View allAll Photos Tagged PushProcessing
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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The incoming tide was pushing its way around the smooth stones of the beach creating some beautiful swirls and flows. The light was strong but suited black and white film photography.
little walk through Point Douglas the other day. Liked the way the devil graffiti was in the shaded side, and the heart was on the sunny side.
Shot on the Canon AE-1 Program with Ilford HP5+ pushed 1 stop, developed in Rodinal and scanned with an Epson V600
people sometimes say
"i've had an out-of-body experience"
when, really, it's the other way around
we don't have out-of-body experiences
what we are having is an in-body experience
First Exposure - Payson, Arizona
Second Exposure - Scottsdale, Arizona
Kodak Portra 800 (Pushed 1 Stop)
Nikon F3
Nikkor 50mm 1.4
Processed @ Oscar's Photo Lab
Nikon FM2n | Nikkor 50mm 1.8 AIS | Ilford Delta 3200 @ 6400 | Kodak HC110b | Epson V500 | Adobe Photoshop
Film: Rollei Retro 400S @ 1600 ISO | Develop: HC-110B, 16:00 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Pentacon Six TL w/ Carl Zeiss Jena Biometar 120mm f/2.8 and Kodak TMax100 (Kodak Xtol 1:1, Ilford rapid fixer). f/6.7, 1/500s. Epson V600 and EpsonScan @ 4800 dpi, downsized to 2400 dpi. Retouched and cropped.
Ever since I've gotten back from Hamburg I've been a bit paranoid about the P6's lightmeter. Except for when you got a white background and a dark skinned model in front, the lightmeter is usually quite accurate with the fresh battery.
However, I've noticed that my F3 tends to overexpose a stop or two whenever I'm in doubt.
In this particular case I thought that I had underexposed two stops due to the overexposed readings I got in the shade with the F3. So I decided to push the film to EI 400 (a bit extra is usually never a problem with an underexposed negative). But I read from the wrong line in my notes, so it was the times for Xtol stock. Luckily it was only about one stop push for 1:1. The negatives turned out just on point. A bit more contrasty than you expect TMax negatives to be, but that's probably due to the push.
In hindsight, f/6.7, 1/500s isn't that far off from Sunny 16 (ie f/16, 1/100s for ISO 100), which would be f/8, 1/400s or f/7.1, 1/500s. Just 1/6 of a stop difference.
I really like this series. Strong-minded nudes of an athlete in harsh light. It could be a propagandistic photos for Freikörperkultur. It was also the first time working with this particular model, who usually just do wedding fairs.
The location however, it was a bit ironic. Because when I scouted it a couple of days in advance it was almost completely empty except for some customs officers (it's near the Öresund Bridge), but when we did the shoot on a Saturday, it was quite a bit more people. So we couldn't use all the locations that I had in mind.
Model: Jenny
Agfaphoto APX400@800
A frozen, misty morning in Normandy, France. It's not the first time I mess up the film development, so this is slightly darker than should be... I decided to go with it, so it looks like a night shot.
I left all the scan dust in for artistic effect... & a some pure laziness on my behalf!
With digital SLR's i was frustrated by sensor dust, with film it is dusty negatives & scanners...
You can never win!!
Pentax 67
45mm f/4
Fujicolor Superia Reala 100
Pushed to ISO 200.
Grad Filter.
Crete, Greece.
2009.
Agfa Standard Model 255 (116 format) with Ilford HP5 Plus 120 film used with 116 backing paper, developed in RO9 One Shot 1+25, 8 minutes at 20ºC.
photo-analogue.blogspot.co.uk/2017/11/116-day-november-20...
photo-analogue.blogspot.co.uk/2017/12/agfa-standard-model...
2020-07-10
Nikon FE2
Nikon Ai 35mm f/2 lens
Kodak Tri-X 400 (800-push) 35mm film
Kodak Xtol (1+1) film
20ºC - 11min