.
Fomatone 131 batch 079648-02,
two tray development:
1st SE5 Lith (A+B+D+water) 50+50+50+1000ml 2:45 mins.
2nd Pyrocatechol 12ml + Lith B 8ml + NH4Cl 20% 5ml + water 800ml 3 mins.
The current batches show the desired results in the lith printing process, but it should be noted that the snowball problem still persists with long development times (over 6–8 minutes). I described the strategy for avoiding undesirable structures some time ago (Dec. 2023).
For easier reference, I have added the instructions for the three lith developer variants to my website.
Olympus OM4, Red filter, Kodak High Speed Infra-red Film developed in Kodak D76, negative scanned, digital processing in Lightroom.
The viewpoint is High Stile; once again, patterns of cloud shadow are crucial to the composition.
I've been trying different developers. And also trying to find a way to like or 'get' Fomapan in general.
I had a pack of Foma Retro Special developer and decided to just go for it. I think I like it better than anything I've used for Foma/Arista.
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'And Yet I Smell No Smoke'
Camera: Mamiya RB67
Lens: Mamiya-Sekor 3.8/90mm
Film: Arista Edu Ultra 100 (Fomapan 100)
Process: Foma Retro Special; 4min
Ancient Lakes, Washington
June 2020
Coastal oak forest with an understory of Saw Palmetto (Serenoa repens), Big Talbot Island State Park
590nm IR-converted Pentax K-5
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Efke IR820 with yellow filter,
eco film developer.
Kallitype onto Hahnemühle Platinum Rag.
Ich experimentiere immer noch mit dem Mischungsverhältnis von Kalium-Natriumtartrat und Natriumwolframat. Der Vorteil einer wärmeren Farbe durch den Zusatz von Wolframat wird erkauft durch die Notwendigkeit einer erheblich längeren Belichtungszeit, denn im Fixierbad hellt der Print ungewöhnlich stark auf. Ein lösbares Problem, sollte man meinen. Wenn aber ein Entwickler im Ergebnis derart stark von allen anderen abweicht, wird die Sache komplizierter, besonders für Anwender, die mit solchen Problemen überhaupt nicht rechnen, wenn sie von den bisher verwendeten Entwicklern auf diese Mischung umsteigen.
I am still experimenting with the mixing ratio of potassium sodium tartrate and sodium tungstate. The advantage of a warmer colour due to the addition of tungstate comes at the cost of a considerably longer exposure time, because the print brightens unusually strongly in the fixing bath. A solvable problem, one would think. But when the result of one developer differs so much from all the others, things become more complicated, especially for users who are not expecting such problems when they switch from the developers they have been using to this mixture.
Another bird shot from my trusty balcony. It was a very warm day and these Pigeons were busy.
Hope everyone has a great weekend.
Thanks for all the comments and support :)
Best viewed from afar/a little smaller.
Photo 3/4 from the Dörnberg lith series.
This print exhibits stronger signs of developer exhaustion (seasoning?) which become very obvious when comparing it to my first upload of the series.
Lith print onto Fomaspeed Variant 313 with Moersch Easy Lith 1+10
Holga 120FN (with 6x4.5 mask) + Kodak T-MAX 100 (expired 2004) in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
The sodium acetate developer produces the coolest image tone in Kallitype.
One or the other user may well have doubts about this. If the results are not as cool as expected, this is not due to the developer but to the workflow. A really cool tone is only maintained if the print does not come into contact with tap water before fixing. If the print is rinsed with tap water after the developer or the clearing bath, the image tone will be significantly warmer. It is not a question of which shade is perceived as more pleasant, but rather an advantage to know how to control the colourfulness.
For toning before fixing (platinum, palladium, gold), a rinse cycle is advisable in order not to change the property of the toner by introduced acid. For all tonings after fixing, a cooler initial print has the advantage of a higher maximum blackening. This is not decisive for successful toning, but differences in hue and saturation become apparent.
Left: developer, Citric acid clearing bath 1% (with demineralised water), ATS acidic fixer.
Right with a short rinse with tap water after the clearing bath,
Kallitype
Hahnemühle Platinum Rag, Potassium Citrate developer, ATS alkaline fixer:
untoned
MT10 Gold toner
MT3 Vario toner (thiourea)
May2025.
More agriculture along US-70 in Carlisle, Arkansas USA. FP4push400. FujicaST801.Fujinon100mmM42.
YellowFilter.Diafine3+3minutes.Wash:AGOFilmProcessor.
CameraScan:FujifilmXH1
View toward Simpson Creek and Long Island, Big Talbot Island State Park
590nm IR-converted Pentax K-5
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Ilford HP5+ 400, 4" x 5", 320 iso, Normal development in 510 Pyro Developer, 1:100, 7:10 minutes, 21C. Taken October 2022, Ebony SV45TE 4" x 5" Field Camera. Fujinon-T 400mm lens. #25 Red Filter.
Mount Abraham, Clearwater County, Alberta.
(Meopta Flexaret IV; Ilford FP4+ developed in Moersch Eco Film Developer; digitized with DSLR; edited with GIMP)
Beginners in the technique of Kallitype often ask which developer they should choose.
Only a comparison of colour and tonal values with identical exposure time. To achieve the same level of blackness with the acetate developer, the exposure time would have to be slightly longer.
Yashica FX- D Quartz camera
50 mm lens
Fomapan 200, 35 mm
b/w negative film
Adox Atomal 49 developer (10 min.)
Home made stop bath (water+alcoholic vinegar)
Adox Adofix rapid fixer (4 min.)
Canoscan 4400F
Bei Kogl, Gemeinde Sieghartskirchen
Pentax LX, smc Pentax-FA 1:1.8 31mm AL Limited, Asahi Pentax Y48(Y2) SMC yellow filter, f/6.7, 1/30
Ilford Pan F Plus film/Adox FX-39 II developer
Negative copied using Pentax K-1 with Schneider-Kreuznach Xenon-Zirconia 2.8/89-0001
This is a bulk gas carrier and guess what. That is a gas power station in the backround
Shot from Portishead Quay as the BRO Developer approaches Avonmouth.
Tauragnas lake. Name comes from extinct large wild cattle Bos taurus ("wild bull", aurochs - eng.) that were abundant in the surroundings. Lake and settlement nearby first mentioned in written sources in 1261. Last aurochs killed in 1627.
Camera: cardboard box
Media: orthochromatic glass plate, 6x9 cm
Exposure: 5 min
Developer: D-76
The New Brighton Hotel, early evening, Manly village, Sydney, spring 2018. Leica CL M-Rokkor 40mm f/2 Kodak TMAX P3200 (old version) in TMAX developer 1+4 9.4mins 24C. V700 scan.
In Flickr Explore October 07, 2018.
Nikkormat FT2 - Nikkor-P 2,5 105mm
Ilford HP5+
Moersch Eco developer, semi-stand developed
DSLR- digitalized
IN ENGLISH BELOW THE LINE
Foto feta amb una Kodak Retina IIa (016), fabricada el 1953; objectiu Rodenstock Heligon f2 / 50mm; Fomapan R100, revelat revers com a diapositiva amb quimics alternatius (HC110a com a revelador, clorur ferric i amoniac com a blanquejadors, i Iron Out com a reexposador-rerevelador-fixador).
La inmensa i complexa cimentera Uniland de Vallcarca, al Garraf. Abans tenia el seu propi port i estació de tren.
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Picture taken with a Kodak Retina IIa (016), made in 1953; Rodenstock Heligon f2 / 50mm lens; Fomapan R100 with reversal developing using alternative chemicals (HC110a as developer, ferric chloride and ammonia as bleach, and Iron Out as magical fogging-redeveloper-fixer).
Uniland Cement factory in the Garraf coast near Sitges, Catalonia. Once it had it's own harbour and train station, but now those are abandoned (not the factory).
Every time I come to San Francisco, there is some kind of smart-ass billboard along the highway ... "ask your developer," it says.
Ask her what? Whether Twilio is better than some other provider? Whether the cloud is here to stay? Who comes up with these crazy signs?
Fortunately, it doesn't matter very much ... by the time I come back again, this billboard will have been replaced by something else just as mysterious.
Note: I chose this as my "photo of the day" for Nov 21, 2015
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In early November 2015, I flew from New York to San Francisco to take a weekend street-photography workshop under the tutelage of Eric Kim. As you might expect, I took gazillions of photos; but not all of them were specifically associated with the workshop itself. On the way out to San Francisco, I took a bunch of pictures with my iPhone; and during the weekend, I took a number of photos that had little or nothing to do with street-photography per se.
I’ll upload the photos in dribs and drabs during the next several days, and let you decide which ones are sufficiently interesting to warrant a second look…
I've tested 9 programs for the purpose of processing challenging nightscapes and for preparing images for time-lapses.
The comprehensive review can be found on my blog here:
amazingsky.net/2023/01/01/testing-raw-developer-software-...
Rolleiflex 2.8C Xenotar 2,8/80, with the Rollei Plate adapter, 6,5x9cm for 6x6 frame, Ilford FP4 Plus 125 film sheet, Romek PQ7 1+3 developer
Camera: Chamonix 8 x 20
Lens: Schneider 305mm G-Claron
Film: Kodak Super-XX (1981)
Negative Size: 8 x 14 (cut down from 11 x 14)
Exposure: f45 @ 60 seconds
Film Developer: Pyrocat-MC
Film Development: Brush
Paper: Agfa Brovira G3
Paper Developer: PF130
Eno River State Park
Pentax K-1
Mirex tilt/shift adapter
SMC Pentax-A 645 Macro 1:4 120mm
Iridient Developer