automobili OSCA
View allAll Photos Tagged MT4
Kristberg, Vorarlberg
Mamiya 7II, 4/80 mm, Ilford Delta 400
Lithprint auf Kodabrome II RC
SE5 1+10, +2 f-stops, 3:40 min
Catechol/NH4Cl (8+10+800) 1:30 min
leichte Schwefeltonung MT4 Siena
Oberdamüls, Vorarlberg
Mamiya 7II, 4/80 mm, Ilford Delta 400
Print auf Fomatone 332 RC mit Moersch 6 blue + finisher
Selentonung MT1 1+9, 1:30 min
kurze Schwefeltonung MT4 Siena
Flüeli-Ranft OW, Schweiz
Mamiya 7II, 4/80 mm, Ilford Delta 400
Print auf Fomatone 332 RC mit Moersch 6 blue + finisher
kurze Schwefeltonung MT4 Siena
Winterruhe
im Lauteracher Ried, Vorarlberg
Noblex Pro 6/150 UX, Ilford Delta 400
Print auf Fomatone 332 RC mit Moersch 6 blue + finisher
kurze Schwefeltonung MT4 Siena
Holga 120N, Efke IR820 in efd,
Lobotype on HPR.
Contrary to other alternative processes, MT4 Siena (polysulfide) toning is possible with Lobotypes.
Dilution 1+250, time 45 seconds.
bei Gaißau, Vorarlberg
Mamiya 7II, 4/80 mm, Ilford Delta 400
Print auf Foma Retrobrom Sp 151 mit Moersch SE6 blue
Selentonung MT1
Schwefeltonung MT4 Siena
Winterruhe
im Lauteracher Ried, Vorarlberg
Noblex Pro 6/150 UX, Ilford Delta 400
Print auf Fomatone 332 RC mit Moersch 6 blue + finisher
kurze Schwefeltonung MT4 Siena
An older 4x5 photograph, taken in the studio 30 years ago.
Lobotype on HPR,
MT4 Siena 1+300 40 secs, followed by MT10 Gold toner 5 mins.
Kuhstall
Alpe Laguz
Lechquellengebirge, Vorarlberg
2023
Olympus XA, Iford Pan 100, Kodak D-76 (1+1)
Print auf Agfa Brovira BS 1 mit Moersch ECO 4812
Selentonung MT1
leichte Schwefeltonung MT4
Same session, different paper
Gleiche Sitzung, anderes Papier
Schlittenfahrt
Hochhäderich, bei Riefensberg, Vorarlberg
Mamiya 7II, 4/80 mm, Ilford Delta 400, Tanol
Lithprint auf Kodabrome II RC
SE5 (15A + 15B + 10D + 750 H2O), +3 f-stops, 13:30 min
Catechol/NH4Cl 8+10+800, 1 min
leichte Schwefeltonung MT4 Siena
Isolette, Rollei Superpan in Finol,
Polychrome print on Select Ivory.
MT4 Siena toner (polysulphide) 1+500 30 seconds,
After 20-30 seconds, the previously yellowish-red colour turns cool red to magenta. During the final wash (30 minutes), the toning progresses (to magenta and blue), but only after the drying process does the final colour with yellowish lights appear.
Friedlicher Bodensee
Mamiya 7II, 4/80 mm, Ilford Delta 400
Lithprint auf Wephota Baryt Polygrade BWB 411
SE5 1+10, +2,5 f-stops, 5:10 min
Catechol/NH4Cl 8+10+800, 3 min
Schwefeltonung MT4 Siena
Rolleiflex T, Plus-x at ISO 320, eco film developer,
Polychrome print on Fomatone 131, MT4 Siena toner 1+50 30 seconds.
Nach konventioneller Entwicklung erzeugt der MT4 Siena Toner, ohne vorherige Bleichung, einen braunen oder rötlich gelben Bildton und nach einer Bleichung einen gelblichen Ton.
Nach Lith- oder Polychrome-Entwicklung geht die Farbe in Richtung blaugrün bis blau. Je wärmer der ursprüngliche Farbton, desto stärker ist der Ausschlag in eine komplimentäre Richtung.
Alle Prints auf eine alte Charge Fomabrom N 111.
Links: SE15 Polychrome, MT4 Siena 1+500 1 Minute, etwas weniger farbig als die Ergebnisse auf Warmtonemulsionen, wie die beiden Prints zuvor, doch mit ähnlicher Wirkungsweise.
Dagegen ist die Farbigkeit deutlich geringer nach einer einfachen Lithentwicklung (Mitte), obwohl der Toner weniger stark verdünnt wurde (1+35) und länger getont wurde (2 Minuten).
Rechts: Wenn mehr Farbe erwünscht ist, kann im nächsten Schritt, der bereits getonte Print gebleicht (1+75 1 Minute) und nochmals getont werden. Die Lichter erscheinen dann rötlichgelb mit blaugrünen Übergängen zu den Schatten.
After conventional development, the MT4 Siena Toner, without prior bleaching, produces a brown or reddish yellow image tone and after bleaching a yellowish tone.
After lith or polychrome development, the colour goes towards blue-green to blue. The warmer the original hue, the stronger the swing in a complimentary direction.
All prints on an old batch of Fomabrom N 111.
Left: SE15 Polychrome, MT4 Siena 1+500 1 minute, slightly less colourful than the results on warm tone emulsions, like the two prints before, but with a similar effect.
In contrast, the colourfulness is much less after a simple lith development (centre), although the toner was diluted less (1+35) and toned longer (2 minutes).
Right: If more colour is desired, the next step is to bleach the already toned print (1+75 1 minute) and tone it again. The highlights then appear reddish yellow with blue-green transitions to the shadows.
Fichten
Contax G2, Sonnar 2,8/90 mm, Ilford Pan F plus
Lithprint auf Kodabrome II RC
SE5 1+10, + 1 f-stop, 8:20 min
Lith G 1+100, 1min
Selentonung MT1 1+9, 1 min
kurze Schwefeltonung MT4 Siena
The same procedure as with the previous print, this time on Fomatone 131.
SE15 Polychrome, MT4 Siena toner 1+500 30 seconds.
am Wocherhafen, Bregenz/Österreich
Mamiya 7II, Objektiv 4/50 mm
Film: Efke IR 820, Filter IR 715
Print auf Agfa MCP
moderat gebleicht
Siena Schwefeltoner MT4
Crop zum Quadrat vom Negativ 6x7
FP4, N+1 Tanol,
Fomatone 132 SE15 Polychrome (two tray Lith & Glycin)
MT4 Siena toner (Polysulphide) 1+30 40 seconds
Holga 120N, Delta 400 in Tanol,
Oriental New Seagull G4,
SE5 Lith 30+30+15+900ml 7 minutes.
Left untoned,
middle MT10 Gold toner 7 minutes,
Right MT4 Siena (polysulphide) 1 minute
A little snow in Hürth for some hours.
Rolleiflex T, Plus-x at ISO 320, eco film developer,
Polychrome print on Record Rapid 112.
Untoned - MT10 Gold toner 7 mins - MT4 Siena 1+50 1 min.
For comparison, again the polysulphide toner with a totally different hue after Polychrome development.
Left Fotokemika Varycon in SE15 Polychrome, MT1 Selenium toner 1+30 2 mins.
Right additional MT4 Siena toner 1+35 20 secs, with approved toning progression during the final wash.
MT4 Siena toner (polysulphide), both 1+50 1 minute.
Paper Fomatone 132
The more reddish the untoned print, the cooler the toner works.
Left after Easy Lith FT
Right after Easy Lith FT and Catechol new
Hasselblad 503 CW, Makro Planar 4/120 mm
Ilford Delta 400
Print auf Ilford MG Warmtone FB mit Moersch ECO 4812
Schwefeltoner MT4 Siena, 1+250, 1 min
Bitte keine Awards und Bildchen!
- Please no awards and banners! -
Just your words, thank you ☺️
Winterruhe
im Lauteracher Ried, Vorarlberg
Noblex Pro 6/150 UX, Ilford Delta 400
Print auf Fomatone 332 RC mit Moersch 6 blue + finisher
kurze Schwefeltonung MT4 Siena
Lime Rock 2019
It quickly became apparent that the Maserati brothers had hit on a winning formula with the OSCA. Stirling Moss and Bill Lloyd drove one to first overall at the 12 Hours of Sebring in 1954. Subsequent versions ranged, in terms of output, from 750cc inline-fours to 2,000cc sixes. Moreover, unlike most of the people who were producing comparatively affordable performance specials in Italy during those years, most notably Abarth, the Maseratis didn’t start out with somebody else’s production car, such as a Fiat or Alfa Romeo. The OSCA was almost entirely theirs from the ground up. This 1956 MT4-TN–the TN stands for “Tipo Nuevo”–is one of an estimated 25 that OSCA built that year with all-aluminum, integral-headrest Morelli bodywork, just 13 of which were also assembled with the Maserati-designed 1,491cc twincam four, which produced 135hp through a ZF four-speed manual transmission, and utilized a cast-iron block and aluminum twin-plug cylinder head, breathing through dual Weber 40 DC03 carburetors. Its premium-quality internal pieces include billet connecting rods and crankshaft.
By Jim Donnelly from the December 2006 issue of Hemmings Motor News
I had to uh... adjust my trunks a bit... was a bit profound before the edit ;D js
Credits:
Currently @ August Ultra Event
Men's Jamaica Shorts by FABOO
Sea Boss Hurricane Watch by The Mesh Shop
Coming to September PocketGacha Event
The Summer is Gone Gacha set by ..::Thor::..
APX 100 (last original Agfa batch) in Finol,
Kallitype on Hahnemühle Platinum Rag, Sodium acetate developer, Lead bleach 30 secs, MT4 Siena 1+50 20 secs
Conrail GP10 7597 and MT4 slug 1009 work a shifter job at East Conway in Baden, PA on March 16, 1992. The SD38's were used as hump power and the geeps were used as shifters to build trains out of the class yards.
ein Sommermorgen in einer aufgelassenen Schottergrube
Mamiya 7II, Objektiv 4/80 mm
Film: Efke IR 820, Filter IR 715
beschnitten zum Quadrat, Print auf Agfa MCP
gebleicht
Schwefeltoner MT4
Handcrafted Gelatin Silver Lith Print
onto Agfa Brovira BN1
2-tray SE5 1+8 / 20ml NH4CI & 12ml Catechol
Selenium / bleach / MT4 Polysulfide
Hasselblad 503CX / Planar 2.8/80
400TX / PYRO 48
Tessin, Schweiz
Hasselblad 503 CW, Makro Planar 4/120 mm, Kodak TMY 400
Print onto TT Vario RC with Moersch SE6 blue
Polysulfidtoner MT4
am Traunsee
Oberösterreich 1998
Horizon 202 panorama camera (24x58 mm), Ilford XP2
SE5 Lithprint onto Fomatone 332 RC
Lith Omega
Sulphur Toner MT4
Wasserburg, Lake Constance
May 2025
Holga 120N, Ilford HP5+, Rodinal 1+25
Easylith onto Fomatone 131
Lith Omega
Sulphur toner MT4, 1+300, 1 min
View to the near Attersee in fog
Upper Austria
1999
Noblex Pro 6/150 UX, Kodak CN 400
Print onto Kentmere Fineprint VC, Moersch ECO 4812
slightly toned with Sulfur MT4
Holga 120N, Delta 400 @640 in Finol,
SE4 Neutral untoned on the left hand side,
MT4 Siena toner for brown tones 1+35 2 minutes, 3 minutes wash, 3 minutes Sodium sulphite 10% to stop the toning activity of the Sulphide, 20 minutes final wash.
Hittisau, Bregenzerwald
2010
The fog bank in the background is real, a result of an inversion weather situation.
Mamiya 7II, 4/80 mm, Ilford Delta 400
Lithprint onto Fomatone 332 RC
SE5 1+10, +2 f-stops, 2:20 min
Pyrocat. 10 ml + NH4Cl 12 ml + 800 ml H2O, 2 min
Sulfur toning MT4
View from the window of the Hotel Waldhaus in Sils Maria GR, where the philosopher Friedrich Nietzsche spent many summers and wrote important works. The lake is located at an altitude of almost 1800 meters between the villages of Sils and Maloja.
Schweiz 2010
Mamiya 7II, 4/80 mm, Kodak TMY 400
Print onto Fomabrom C 111 (hard), Moersch ECO 4812
slightly polysulfide toning MT4
Altmünster am Traunsee, Oberösterreich
1999
Noblex Pro 6/150 UX, Kodak CN 400
Print onto Agfa Brovira BN1, Moersch SE4 neutral
slightly toned with MT4 Siena
A little information on the car (very little) here: Chassis 1108A siluro (cycle fendered) for race driver Luigi Villoresi in 1949, he had it changed to a coupe by Vignale in 1951. In this form it looks remarkably like a small Vignale Cunningham.
More info on OSCA and another view of the car here:flic.kr/p/2qP71d2
The car is a very rare berlinetta (small 2 door coupes) being that most of the production were spyders (convertibles)
And as noted see the similarity to the Vignale Cunningham here: flic.kr/p/2pHkFeu
Piedmont Landscape
Italia 2010
Mamiya 7II, 4/80 mm, Kodak TMY 400
Print onto Fomabrom C111 with Moersch ECO 4812
slightly Sulphur toning MT4
Hasselblad with 150mm lens.
Ilford SFX film devd in Rodinal. Paper is Ilford MG Fibre dev'd in Moersch Eco 4812. Toned in Moersch Selenium, Moersch Siena MT4, Sodium sulphite to stop.
1954 OSCA MT4 "barchetta"
The 1954 OSCA MT4 stands as a testament to the craftsmanship of the Maserati brothers, who in 1947 had founded the Officine Specializzate Costruzioni Automobili, or OSCA, which specialized in competition sports cars. Born in Bologna, this iconic sports racing car wasn't just a machine; its low weight and high power rendered it a symphony of speed and ferocious tenacity – one which would etch its legacy on the tracks of Italy and beyond.
The data that I have on this very car is that between 1954 - 1956 it participated in 8 races, and taking first place in half of those! The 1.5 liter, 4 cylinder, twin overhead cam engine produced 125hp. In 1984 it also participated in the Mille Miglia, but the source did not indicate how, or where it finished