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Long exposure studies in minimalism.
The sky was just like that, almost looks like a waterfall.
Shot taken just around the corner.
Technical info:
10 stops ND filter
Polarization Filter - 2 stops
f/25
ISO100
244s (4min4s) exposure
Software:
Lightroom 2.0
PS CS3 - Silver Efex Pro - Selenium toning
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Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
The Centre Block in Ottawa, home of the elected Canadian Government.
Original:
Plus-X Pan @ ASA-125 in Kodak Microdol-X
Print:
Ilford MGIV RC - Dektol (1+2) 1' - Selenium (1+4) 5'
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Pan tiles on part of a little farmhouse building near Pollença, Mallorca in the Balearic Islands. This is a flatbed scan of a selenium toned print, (Ilford Multigrade III RC paper, I think graded at 3 when I printed it, developed in Ilford Multigrade developer, chromate bleached and redeveloped prior to toning in home formulated selenium toner, provided by a knowledgeable chemist friend). The negative was Kodak TMax 100 ASA, developed in TMax dev, rated at 100ASA and I took the photo using a Leica M42 35mm rangefinder with standard lens (Leica Elmar 50mm f/2.8 pancake lens), back in late May 1996. Apologies for lacking the willpower to spot out all the dust and scratches from the print surface!
Edited in Silver Efex Pro with Kodak 100 Tmax Pro algorithm and selective adjustments as needed. Selenium tint.
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.
Rommelpot woods
Hasselblad 501CM, Plus-x in eco film developer rated at 125 ASA
printed on Varycon in SE6 Blue, bleached (copper bleach) and redeveloped in Easy Lith 1+1+600ml
strong selenium toner (MT1 1+6) 30 secs
litter bin poetry on the banks of the Dreisam ;-)
Nikon F6, 55mm Makro, Kodak TriX in Moersch EFD, Lithprint auf Fomatone MG 131; Moersch SE5 (first tray 50 A , 50 B 1000 H2O, 40 D; second tray 5 Lith Omega 500 H2O), partially bleached, parially selenium and gold toned
Selenium light meters are not known for their sensitivity to low light, but I just wanted to know, so I applied the meter readout in this post-sunset shot. Doesn't look all wrong to me.
I'm developing a lot of respect for the Tessar. It doesn't really excel at any particular thing, but on the other hand, it responded well to all light situations I have confronted it with, which is more than I can say for many much more elaborate lenses.
I have created a new Flickr group dedicated exclusively to the Zeiss Ikon Contaflex line ---> click here
Zeiss Ikon Contaflex IV with Tessar 50mm f/2.8
Kodak Portra 800 colour negative film
Developed and scanned by www.meinfilmlab.de
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.
I have enlarged this 4x5 negative to 38x38cm with 1.8 logD for platinum prints and a softer one for playing with Kallitype. Because my scanner is only for 21x30cm, I made four scans and stitched the parts together in Photoshop.
Printnegative on Wephota FO5 by reversal development
Kallitype on Bergger Cot-320
Toning MT3 Vario (bleach 1+75 2 mins, toner setting "B") followed by MT1 Selenium 1+100 2 mins
Scan from darkroom print, 15 x 15 cm.
From an old forrest, worthy of preservation.
Hasselblad 501 and 150 mm. Red filter.
Ilford Delta 400 at box speed in DDX for 8 min.
Ilford WT in Ilford WT developer + selenium 1:5
8x8 silver print on Ilford WT FB paper, selenium toning.
Scan from print.
Hasselblad 501C, T-Max 100
Darkroom work:double exposure printing from medium format negative (picture,bird) and 8x8 digital (contact ) print -wall.Also-masking,selective bleaching and selenium toning.
Transfert d'émulsion avec virage au Selenium.
Instant Lab. I-TYPE B&W. Impossible project.
Rapid Selenium toner de Kodak. 100ml / 300ml eau à 28°C; 3 min.
Photomaton de mon frère Laurier et moi fin des années 50.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Olympus OM-4
Zuiko 50mm f/1.4
Extention ring 25
Kodak Tri-X 400
HC-110B
Scan from print
Paper: Fomatone MG 132
Developer: Adox Warmtone
Toned in Adox Selenium toner
Digital scan of a 5x7 selenium toned silver gelatin print.
Leica M2, Kodak Trix 400 printed on Kentmere RC paper and toned in Kodak Rapid Selenium Toner.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Part 7 of the series on long exposures simply called Exposed
Just a series on long exposure daytime shots. I wanted to capture the movement by human beings also in this series, so here are some ghosts walking on the pier.
Technical info:
10 stops ND filter
f/22
ISO100
30s exposure
Software:
Lightroom 2.0
PS CS3 - Silver Efex Pro - Red Filter - Selenium toning
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD
Printed on Foma 133
Developed in Catechol/Sepia
Toned in Selenium / MT3
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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.
October, 1992
Leica M4-2, 50mm Summicron f/2
Kodak Ektar 25
Lith print Feb 4, 2017 on Fomatone 132 in Moersch SE5 30+30+10/1000ml
Selenium toned
30 seconds that have been frozen this time. Note: the sea is not frozen, only time...
You should really see this Large On White
Part 2 of the new series with long exposures.
This one is shot on the beach of Scheveningen in The Hague. The part you see is part of the famous Scheveningen Pier, taken while standing right under the enormous pier that also hosts a casino. If you want to know how this shot looks like in colour and treated by a colour expert then check out this version by isayx3 who used this same shot for his PP friday, just check it out, it's amazing.
Why would you take long exposure shots during broad daylight, someone asked me.
Well that can be for various reasons, but very often it is to capture motion in such a way it becomes smooth and solid. Like the small waves and ripples in the water in this shot that are flattened by the long exposure. It gives a more harmonious feel to landscape shots like these. Besides that, the idea of a certain period of time captured and visualized in one image or thought is something that has always amazed me. Time is such a strange concept...
Technical info:
10 stops ND filter
f/18
ISO 100
30s
Software:
Lightroom 2.0 preparations
PS CS3 - Silver Efex Pro - Red filter - Selenium toning
Explore #103 March 21 2009
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Still life
Selenium-toned Van Dyke print
Original shot on Wehman Field Camera, G-Claron 305mm,
Kodak/Carestream T-Mat L/RA
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Darkroom contact print of a 5x7" negative, printed on Rollei Vintage 111 FB, toned with selenium and Foma Sepia (12 sec bleach).
The film used is very special: Agfatone Pan P330p, which is a duplication film. It has expired in 2002 and is not made anymore. I have not found any user manual nor evidence of it being used as a regular film on the internet.
However, it is coated on a nice thick piece of sheet material and I didn't know what to do with it, so I gave it a try and exposed it at 12 iso. The negative came out way too dense, at least 4-5 stops overexposed. I had to give it a lot of light under the enlarger to get through the density at all.
I'll give it another try next weekend and see what it will do rated at 200-400 iso.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Yashica-Mat on Ilford FP4+, printed on Rollei Vintage RC 332, with slight toning in sepia and selenium.
There is something with this print, or rather its scan, that interests me, but I'm not sure what it is. Overexposure of the negative (unsure), or underexposure of the print (for sure)?
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.