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My first experiments with a low-contrast, home-made push developer.
The formula comes from a patent by Anneman that probably was a precursor to the now unobtainable Perfection XR-1 developer. Perfection XR-1 seems to have been based on POTA and was capable of pushing ultra-fine grain and microfilms by two stops while keeping grain small and contrast acceptable. In a discussion of the patent, Gainer suggested a variant that is a concentrate and that replaces the hydroquinone and sulphite in the original by ascorbic acid.
It is that concentrate that I have tried to recreate and test. My recipe was:
Dissolve in 100ml of hot triethanolamine
Phenidone 3.8g
Metol 0.6g
Ascorbic Acid 2.3g
Borax 1.9g
and allow to cool. The concentrate is a pale straw colour.
I convinced myself that a good starting point for a film like Bluefire Police film would be a dilution of 1+200 for 60 minutes at 20C stand developed. That's what I have done for the four images posted here.
This first image shows a scene as it came out of the scanner and, for comparison, the same after the contrast had been slightly reduced in Photoshop.
As a first attempt with the developer I'm pleased with it. Points worth noting I think are:
- minimal or no base fog, despite the 60 min stand
- a working temp of 20C, as opposed to Perfection XR-1 that typically had to be used at 30C or higher
- minimal grain: I can't see it at the scanning resolution I used (4800dpi on an Epson Perfection V700)
- stand processing, rather than frequent agitation
- about 2 stops push over the box speed, which for Bluefire must be about EI 20 or possibly less.
I also got a more moderate contrast using this Anneman-Gainer developer than I did using Bluefire's own, so I count that as a success. The results came out looking like Rollei Retro 80S when I develop it in Rodinal, but if anything finer-grained and with slightly less contrast.
This is obviously not the optimal dilution/timing/method for this developer, but I think it shows promise and it is very, very easy and cheap to make. It would be great if I could encourage anyone else to play with it.
I hope to expose some Rollei ATP 1.1 tomorrow, weather permitting, and try the same time and dilution on that.
Feel free to link to this post if you know any other discussion groups or websites where it might be of interest.
Zorki 1 with Jupiter-12
Bluefire Police film @ 80
Stand dev in Anneman-Gainer developer 1+200 for 60 mins, 30s initial inversions + 1 inversion @ 30mins.
ADDED: The ATP 1.1 needs something stronger that 1+200 / 60 mins. When I get some more I'll try 1+100 for the same time.
Photograph from Mobile Developer Summit 2010 held in Bangalore, India, 10 November 2010, produced by Saltmarch Media. Photograph ©Copyright Saltmarch Media. Non-commercial use permitted with attribution and linkback to this page on Saltmarch's Flickr photostream. All other rights reserved.
This is a poster I did to advertise a job opening for web developers at dffrnt. I will be putting this up at various teaching centres in my city to attract some young talent. Also, the dffrnt logo has a new style. All dffrnt artwork will have this new style from now on. (Photo taken with iPhone.)
Visit us and drop a comment at our site: www.dffrnt.com
Film scanner for first time in months ... years.
Minolta 800si AF camera with 50/1.7 Tri-X/Sprint
Both film and developer well past "sell by date"
S J Green Heaven - Villas and Plots near Hoskote - Bangalore by S J Developers. For more Real Estate updates, please visit indianconcretejungle.blogspot.in
For this one I tossed a roll of Tri-X into the Adox Silvermax developer. It seems to have quite an compensating effect. Grain is much less pronounced than with Rodinal. If this is a good thing is up to you. Definately a usable combo.
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Photograph from Mobile Developer Summit 2012 held in Bangalore, India, 9-10 October 2012, produced by Saltmarch Media. Photograph ©Copyright Saltmarch Media. Non-commercial use permitted with attribution and linkback to this page on Saltmarch's Flickr photostream. All other rights reserved.
self-made stickers.
tribute for the box art of Google Developer Day 2009.
some photos are at keropuni.blogspot.com/2011/03/developer-2009.html
( update : white eyes )
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Tobias Ellinghaus hands... but once he saw me, he start taking pics :P
Day 2 at Vienna
02 May 2012
Artist....The King of Chalices card suggests that my power today lies in emotional availability. I inspire, protect and nurture with reliable compassion, respect, and affection. I am a master in the art and am secure enough in my role to connect to, express and pursue my hearts desire while defending the greater good of those who rely on me. I am empowered by consistency and patience while trust is my gift or Holy Grail.
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In USA out of the best companies in Mobile Game Development, Brill Mindz is the one and only company who offer 2D and 3D games that are user-friendly with excellent user interface designs. Brill Mindz have creative and high imagination game developers who can convert your ideas as perfect as using the most sophisticated tools and latest technologies.
IPHONE GAME DEVELOPMENT
iPhone has a special place for itself in the market even after heavy competition from Androids, Window Phones and Blackberry’s. There is a huge demand for iPhone games. If the app or games were Developed without any bugs it will be a big hit in the market. Action Games, Adventure games and Arcade games are all various types of categories of iPhone Games. More over the Priced games, free games are the ones that are demanded.
IPAD GAME DEVELOPMENT
Apple’s iPad is a light weight and handy design has made it a great hit. its size and fully touch sensitive screen display, crystal clear graphics and virtual keyboard makes it a delight to see videos, listen to songs, download app and play games on it. The opportunities to grow in this field are unlimited and there is scope to make lots of money.
Artist....The King of Chalices card suggests that my power today lies in emotional availability. I inspire, protect and nurture with reliable compassion, respect, and affection. I am a master in the art and am secure enough in my role to connect to, express and pursue my hearts desire while defending the greater good of those who rely on me. I am empowered by consistency and patience while trust is my gift or Holy Grail.
'Late Developer' by Alex Frost, artwork on show at the end of year in City & Guilds of London Art School
The Art School’s Architectural Heritage
City & Guilds of London Art School occupies nos. 114-124 Kennington Park Road, a terrace of late 18th century houses, and 19th and 20th century studios built over the gardens behind. The terrace is Grade II listed and stands in the Kennington Conservation Area. The Art School has been on this site since 1879.
The houses at nos. 114-124 Kennington Park Road were built in 1788, as part of the first wave of urbanisation in this area. They were designed as one half of a gateway development to a planned grand square by the builder Michael Searles. The projected plans were never fully realised, and the development of the square was carried out on a much-reduced scale, becoming what is now Cleaver Square. Although originally designed as a middle-class street, the growth of London in the Victorian era and the flight of prosperous families to suburbs such as Clapham and Brixton led to a decline in the area. While the 19th-century occupants of the Georgian houses are unknown, it seems quite possible that they were lower middle or working class.
In 1879, the South London Technical Art College (City & Guilds of London Art School since 1937) moved into nos. 122-124. Its predecessor, the Lambeth School of Art, had been founded nearby specifically to be close to the Doulton potteries, in order to provide art education to local workers (and mainly women). The first studio sheds, located behind nos. 122-124, were built shortly after 1879. These structures, shown on the Ordnance Survey map of 1894, had timber truss roofs. Later on, between 1918 and 1939, the Art School expanded into nos. 118-120, and new studios with steel frame trusses were constructed in the gardens behind. No. 116 Kennington Park Road was purchased by the Art School in 1974, while the final property of the six, no. 114, was acquired in the late 1980s, allowing the stone yard area to be developed.
21st-Century Developments
Since 2010, the Art School has embarked on an ambitious programme of renovations and enhancements on its Kennington site. The Masterplan for the project, established under the direction of Alan Higgs Architects, is based on a three-phase delivery:
Phase 1 (2010-2014)
Completed over five consecutive summers, Phase 1 consisted of the renovation and upgrade of the six terrace buildings, including refurbishing some 35 studios, creating the expanded Sackler Library, and improving circulation throughout. In 2012, the Foundation Department relocated to the adjacent 1930s Old Vauxhall Telephone Exchange building.
Phase 2 (2015-2016)
This phase involves the creation of a new entrance for the Art School by inserting a glazed steel canopy structure forming an atrium in the space between the Georgian terrace and the studio buildings. Following ground level works in 2015, summer of 2016 saw continued developments with the installation of the new roof structure.
Phase 3
The final phase will focus on a partial re-development and refurbishment of the studio buildings at the rear of the site, which increase the work spaces for creative practice while protecting the special character and the legacy embodied in its buildings.
[Open House London]