View allAll Photos Tagged Selenium,
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
This is a reimagined 1939 Bugatti -- using a Type 64 chassis, one of three in the world, a body was designed by artists and car buffs at The Peterson Automotive Museum in Los Angeles, California. Apparently only the chassis had been built, allowing the people who constructed this the freedom to imagine what Jean Bugatti may have built had he lived. These are the papilon (butterfly) doors. I used Lightroom CC and a toned selenium filter, with some tweaks, to enhance the beautiful art deco feel to this piece of art.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD.
Printed on Foma 133
Catechol/SE1 Sepia
Selenium / MT3
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Blanche.
Une nouvelle série avec des images non utilisées de mes différents shooting.
Le point commun , un traitement au Sélenium : Se.
A new series featuring unused images from my various photoshoots.
The common thread: a selenium treatment: Se.
Song by Animation.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
For those of you who don't like sunrises!
The last of my Catherine Hill Bay shots and the last (probably) from my beloved but very replaced D90. The D600 has arrived!
30 sec exposure with Hoya ND400.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Silver gelatin prints available on request.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Silver gelatin prints available on request
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Silver gelatin prints available on request
Darkroom print on Fomabrom 111 in WA developer, followed by Selenium 1+19
Negative: Ilford FP4+ in R09 1:25 for 9:00 minutes
Camera: Hasselblad 500 c/m, Carl Zeiss Distagon 4.0/50mm, Orange filter
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD.
Printed on Select Sepia VC
Two trays development:
Catechol+FB
SE1 Sepia
Toned in Selenium/Thiourea/Carbon
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Silver gelatin prints available on request
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Silver gelatin prints available on request
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Silver gelatin prints available on request.
Tmax 400 - XtolR- Leica M3-Zeiss ZM 50mm F/2. Printed on Adox MCC 110 toned with Moersch MT3a and selenium
image on the left liquid emulsion print , sepia+selenium toned .image on right :liquid emulsion print. : original image negative scan
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This is a B&W/Selenium toned version of the previous uploaded one. Otter Cliff is in the distance. (image M1A7024bw-selenium) Please also visit: acadiamagic.com.
NOTE: All images are Copyrighted by Greg A. Hartford. No rights to use are given or implied to the viewer. All rights of ownership and use remain with the copyright owner.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Nikon f90X. Película Argenti Pan-X 100 Iso (Similar a Agfa APX-100) Revelador Gago StacP2 1+9 25ºC.5 minutos. Papel Foma Fomatone 131. Revelador Gago ToqueGrafic+ Softonate. Virado al selenio-sulfuro. 18x24 cm. Selenium-sulphide toned.
Combarro, Poio, Pontevedra. Agosto 2008.
iPhone snapshot of an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
This is my second attempt in lithing this pinhole shot. The first print was too dark after drying.
Taken with a broken Rolleiflex SLX with a 0.32mm pinhole cap in Freiburg.
Lith printed on Fomatone MG Classic with very diluted Moersch SE5 developer. A few seconds toned in selenium for stronger blacks. View large on black
Scan of the print I made for publication in an artsy book / magazine.
Duotone (sepia and selenium) on Ilford Multigrade RC paper
Hasselblad 503cw + 50mm lens
This picture is an instance of a mistake paying off. I took this shot with the lightmeter set at ISO400 instead of 100, resulting in my cursing and an underexposed negative. Curiously, the properly exposed shot is not nearly as interesting.
The toning was fraught with problems too. I bleached it a tiny bit, rinsed, put it in the sepia, rinsed, then put it in the selenium. No sooner did I put the print into the second toner than something began to precipitate out, making large dark flakes in the bath. I thought the emulsion was coming off and I whipped it out and into cold water. Phew! Saved, but never to be duplicated.