View allAll Photos Tagged PushProcessing
Shoulder to shoulder, they form an impenetrable line against intrusion.
Film: Ilford HP5+ pushed to 1600
Camera: Hasselblad X-Pan with 45 mm lens
Developed in Ars-Imago #9 (rodinal) 1:99 semi-stand.
Digitised with an Epson V850 using Silverfast. Positive conversion and levels done with Negative Lab Pro.
Nikon FM2 - Nikkor 50 1.4 AI - Ilford HP5+ @ 1600 - semi-stand develop - Rodinal 5+350 - 90 min, agitate every 15 - dslr scan
Film: Rollei Retro 400S @ 800 ISO | Develop: HC-110B, 10:45 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Alcohol/gel inkjet transfer onto aluminum roof flashing
Original shot with a Holga 120N
Boston, MA
There's a bit more about this image on my blog. pushprocessed.blogspot.com/2012/02/willow-aluminum-roof-f...
Kentmere Pan 400 pushed 2 stops and reversed in PQ Universal + toned in Kala Namak or Himalayan Black Salt.
May2024.
Just outside of Stuttgart, Arkansas USA.
Foma100@200.FujicaST801.Fujinon100mm-M42screwmount.YellowFilter.HC110(e).AGOFilmProcessor.CameraScan:FujifilmXH1
moody winter sea and skies on the Sydney coast, early July (winter) 2020. Olympus OM4-Ti with OM Zuiko 28mm f/2, Ilford HP5+ @ISO800 in Microphen developer dilution 1+1. V700 scan and Lightroom 6.
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.
No advertising posters in this escalator tunnel compelled the shot, taken with a Leica M5 and Kentmere 400 film
Film: Rollei Retro 400S @ 800 ISO | Develop: HC-110B, 10:45 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Dusk on Bai Tu Long Bay, Vietnam (neighbor bay to Ha Long)
Kodak Retina IIIC, Schneider-Kreuznach Xenon 50mm f/2
Kodak Tri-X 400 @ 800
Xtol 1+0, 20C, 8mins
Epson Perfection V800 Photo
Film: Rollei Retro 400S @ 800 ISO | Develop: HC-110B, 10:45 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Film: Rollei Retro 400S @ 800 ISO | Develop: HC-110B, 10:45 mins @ 20°C | Scan: Plustek OpticFilm 8200i
G turns 7 today!
Minolta X-700 - Vivitar Macro 55 2.8 - Ilford HP5+ @ 800 - Rodinal 1+50 - dslr scan
Kentmere Pan 400 pushed 2 stops and reversed in PQ Universal + toned in Kala Namak or Himalayan Black Salt.
Best enjoyed with Dark Ambient / RUREX
the question is what're you gonna' do to get there?
the answer is whatever it takes
Holbrook, Arizona
Kodak Portra 800 (Pushed 1 Stop)
Nikon F3
Nikkor 50mm 1.4
Processed @ Oscar's Photo Lab
Scan of Kentmere Pan 100 pushed 3 stops and reversed to slide in PQ Universal
Best enjoyed with Dark Ambient / RUREX
June2025. Agriculture along US-70 in Carlisle, Arkansas USA. IlfordFP4@400.FujicaST801.Fujinon100mmM42.YellowFilter.Diafine3+3.Wash:AGOFilmProcessor.CameraScan:FujifilmXH1
Over recent months, I have had one main photographic subject (look a few photographs back and guess...), which, for many reasons, is unlikely to make it to my photostream. Amongst other things, this makes me all the more eager to see something in the few photographs of other things that I *do* find a moment to take, and to search harder for something appealing from earlier rolls and dngs.
Here is one taken a few months ago (read a year-ish), with a Nikkormat EL I had recently purchased. Normally, and as I did when I first looked at it, I would dismiss the photograph: the exposure leaves a lot to be desired in the valley landscape, and the composition is not quite right. But, it is one of perhaps three photographs on the roll that are not intensely personal, and so, I have looked at it again, and again, again, and begun to see something else in it, a mood that is, perhaps, more than the sum of the not wholly convincing parts.
So, here it is. The valley below Bwlch Nant yr Arian, Ceredigion. Nikkormat EL, Nikon E 35/2.5. Ilford FP4 plus (@500), 510 Pyro. No editing beyond lifting the shadows a little.
Buy me a coffee/roll of film: www.buymeacoffee.com/photomuso
Silverlake, Los Angeles
Asahi Pentax Spotmatic
Kodak Tri-X 400
Push Processed to 3200
HC-110 1:100 2 hours Stand-Dev.
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Have a great weekend, friends!
Kodak Eastman Double-X pushed 2 stops and reversed in PQ Universal + toned in Kala Namak or Himalayan Black Salt.
Best enjoyed with Dark Ambient / RUREX
Film: Rollei Retro 400S @ 800 ISO | Develop: HC-110B, 10:45 mins @ 20°C | Scan: Plustek OpticFilm 8200i
Lots of drama over the lake. I'm finding that I really like the grain of pushed Tri-X.
Tri-X shot at ei 1600, stand developed in caffenol-c-l.
After camping in the rain and snow for two days, I was restless and had to move. This is the Icefields Parkway, linking Banff and Jasper, looking south toward Bow Pass. When I broke camp and began driving south, there was nothing to see except dense fog. And then... shining mountains! I pulled over and squeezed off a few shots.
I happened to be using one of the certifiably worst lenses Nikon ever made, the cheaply made, low-priced, low-performance 35-70 mm, with a polarizing filter. It didn't matter all that much. Being there mattered. I used this shot in a photo column I wrote for Explore magazine, and then it was consigned to the archives.
Half an hour later I was in Bow Pass, above the fog, in glorious sunshine, tramping through fresh snow. I felt rejuvenated, but this was the best shot of the day - the promise proving more rewarding than the reward itself. Or maybe it was just me, seizing a moment. As for that lens, it fell apart in my hands - literally - two and a half years later, on a -20C morning in Saskatchewan. I threw away the pieces and replaced it with a Tamron 28-200 mm, which proved more versatile and optically no worse. It, too, is long gone. Lenses come, lenses go, I don't get attached. They're only tools.
Photographed in Banff National Park, Alberta (Canada); scanned from the original Fujichrome Provia 100 slide, pushed to ISO 200 (1-stop push in processing). Don't use this image on websites, blogs, or other media without explicit permission © 1998 James R. Page - all rights reserved.