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I'm having another dabble with film photogrpahy and am still at the stage of deciding which emulsion(s) I prefer. This is Ilford Pan F in a Mamiya RZ67 Pro. 110mm lens with a graduated orange filter. Lab processed then scanned on my Canoscan 9000 with minimal work done in Lightoom.
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Shot on ILFORD XP2 Super at EI 320
Black and white negative film in 120 format shot as 6x6
Orange #21 filter
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Read on at: emulsive.org/photography/medium-format/half-mast-shot-on-...
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Filed under: #Mediumformat, #Photography, #120FormatFilm, #2018June, #6X6, #EI320, #EI400, #EMULSIVEDailyPhoto, #Hasselblad, #Hasselblad2000FCW, #HasselbladPlanarF80MmF28, #ILFORD, #ILFORDXP2Super, #ISO320, #ISO400
#shootfilmbenice #filmphotography #believeinfilm
Considered, methodological, quiet, contemplative.
Today’s film photographer isn’t someone you’ll likely see running after the next shot. He plods, ponders, thinks, frames and shoots before moving on to pastures new. Welcome to the world of Colin Wilson; 35mm and 120 shooter ...
Read on at: emulsive.org/interviews/film-photographer-interviews/inte...
Filed under: #FilmPhotographerInterviews, #Interviews, #ColinWilson, #EMULSIVEInterview, #FilmPhotographerInterviews, #Hasselblad, #Hasselblad501CM, #ILFORDHP5PLUS, #ImpossibleProject, #Interview, #KodakEktar100, #Pentax, #PentaxLX
#shootfilmbenice #filmphotography # believeinfilm
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Ladies and gentlemen I’m incredibly proud to bring you the first EMULSIVE interview of 2018, and it’s one I’ve been waiting for myself for quite a while.
Indulge yourself and sink into the words and pictures of Christopher P. Michel.
Over to you, Christopher…
Hi Christopher, w...
More at:
emulsive.org/interviews/i-am-christopher-p-michel-and-thi...
Filed under:
#film, #filmphotography, #believeinfilm, #ChristopherPMichel, #Contax645, #ContaxT3, #Kodak, #KodakPortra160, #KodakPortra400, #KodakTriX400, #Leica, #LeicaMP, #Mamiya, #Mamiya7Ii, #Nikon, #NikonD5, #NikonD850, #NikonF4, #Interviews
#Polaroid #sx70 #polaroidsx70 #polaroidlove #TIP #impossibleproject #VSCOcam #vsco #citybike #city #impossible_hq #emulsion #cameza #clubmate #instantfilm #selfie #packfilm #fujifp100c #polaroid110a
Wet plate collodion: portrait Shot by Danilo Malatesta.
Emulsion lifted over RC photographic paper, exposed to light and fully developed.
20x25 original size. New Guy. Shot with Dallmeyer 3B. f/3,x
developed ferrous sulphate, fixed KCN.
Spring Cleaning – 2015-06-06
Fuji Velvia 50 (RVP 50) at EI 40.
Color reversal (slide) film in 120 format shot as 6×6.
Expired and cross processed.
Spring Cleaning – 2015-06-06 – Fuji Velvia 50 (RVP 50) at EI 40. Color reversal (slide) film in 120 format shot as 6×6....
Large version at: emulsive.org/photography/spring-cleaning-fuji-velvia-50
Filed under: #Mediumformat #Photography #120MediumFormatFilm #2015June #6X6 #CrossProcessing #EI40 #EI50 #EMULSIVEDailyPhoto #ExpiredFilm #Fuji #FujiVelvia50RVP50 #ISO40 #ISO50 #SlideFilmColorReversal
dont really know how to do this, but wanted to try at least once before i run out of 669 film...
especially with such a crap pic, no regrets :)
Spring 2017 polaroid week
day 4
trial & error - first time attempting a layered emulsion lift & it did not go as I had envisioned. that's okay, though, now I know more than I did before.
This emulsion - Agfa Cinerex - is an old x-ray film. I don't think I've ever used such a thing before, but I love the older, cinematic look. I could have been shot in the silent film era, really.
I can't remember where I got it, but I'd love to see what I would do with more of it.
Also, I hate not remembering where I get film.
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'They, in Haste'
Camera: Canonet QL17
Film: Agfa Cinerex IC1N
Process: Rodinal; 1+50; 5.5mins
Ancient Lakes, Washington
May 2019
Bromoil on liquid emulsion from Foma, 25 x 30 cm.
Ink applied with sponge.
Leica M6 ttl and Ilford Delta 100.
Pentax K1000
SMC Pentax 55mm f/1.8
Mystery Emulsion 200 (10 years+ expired)
June 2020
I pulled this film out of a still sealed generic disposable/one-time-use camera I found at the thriftstore. When I got the cartridge out it had a sticker on it that said iso 200 made in Italy. I figured it must be Ferrania Solaris 200. Then i noticed green under the sticker... so I peeled the sticker back and the the cartridge was labled for Fuji Industrial 100. So what was it? When i got it back from processing there wasnt any edge markings that were telling except it said 200. It didnt look like the other solaris negatives I have so i don't know what it is. Mystery Emulsion 200.
Developed by Gene's Camera in South Bend, IN.
Scan from hanmaid bromoil print.
Photo taken with Hasselblad 501 and 150 mm lens.
Film; HP5+ in Xtol
The bromoil made on liquid emulsion from Foma.
Fountain pen and chinagraph on DL envelope - in situ.
Emulsion paint added later.
Sketching (in shirtsleeves!) near the Great Pollet Sea Arch: www.traveljadore.com/blog/2022/4/10/the-great-pollet-arch...
Polaroid 600 SE + Mamiya 127mm Lens + Vivitar 285HV + several off-camera light sources + Masonite Block (Emulsion Receptor Surface) @ My apartment.
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Blue chinagraph on 'noodle box' card - in situ.
Emulsion paint added later.
A dry (but windy!) spot to make my first outdoor sketch of the year...
From Bulletin of the Detroit Institute of Arts 89 (2015) - Das Geviert, 1997 - emulsion, acrylic, shellac, burnt clay, clay, wire, and sand on three panels of stretched linen or linen and cotton canvas.
The architectural structure in this monumental painting was likely inspired by a brickworks that Kiefer saw while traveling in India. That building was in a perpetual state of construction and destruction: newly made bricks were stacked on top of it and then replaced as they were sold. Plumes of smoke suggest the fires within. Taken out of its socio-historical context, this building becomes an allegory of ephemerality. The stepped pyramidal form recalls the tombs of the Egyptian pharaohs, Babylonian ziggurats, and Meso-American teocalli, all remnants of ancient cultures. The words in the corners translate to earth (upper right), sky (upper left), divinity (lower right), and mortals (lower left), which are the fundamental elements of German philosopher Martin Heidegger’s (1889–1976) concept of “das Geviert” (the square), a hymn to dwelling on the earth articulated in “Building, Dwelling, Thinking” (1954).
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quadralectics.wordpress.com/5-essentials/5-3-consciousnes...
Quadralectic Architecture - Marten Kuilman (2011) p. 994/995:
The consciousness of seeing is, in many aspects, a philosophical subject. Questions of ‘consciousness’ reach deep into the heart of any scientific investigation and the valuation of architecture is no exception. The act of understanding the phenomena known to the human nature implies the knowledge of the valuation process of an observer.
The German philosopher Martin HEIDEGGER (1889 – 1976) is possibly the most recent of the thinkers, who came close to a ‘quadralectic’ outlook. His books – like his main work ‘Sein und Zeit’ (1927) – are virtually unreadable for any layman, due to a self-created German terminology to catch the fundamental essence of Heidegger’s understanding. His message and the destination of his exploratory thoughts are, nevertheless, directly relevant.
Vincent VYCINAS (1961) gave a comprehensive introduction into the thoughts of Martin Heidegger and his application of phenomenology to ontology. He did not criticize Heidegger, nor indicated any shortcomings in his thought. He just offered a path to explore the territory of his findings. Vycinas pointed to three distinct phases in Heidegger’s development, which brought him in close proximity to the doors of quadralectics (without actually opening them):
1. The exploratory search for man in his ultimate essence resulted in an understanding of Dasein (being-there). His main work ‘Sein und Zeit’ (Being and Time) defines the human existence as an active participation in the world, or a ‘to-be-in-the-world’. This position of unification (togetherness) implies the presence of a nothingness to make a distinction possible. The quadralectic philosophy supports the view of man-in-the-world making its existence feel in a self-chosen definition of division thinking and respecting the boundaries derived from this choice. Human presence (in a quadralectic view) only materializes after the realization of two points of recognition (POR) on a universal graph, which is derived from the shift between two four-divisions (the CF-graph).
2. After he found the definition of Dasein, Heidegger reached further to develop the concept of ‘Being’, the way in which man reveals itself. This second phase was, in contrast with his first work, riddled with historical references. Heidegger felt sympathy for the early Greek (Ionian) philosophers – like Anaximander, Parmenides and Heraclites – with their inductive way of thinking. ‘Being began to shine’ when these thinkers chose a single element (of nature or physis) to explain the world.
Heidegger liked the Parmenidian concept of Moira (the generator of fate or destiny and/or the initiator of a mission), which acts as a source of revelation. ‘Revelation is the disclosure and the coming-forward from concealment’. This change (in visibility) can be compared in the quadralectic philosophy with a transitional move from the invisible invisibility (of the First Quadrant) into the invisible visibility (of the Second Quadrant) – which includes a choice in division thinking. Being comes into the open, but why Being breaks into openness, we do not know.
This ‘Ionian’ treatment of Being led Heidegger to such conclusions that ‘not the thinker but Being determines the way of thinking’ and ‘Man is not the true author of his thought any longer, but only a missionary carrying out the words of Being in his thought-responses’. ‘Being’ (and its cross marked version, as a hint to nothingness) is placed – unfortunately without the specific mentioning of this mental act – outside the bonds of lower (oppositional) division thinking. The result is a position beyond subjectivism and objectivism. Being becomes synonymous with the (quadralectic) understanding of the term V (the length of a communication cycle – which is the result of an interaction between the observer and the observed in a chosen type of division).
3. The third and last phase of Heidegger’s thought is the establishment of an ontological stratification by four fundamental powers of Being: earth and sky, gods and mortals. Heidegger used ‘das Geviert’ (fourfold) in his later work (Vorträge und Aufsätze, 1954) as four domains, which form together the plurality and openness of the world. It is rather unfortunate that the choices of Heidegger’s Geviert consist of two opposing dualities, i.e. gods versus mortals and the sky versus the earth. Furthermore, the cyclic setting of the foursome is not accentuated, making the interplay of the foursome a cryptic event. Measurability, which is the very hallmark of conscious Being (or non-Being), is not applicable in Heidegger’s order. However, what is the meaning of plurality, openness and participation, if their extent cannot be measured?
The conclusion has to be that Martin Heidegger entered deep into the phenomenological world and did important discoveries in this newly developed terrain of higher division thinking. The concept of Da-sein as the transcendental representation of man as an assembler (of its own visibility) is breaking fresh ground. The quadralectic observer, within the boundaries of a self-created graphic universe, has a direct bloodline to Heidegger’s assembler.
The consistent development from Da-sein into the openness of Being – as it took shape in the post-Sein und Zeit period after 1927 – is, in the quadralectic philosophy, reflected in a measurable unit of communication (the length of the communication cycle). The graphic representation and its arithmetical genesis (in shifting four-divisions) offer a much clearer view on the character of Being than Heidegger’s vague notions to describe man in his ultimate essence.
Finally, Heidegger came close to the building stones of the quadralectic philosophy with the introduction, in his later work (after 1954), of the double-dialectic of the foursome (Geviert). These domains were supposed to supply, by way of an endless intersecting mirror play, the coordinates wherein the world as a world happens. But how? His stratification had, essentially, a linear character with no hind to any form of a cyclic approach. He missed, therefore, the possibilities in a quadralectic communication of calculation and measurement, which are embedded in the genesis of a universal communication graph.
No doubt Heidegger should get the credit for the above-mentioned advances in philosophical thinking, but it is also fair to mark the limits of his philosophical progress. In the end, Heidegger reached short of entering the exciting world of quadralectic thinking. The notice that ‘man must become the shepherd or guardian of Being’ is further evidence of the inherent static nature of his findings.
His interest in building (Bauen – Wohnen – Denken, 1967) and his definition of dwelling as the ‘ultimate guarding of the foursome of things’ also points to a static situation. Quadralectic architecture, on the other hand, is a dynamic affair, where the (changing) interplay of the foursome has to be monitored all the time. The observer may only find the ‘truth’ in the continuous awareness of changing positions with regards to the observed. The rest is, like the dying Hamlet said, silence.
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VYCINAS, Vincent (1961). Earth and Gods. An Introduction to the Philosophy of Martin Heidegger. Martinus Nijhoff, The Hague.
View of an alley in Naples, Italy.
May 2019.
Shot with a Sigma Art 18-35mm F 1.8 zoom lens, F 5.6 @28mm, on a Nikon F4 film SLR.
This zoom lens was developed for digital APS-C sensors but in the 28-35mm covers full frame as well.
At 35mm it has a bit too much of distortion but it's still usable.
At 28mm it's optimal.
Sharpness is extremely high, in the same league of the best full frame primes.
Lack of digital sensor glass is not a problem even wide open, probably thanks to a very large nodal point to sensor distance.
Fuji Velvia 100 slide film can really deliver, if exposed properly.
This particular film was developed 2 years after exposure but still retained very good qualities.
Scanned with a macro setup:
- Rodenstock APO Rodagon 74mm F 4 repro lens @F6.7;
- 1.5:1 magnification ratio;
Equivalent 6000dpi optical resolution.
Resized to 24Mpxls.
Colors and contrast as shot, no PP.
Original file available.
Don't mind me
Fuji Neopan SS 100 shot at EI 100
Black and white negative film in 35mm format
Large version at: emulsive.org/photography/dont-mind-me-fuji-neopan-ss-100-...
Filed under: #2016July #35MmFormatFilm #BlackAndWhiteNegative #EI100 #EMULSIVEDailyPhoto #Fuji #FujiNeopan100SS #ISO100
Canon T50
FD 1.8/50 lens
Agfa CT Precisa 200
Cross-Processed in C-41
Dots courtesy of fungal growth on the emulsion.
1st attempt at an emulsion lift using FP-100C. While I'm not happy with the result (my technique needs lots of improvement) I do see the possibilities for future attempts.
Nebenprodukt des sonntäglichen Emulsions-Lift-Versuchs.
Es hat leider noch nicht geklappt aber dies hier mag ich doch sehr.
I've done this kind of photography before, but mostly using direct sunlight as my light source.
This time I placed a clear sheet of 1/8 inch thick plastic on top of a coupe of saw horses. On top of the plastic I placed one of my wife's colorful silk scarfs. On either side of the scarf, I placed a brick, which I used to hold a large clear glass bowl of water. On top of the water I sprinkled many drops of cooking oil, to form the emulsion drops I wanted to photograph. Underneath the clear sheet of plastic, and pointing up at the bowl I put a Strobie 130 on a Gorilla pod. On one side of the bowl, opposite where I stood with the camera, I put a Yonguo YN560-II inside of a softbox which I pointed down at the surface of the water. So, basically, I put a light souce underneath the water to illuminate the scarf to provide the background color for the drops. The light on top was to illuminate the drops themselves, which were about six inches above the scarf. Both strobes were in manual mode, and I adjusted the levels until the light looked right. The strobes were triggered by Tiny Triggers from scottrobertstudio.com.
More of my emulsion art images can be seen in my Emulsion Art set. www.flickr.com/photos/9422878@N08/sets/72157625787156195/...
If you enjoy this type of image, you might not hate my Drops/Bubbles set. www.flickr.com/photos/9422878@N08/sets/72157625432239555/
Welcome to the first in a new series of interviews here at EMULSIVE
I think you’ll find the format rather refreshing, if possibly a little strange. Trust me, you’ll get used to it.
I’m hoping that you’ll be inspired to put yourselves in the shoes and mindsets of our gu...
Read on at: emulsive.org/interviews/interview-1i-am-emericus-durden-a...
Filed under: #FilmPhotographerInterviews, #Interviews, #2015July, #EmericusDurden, #EMULSIVEInterview, #FilmPhotographerInterviews, #ILFORD, #ILFORDHP5PLUS, #Interview, #Kodak, #KodakPortra400, #KodakPortra800
#shootfilmbenice #filmphotography # believeinfilm
I took this picture almost two years ago, and I came across it today while looking for something else. I did a lot of this emulsion photography some time back, but have since moved on to other things. I may have to do some more of this.
To make this image, I placed a clear sheet of 1/8 inch thick plastic on top of a coupe of saw horses. On top of the plastic I placed one of my wife's colorful silk scarfs. On either side of the scarf, I placed a brick, which I used to hold a large clear glass bowl of water up and over the scarf. On top of the water I sprinkled many drops of cooking oil, to form the emulsion drops I wanted to photograph. Underneath the clear sheet of plastic, and pointing up at the bowl I put a Strobie 130 on a Gorilla pod. On one side of the bowl, opposite where I stood with the camera, I put a Yonguo YN560-II inside of a softbox which I pointed down at the surface of the water. So, basically, I put a light souce underneath the water to illuminate the scarf to provide the background color for the drops. The light on top was to illuminate the drops themselves, which were about six inches above the scarf. Both strobes were in manual mode, and I adjusted the levels until the light looked right. The strobes were triggered by Tiny Triggers from scottrobertstudio.com.
More of my emulsion art images can be seen in my Emulsion Art set if you like that sort of thing. www.flickr.com/photos/9422878@N08/sets/72157625787156195/...
More pictures of bubbles are in my creatively named "Drops/Bubbles" album.