Foma Papers
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Just an attempt of Glycin after Lith. A 2nd developer is not necessary with this paper, because the lights come out with enough density. But Polychrome is always a must in my experimental run with new papers.
Lith 50+50+1000+20ml D
Siena 30ml +900ml water +15ml AmCloride + 15ml Carbonate + 6ml !!! (1+4 diluted) Lith D to prevent border fog.
Dawn in Acadia
Lith print on Foma Mg Fb
400 Tx in Rodinal
Om1 35mm capture.
How I do miss the ocean...
a bit like a love-struck boy
it's winter now
memories and emotion
the air, the surf, the sky,
even the gulls.
It must be the elemental expanse that enthralls
like sparks rising from an evening fire
beneath a clear night sky
or sparkling sunbeams cresting a wave
on final approach to the shore
a relationship of connected distance and emptiness
to the very rocks
beneath my feet
grounded here now
this moment
this shore
this heart
this sea
this light
this sky
this passionate unknown
where memory touches the future
it's winter now
and I am a bit like a love-struck boy.
Foma Retrobrom
1st SE5 Lith A+B+D+water 50+50+30+900ml 9 mins
2nd 800ml water + 10 Lith G + 20ml Ammonium chloride 20% + 2ml Lith D + 10ml Lith B 3 mins
This is a Salt Print made this morning, using a 5x7 dry plate negative (home-made, using the Foma Emulsion), on Bergger COT 160 paper. I used the technique described in the 2019 edition of Chemical Pictures. (Quinn Jacobson)
The print is gold chloride toned.
Contact print on fomatone MG 133, Developer Kodak Dektol.
Digital Negative, photo taken with a phone.
Potsdam, Neuer Garten
Graflex Super Graphic + Voigtländer Heliar 13,5cm f/3.5 + yellow filter, Foma Retropan 320@640 in Foma Retro Special Developer
Ein Negativ mit zu geringem Kontrastumfang (0,67 logD) also eher ein Negativ für eine extraharte Gradation.
Geprintet auf Retrobrom 152 (Grade 2 Spezial). Das kann nur funktionieren mit kurzer Belichtungs- und langer Entwicklungszeit. Bei dünnen Negativen mit wenig Schattendifferenzierung ist es einfacher, Belichtungszeit und Entwicklungszeit aufeinander abzustimmen, wenn man das Bild mit dem Negativrand vergrößert. Wenn sich der Rand erst nach 8 bis 10 Minuten schwärzt, bleibt genügend Zeit, die langsam einsetzende Schwärzung der Schatten zu beurteilen. Kommt der Rand viel früher, wird der Entscheidungsspielraum enger und die Schatten könnten unkontrolliert rasant zulaufen.
A negative with too little contrast range (0.67 logD), needs a extra-hard graded paper. Printed on Retrobrom 152 (grade 2). This can only work with short exposure and long development times. With thin negatives with little shadow differentiation, it is easier to coordinate exposure time and development time if you enlarge the image with the negative edge. If the edge only blackens after 8 to 10 minutes, there is enough time to assess the slow onset of blackening in the shadows. If the edge appears much earlier, the scope for decision-making becomes more limited and the shadows could run uncontrollably fast.
Foma Retrobrom 152
exposed 15 seconds,
developer Easy Lith 50+50+900 ml
edges black at 10 minutes, snatch point at 14 minutes.
Dunes on Foma 100.
I shot a second roll, different film. Honestly, I like these better. They scan much easier. They don't have the deep shadows and huge contrast, but with a little work in post it's good, as well. At least much easier as trying to tame the Adox 20. But probably this is what you would expect from a special film versus an universal use film.
An alternative version of the previous photograph, but made with Fomapan 100 this time, developed in PMK. Different tonal rendering, but equally pleasing results.
Camera: Intrepid 5x7 camera with the 9" Wollensak Verito lens, at f4.5
Camera: Voigtlander Bessa-I Color Skopar
Film: Foma 100
Dev.: D76 1:1
Merci beaucoup pour votre visite, les gentils commentaires et les favoris. / Many thanks for your visit, kind comments and favs
Foma Retrobrom in SE5 Lith 50+50+30+1000ml A+B+D+water +3,8 f-stops 10 minutes followed by Lith B/Omega mix 1 minute
Today's photograph is made with my Intrepid 5x7 camera and the Voigtlander Petzval lens (with support!). This is a home-made dry plate negative on glass, made with Foma photo emulsion.
Exposure was 3 seconds at f3.5 (wide open)
Eastman View Camera 2-D
5X7 Sheet Film Camera shot with Holga 120S (removed shutter) and Foma 400 film.
This was my first attempt at handmade dry plate negatives, using the Foma Photo Emulsion on 5x7 inch glass. Its contrasty, but there's a lot of tone and detail in there.
Exposed at 1ASA and developed for 4.5 minutes in D-23
B&J 5x7 camera with 203mm Ektar wide open (f7.7). Two second exposure.
Curious how the orange trumpets in the Daffodils turned black!
Au milieu des bouées
📷 : Minolta Hi-Matic 9
: Foma 100 @ 100iso
âš— : #Rodinal 1+100 semi stand dev 1h
1st SE5 Lith 60+50+1000ml + f-stops 2,5 dev. time 5:30mins - a little too much light or too fat developer
2nd an attempt to slow down the developer + 30ml Lith D + f-stops 3,3 dev. time 11 mins
3rd + f-stops 3,8 dev. time 9 mins followed by Lith B/Omega mix 1 min
There are plenty of yellow fields around where i live, yesterday I went out with my 4x5" camera to shoot some of those fileds. Had some nice looking clouds and some sunlight that was coming hrough in very specific areas.
Shot on Fomapan 100, developed for 7 min in Ilford HC 1+31. Scanned on Flextight iii.