View allAll Photos Tagged PushProcessing
I heard you like Kala Namak so while I was cooking with Kala Namak I took a picture of Kala Namak and toned it in Kala Namak or Himalayan Black Salt.
Kentmere Pan 400 pushed 2 stops and reversed in PQ Universal
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Shot on Kodak ULTRA MAX at EI 1600.
Color negative film in 35mm format.
Push processed two stops.
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Read on at: emulsive.org/photography/35mm-format/just-a-lick-shot-on-...
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Filed under: #35mmformat, #Photography, #2018May, #35MmFormatFilm, #ColorNegativeFilm, #EI1600, #EI400, #EMULSIVEDailyPhoto, #ISO1600, #ISO400, #Kodak, #KodakULTRAMAX400, #PushProcessing, #PushingFilm
#shootfilmbenice #filmphotography #believeinfilm
Pentacon Six TL w/ Carl Zeiss Jena Sonnar 180mm f/2.8 and Kodak Tri-X @ EI 1600 (Kodak D76 1:1, Ilford rapid fixer). f/5.6, 1/250s. Epson V700 and Silverfast SE Plus 8.0 @ 4800 dpi, downsized to 2400 dpi. Retouched and cropped.
I had just gotten the Sonnar with the mail just a few hours before I took this photo. It seems to work alright. But it's a bit tricky to get accurate focus with such a narrow depth of field.
The film was a roll of Tri-X that I've bought second hand over Facebook. Although it had 10 monts left on the best before date, it produced some veil and took 50% extra time to dry. I guess it's relevant how you store your film.
Model: Bella
I'm honored that Kodak has selected me to test drive their newly re-released TMAX P3200! Photos coming soon!
Film: Rollei Retro 400S @ 800 ISO | Develop: HC-110B, 10:45 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Nikon FE - Nikkor 28 2.8 - Fujicolor Superia X-Tra 400 @ 800 - Cinestill Cs-41 - dslr scan - Negative Lab Pro
Asahi Pentax Spotmatic, SMC Takumar 1.8/55
Fujifilm Neopan ACROS 100@400
1/250, f16, yellow filter
On tumblr: theatreofthemundane.tumblr.com
On Instagram: lemonhats
Asahi Pentax Spotmatic, SMC Takumar 1.8/55
Fujifilm Neopan ACROS 100@400
1/250, f16, yellow filter
On tumblr: theatreofthemundane.tumblr.com
On Instagram: lemonhats
Olympus OM-1n | Zuiko 50mm 1.4 | Kodak Tri-X 400 @ 1600 | Kodak HC110b
Available Light B&W 35mm Photojournalism by Johnny Martyr
Thanks for checking out my work!
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Shot on ADOX Silvermax 100 at EI 200
Black and white negative film in 35mm format
Push processed one stop
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Read on at: emulsive.org/photography/35mm-format/skewed-shot-on-adox-...
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Filed under: #35mmformat, #Photography, #2018July, #35MmFormatFilm, #ADOX, #ADOXSILVERMAX100, #BlackAndWhiteNegativeFilm, #EI100, #EI200, #EMULSIVEDailyPhoto, #ISO100, #ISO200, #PushProcessing, #PushingFilm, #SilvermaxDeveloper
#shootfilmbenice #filmphotography #believeinfilm
Pentax ME
SMC Pentax-A 28mm f/2.8
Kodak Gold 200 @ 400, pushed processed +1 (4:40mins.)
Home Developed in Argentix/Unicolor
Scanned with Pakon F135
I can get Kodak Gold 200 fairly easily and for an okay price near me, but 400 ISO film is a bit harder and more expensive to get, so I tried pushing and push processing Gold 200, because 400 is handy for fall and winter light conditions. I got a couple of shots in sunny conditions, some in undercast conditions, and a few indoors too, and while the grain is not bad, the shadows need to come out a bit more. The film can possibly have more time in the developer or I can scan with my Epson V550 where I can do more adjustments, but my Pakon F135 is so convenient and I like the colours from it.
Nikon FM2n | Nikkor 85mm 1.8 AI'D, Kodak TMAX P3200 @ 6400 | Kodak HC110b | www.JohnnyMartyr@Hotmail.com
Longshan Temple, Taipei, Taiwan. August 2018.
Mamiya 6. 50mm/f4.0. Acros 100 pushed 2 stops.
1/30s f/8.0.
This self-portrait through a window feels layered both visually and emotionally, capturing a blend of reflections and textures that reveal more than a simple snapshot could. The Rolleiflex's distinctive square format frames the scene beautifully, with every element thoughtfully placed within the composition. There’s a quiet dialogue between the person and their surroundings, as if each layer of reflection adds another story or memory. Forced to 1600, Kentmere 400 introduces an intensified grain structure that harmonizes with the slightly worn textures of the building behind, lending the image a timeless, almost melancholic atmosphere.
The reflection itself feels like a ghostly double exposure, allowing glimpses of what’s inside and outside, while subtle distortions blur the boundary between the real and the reflected. The brightness of the lines, possibly window frames or fixtures, cuts across the portrait, fragmenting it and adding an abstract quality, as if each band of light is a chapter in the subject’s journey. The details—like the roof tiles, the street sign, and the chairs—serve as grounding elements, situating this dreamlike portrait in an ordinary world that feels surreal through the medium of film.
There's an undeniable introspective quality here, reminiscent of Lee Friedlander's self-portraits, where reflections and obscurations convey a sense of presence and absence simultaneously. The camera around your neck and the Rolleiflex's own presence in the shot anchor the work as both an exploration of identity and a homage to the craft of analog photography. The overall effect is hauntingly beautiful, evoking the feeling of watching someone reflect on their past in a way that only film can truly capture.
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Rolleiflex 2.8GX, Kentmere 400 forced to 1600.
Epson Perfection V850 with Vuescan, SmartConvert and Lightroom.
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