View allAll Photos Tagged ILFORDFP4
An ideal place to sit and watch the world float by
Film: Ilford FP4+
Camera: Rollei XF 35
Development: Ars-Imago FD as recommended
Digitised with a digital camera and contrast adjusted in LR
Nikkormat FT2 - Nikkor-P 2,5 105mm
Ilford FP4+ 125@100 ISO
Moersch Eco developer, semi-stand developed
DSLR- digitalized
Nikon F4s
Nikon AF NIKKOR 50mm f/1.4
Ilford FP4+ 125
Adonal 1:50 @ 20℃
Adobe Photoshop Elements 2019
12_20171015_016-2
Manly ferry crossing Sydney heads, October 2018. Leica IIIf Cosina-Voigtlander 35mm f/3.5 Color-Skopar LTM, Ilford FP4+ in XTOL 1+25. V700 scan.
Please don't use this image on websites, blogs or other media without my explicit written permission. © copyright 2018 Lynn Burdekin. All Rights Reserved.
Shot on a Pentax 6x7 with Ilford FP4+ film. Developed 1+9 in Rodinal. Printed on Ilford Fibre paper.
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Nikon F-801s
Zeiss ZF 85mm/ƒ1.4 + Red No.25
Ilford FP4+
homemade Scala Reversal kit_ver.5.0
2-panel stitch
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My first move from number taking to photography was too black and white using a Hanimex Compact non SLR “point and shoot” camera with a 40mm lens of dubious quality around the edges of the frame. Here we find a four car Class 115 diesel muitiple unit idling alongside Marylebone depot sometime in 1974. The depot on the left was the original six road carriage sheds built in 1898 converted to service the Class 115 fleet allocated for Marylebone suburban services in 1961. Apart from the Class 115 fleet the depot also had one of Cricklewood’s diesel shunters outstationed. This was I think the only occasion I visited the depot in daylight as usually I would visit late at night whilst waiting time to catch an overnight service from Paddington. At that late time of day the six roads would be full of Class 115’s, most of which would still be have their Leyland Albion engines idling away resulting in the dimly lit shed having an ghostly smoke filled atmosphere. Forty one Class 115 high density suburban four car sets were ordered from Derby Works and entered traffic in 1960. Thirty five sets were allocated to Marylebone with the remaining six sets allocated to Allerton for Liverpool suburban duties. The Class 115 fleet at Marylebone operated until displaced by Class 165 units around 1991 when the fleet was generally withdrawn. The Class 165 fleet was also provided with a new depot at Aylesbury and Marylebone depot was closed. The site is now covered in blocks of flats.
Hanimex Compact, Ilford FP4
Oulu, Pitkämöljä, June 2018, Pentax Super A, Tamron SP 35 - 80 mm at 50 mm, Ilford Fp4+, 1/250, f8, Kodak D-76, Pacific Image Prime Film XE.
This world is a madhouse! It would be a better place if we all could be king for one day ;-)
Mamiya RZ 67, Mamiya Sekor Z 180mm 4.5 W @ 5.6, Ilford FP4 @ 125 ISO
Have a nice (king´s) day :)
Nikkormat FT2 - Nikkor-P 2,5 105mm
Ilford FP4+ 125@100 ISO
Moersch Eco developer, semi-stand developed
DSLR- digitalized
Scan vom Lithprint,
München, Arnulfpark, April 2021, Lego BB-8 (Star Wars)
PINHOLE Zero Image
Ilford FP4+, 100 ASA, in Moersch efd entwickelt
printed onFomatone MG Classic 131
Bel. f+0,5
Moersch SE4 Neutral (1+10)
3 min
Kupferbleiche 1+4 (bis zur Solarisation), 3 min 15 sec
SE5 5ml A + 5 ml B + 1 l H2O (40°), 1 min 45 sec
Selentoner 1+10, 30 sec
Adostab II, 60 sec
3395_17_II_WEB_BB_8_Arnulfpark_Schaukel
Oulu, March 2018, Nikon F2AS, Nikkor 50 mm, Ilford Fp4+, f5,6 , 1/250, Ilfosol 3, 1+9, 22 C., 6 minutes, Pacific Image Prime Film XE.
YO !! I actually now have some FRESH FILM dated June 2024 !! I've not had 'Fresh' for years ! A Camera Club member bought it for me as a Christmas Present ! I will put it straight into Freezer and await a 'Special Photo Opportunity' to use it !
I used an Asahi Pentax SMC Takumar 50mm f1.4 at f4 with adapter on the E-1.
Sydney cafe, 2018. Leica IIIc Cosina-Voigtlander 21mm f/4 Color-Skopar LTM Ilford FP4+ in Kodak XTOL 1+1 developer. V700 scan.
Paris is a city of contrasts where the forces of modernization continuously reshape its landscape,
yet an unwavering dedication to preserving cultural heritage remains at its core. This delicate
balance between change and continuity is one aspect that gives Paris its enduring charm.
This image encapsulates my reflections on these themes of transformation, tradition and time captured during my daily
walks. Each photograph serves as a vignette of my journeys. Some images chronicle a single
outing, while others layer moments from multiple days. Each photograph is composed in multiple locations. For instance,
the images of Guimard’s metro entrances feature five to six different station entrances
overlaid. Interestingly, even the same subject can yield vastly different results depending on
my route and the sequence in which I came across the entrances. I wonder if this serves as a metaphor for life itself: the path we
take shapes what we see and what we recall.