View allAll Photos Tagged Hasselblad501CM,
Lobotype 20x20cm on Arches Platine 11x14inch.
Contrary to other papers Arches doesn´t need additional Platinum salts to achieve almost neutral black tones.
2ml sensitizer with 3 drops Tartaric acid 50% and 2 drops Tween 10%,
developed 4 mins in acidified tap water (4 drops Citric acid 50% per litre),
clearing bath Citric acid 1% 1 min,
Fixer ATS acidic 1+10 3,5 mins
MT3 Vario toner: bleach 1+75 50 secs, toner setting D
Efke IR820 in Eco film developer,
Kallitype onto HPR,
Sodium citrate developer,
MT10 Gold toner prior to fixing.
Kallitype on HPR, developer Potassium citrate 25%, result cool reddish.
A stronger red tone is possible after bleaching and redevelopment.
Bleach Potassium ferricyanide/bromide (MT3 bleach) 1+20 1 min.
Developer Polychrome Kit: Siena (Glycin), Carbonate, NH4Cl, Lith A 20+20+20+2,5+750 water 4 mins.
Second batch from own production no. 4 is now in shop.
An older negative printed on COT-320.
Left hand side Palladium, right hand side Palladium with 1 drop Na2 10% for a cooler tone and higher contrast, only for demonstration, not to my taste in this case.
I have been using B&S ferric oxalate for decades. I am currently experimenting with the production of ferric oxalate with different starting substances. The original recipe by Pizzighelli and Hübl is quite elaborate and takes a few days and moreover the yield is low.
It is still too early to evaluate the print results, but what I can already say is that the tonal values and the colour tone are different from before.
With Palladioypes, the image tone is a little cooler, the tonal value differentiation clearer, both in the highlights and in the shadows. At least with pure Palladiotypes the Dmax is not higher than when using B&S
oxalate.
Seit Jahrzehnten benutze ich das Ferric oxalat von B&S. Zur Zeit experimentiere ich mit der Herstellung von Eisen(III)-oxalat mit unterschiedlichen Ausgangs-Substanzen. Die Originalrezeptur von Pizzighelli und Hübl ist ziemlich aufwendig und dauert einige Tage, zudem ist die Ausbeute gering.
Für eine Bewertung der Printresultate ist es noch zu früh, was ich aber schon sagen kann, die Tonwerte und der Farbton sind anders als zuvor.
Bei Palladiumtypien ist der Bildton ein wenig kühler, die Tonwertdifferenzierung klarer sowohl in den Lichtern, als auch in den Schatten. Zumindest bei reinen Palladiotypes ist die Maximalschwärzung nicht höher als bei Verwendung von B&S Eisen(III)-oxalat.
Palladiotype onto Arches Platine,
Warm tone developer mix Potassium oxalate/phosphate 2+1
Efke IR820 in Eco film developer,
Kallitype onto HPR,
Sodium acetate developer, Platinum toner 1 minute, ATS fixer.
Hasselblad 501CM, Efke IR820 in Tanol.
Stained negatives are generally unsuitable for prints on graded papers, because the colour of the stain increases the contrast enormously on such papers, especially with infrared films. However, a two tray development with a soft second developer can produce sufficient density in the lights.
Kentmere Bromide, VGT developers normal and soft.
Lith Copper Bleach 1+3 and redeveloped with Easy Lith 4+4+500ml.
I have been using B&S ferric oxalate for decades. I am currently experimenting with the production of ferric oxalate with different starting substances. The original recipe by Pizzighelli and Hübl is quite elaborate and takes a few days and moreover the yield is low.
It is still too early to evaluate the print results, but what I can already say is that the tonal values and the colour tone are different from before.
The results with Kallitype are interesting. The image tone is considerably cooler (with Sodium acetate developer almost neutral, with a hint of green).
Seit Jahrzehnten benutze ich das Ferric oxalat von B&S. Zur Zeit experimentiere ich mit der Herstellung von Eisen(III)-oxalat mit unterschiedlichen Ausgangs-Substanzen. Die Originalrezeptur von Pizzighelli und Hübl ist ziemlich aufwendig und dauert einige Tage, zudem ist die Ausbeute gering.
Für eine Bewertung der Printresultate ist es noch zu früh, was ich aber schon sagen kann, die Tonwerte und der Farbton sind anders als zuvor.
Interessant sind die Ergebnisse bei der Kallitype. Der Bildton ist bei Verwendung des gleichen Entwicklers (hier Natriumacetat) erheblich kühler, nahezu neutral mit einem Stich ins grünliche.
Kallitype onto COT-320
The influence of the water in the mixing of the clearing bath on the image colour.
Left: citric acid clearing bath prepared with tap water, right: with demineralised water.
Developer Sodium citrate.
Hasselblad 501CM 150mm, Efke IR820 (filter 715), Tanol Speed ,
Kallitype on COT-320,
Sodium citrate developer.
Planar 80, TMY in Tanol,
Palladiotype onto Arches Platine,
developer Potassium oxalate/phosphate mix 3:1 at 45°C
Hasselblad 501CM, Efke IR820 in efd,
Lobotype on HPR, Potassium citrate developer,
bleach 1+75 30 secs, redeveloped with Siena (Polychrome Kit) 20+20+20+950ml 2:30mins.
Hasselblad 501CM 150mm, Efke IR820 (filter 715), Tanol Speed ,
Kallitype on COT-320,
this time Ammonium citrate developer for a warmer tone.
Hasselblad 501CM, Fp4 in Tanol,
Kallitype 19x19cm on COT-320,
developer mixed Ammonium citrate and Sodium acetate 1:1,
on the right hand side MT10 Gold toner after fixing 3 minutes.
Hasselblad 501CM, Planar 100 with extension tube,
TMY in Tanol N+1,
Lobotype on HPR,
2 toners: alkaline Copper toner followed by MT7 Iron toner
Hasselblad Planar 80mm, yellow filter, Fuji Acros N-1 development in Tanol,
Kallitype, Sodium acetate developer, ATS fixer,
MT17 Selenium toner 1+100 3 mins.