View allAll Photos Tagged Selenium
Canon EOS 30
EF 50mm f/1.8
Kodak Tri-X (@200)
Kodak HC-110 B (@800)
Fomabrom variant 112
Ilford Multigrade dev.
Adox Selenium toner
Kallitype toned in Selenium. Original image made with Intrepid MKII 8x10 with Intrepid MK2 8x10 with Fujinon f/6.7 W 250 and Fomapan 100 (ASA 50) developed in Rodinal 1:50.
Digital negative made with Pictorico Transparency Film printed on Epson R3000. Contact printed on Hahnemuhle Platinum Rag under Edwards Engineering 18x20 UV lightbox for four minutes.
Fomatone 132
Lith&Catechol
MT1 Selenium toner 1+20 45 seconds
Schleiervermeidung bei Zweibad-Lith
Die beiden speziellen Entwicklerkonzentrate (Siena und Catechol) für farbigere Bildtöne nach Lith sind angesäuert um sie für Jahre haltbar zu machen. Sie benötigen also wie der Lithentwickler ein Alkali, um sie zu aktivieren, wobei dann noch keine sonderlich farbige Entwicklung stattfindet. Erst der Zusatz von Ammoniumchlorid verursacht eine höhere Farbigkeit als die, die schon im Lithentwickler entsteht. Bei der Mischung der drei Komponenten sollte ein pH-Wert zwischen 9.5 und 10 erreicht werden. Bei einer gegebenen Menge von Entwicklerkonzentrat (z.B. Pyrocatechol 20ml auf 800-1000ml Wasser) werden etwa 10-15ml Lith B zur Aktivierung benötigt. Wird auch Ammoniumchlorid zugesetzt, sollte die Menge zunächst nur bei etwa 10ml (oder weniger) liegen wobei der Bedarf an Alkali dann auf 20-30ml steigt. Das Mischungsverhältnis und die Verdünnung mit Wasser ist für jedes Papier leicht durch eigene Versuche zu ermitteln. Bei einem ersten Versuch sollte besonderes Augenmerk auf einen eventuell vorhandenen Schleier beim unbelichteten Bildrand gerichtet werden. Ein leichter Schleier mag tolerabel sein, oder wird nicht unbedingt sofort erkannt. Ist jedoch eine Selen-, Gold- oder Schwefeltonung vorgesehen, kann es zu einer bösen Überraschung kommen, denn diese Toner verstärken gnadenlos jeden noch so schwachen Schleier. Bei einer zu hohen Menge von Ammoniumchlorid und Alkali nimmt der weiße Bildrand eine schwach gelbliche Farbe an. Sollte dies der Fall sein, ist ein Zusatz von Antischleiermittel erforderlich. Von Lith D (1+4 verdünnt) werden dann 0,5 ml bis 3 ml pro Liter Entwickler benötigt um den Schleier zu unterdrücken.
Preventing fogging with two-bath lith process
The two special developer concentrates (Siena and Catechol) for more colourful image tones after lith development are acidified to make them last for years. Like the lith developer, they require an alkali to activate them, although no particularly colourful development takes place at this stage. Only the addition of ammonium chloride causes a higher colour intensity than that already produced in the lith developer. When mixing the three components, a pH value between 9.5 and 10 should be achieved. For a given amount of developer concentrate (e.g. 20 ml of pyrocatechol in 800-1000 ml of water), approximately 10-15 ml of Lith B is required for activation. If ammonium chloride is also added, the amount should initially be only about 10 ml (or less), in which case the alkali requirement increases to 20-30 ml. The mixing ratio and dilution with water can be easily determined for each paper by conducting your own tests. During the first test, particular attention should be paid to any fogging that may be present at the unexposed edge of the image. A slight fogging may be tolerable or may not be immediately noticeable. However, if selenium, gold or sulphur toning is planned, this can lead to an unpleasant surprise, as these toners mercilessly intensify even the slightest fogging. If the amount of ammonium chloride and alkali is too high, the white image edge takes on a faint yellowish colour. If this is the case, an anti-fogging agent must be added. Lith D (diluted 1+4) is then required in quantities of 0.5 ml to 3 ml per litre of developer to eliminate the fogging.
Rolleiflex sl 66, Hp5, D76 1+1
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+9 2min
Sepia toner.
I would like to prepare a photo exhibition.
If you would like to help me with this project, you can write to me.
The silver print is looking for a new home. ;-)
Isolette, Plus-x in efd,
print negative onto Arista Litho by reversal development,
Kallitype onto Bergger Cot-320
developer sodium acetate
clearing bath citric acid
ATS fixer
MT14 Selenium Toner 1+100 2 minutes, followed by
MT7 Iron Blue Toner 2+2+4+2+600ml 1 minute
Efke IR820 rated at 6 ASA, Finol 1+1+100
Kallitype on Hahnemühle Platinum Rag, sodium acetate developer.
Bleached on the left and redeveloped with SE6 Blue. This produces larger silver crystals, which has the advantage of not having to fear the fading that usually occurs when toning with selenium (made for silver gelatine). The hue is cooler than before.
Middle: MT1 Selenium toner 1+30 45 seconds.
Right: If a cooler shade is desired, it can be toned again in Iron Blue Toner (5+5+10+5+400ml one minute). Because of the combination with selenium, the resulting colour is initially on the greenish side. A post-treatment with lead acetate (2.5% solution 20 seconds) shifts the colour to a cooler blue.
Selenium toned Kallitype on HPR.
The print negative was made from a scanned Lumen Print.
In order to be able to use the normal selenium toner without the disadvantage of fading, the Kallitype (developed in sodium acetate) was first bleached and re-developed with SE6 Blue.
After that MT1 Selenium toner 1+25 30 seconds.
Rolleiflex sl 66, Delta 400, DDX
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+19 2min
I would like to prepare a photo exhibition.
If you would like to help me with this project, you can write to me.
The silver print is looking for a new home. ;-)
Rolleiflex sl 66,hp5, DDX 1+4
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+9 2min.
Sepia toner.
Darkroom print on fogged Kentmere 8x10, selenium toned then vanadium.
RZ67, 180mm lens Foma 100 in d76
Rolleiflex Sl 66, Delta 400, DDX
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+19 2min.
I would like to prepare a photo exhibition.
If you would like to help me with this project, you can write to me.
The silver print is looking for a new home. ;-)
Flower.
Another flower from the accidental photo shoot in the garden centre on the phone. It’s a bright yellow flower. Honest :)
The crop is everything in the composition I think. But, knowing me, you will guess that I took it originally slap-bang in the middle of the frame. How the two halves of my brain struggled with placing the flower off centre in the processing... cold sweat and shaking ensued.
So this was about one-quarter of the frame of the phone’s jpeg (not very good quality but good enough for a grainy treatment like this). Better to have used a raw image from the phone but I didn’t know about that then….
For the Thursday Monochrome group.
Thank you for taking the time to look. I hope you enjoy the image :) Happy Monochrome Thursday!
[Handheld in daylight on a breezy day.
From the Jpeg in Affinity first used curves to increase the colour contrast, and get the luminance range across the image.
Inpainted to get rid of the spots and blemishes on the flower petals that are inevitable with outdoor plants.
Converted with Nik Silver Efex trying to get an even balance of tones with not too dark a flower centre and a little texture on the petals. Darkened borders to give a box vignette and draw us into the image. My favourite Selenium toning and we were done.]
Hasselblad 501CM, Planar 100 with extension tube, yellow filter.
Delta 400 in Pyro 48.
Paper Select Ivory (PW17)
Developer Meritol 1+10 3 minutes.
Right toned version:
Mt1 Selenium Toner 1+10 1 minute for the shades and MT7 Iron Blue Toner for midrange and lights 5+5+10+5+500 ml 40 seconds, followed by Lead acetate 2,5% sol. 20 seconds.
National Museum - Edinburgh
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD
Printed on Foma 131
Developed in Catechol/sepia
Toned in Selenium/MT3
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Beavertail State Park, Jamestown, Rhode Island
The plan was to catch a sunset at Beavertail State Park after work. There wasn't an interesting cloud in the sky, but I stuck around to look for a composition for next time, and noticed some nice highlights reflecting off the rocks, some bits of snow left over from an early April storm, and the west side of Beavertail Light. With an eye towards B&W I threw on the gold-n-blue polarizer for contrast and pop, a grad ND to knock down the sky, and a standard ND to calm the waters. (The color version with the gold-n-blue filter was ghastly.) This was my first deep dive into Silver Efex Pro. That's some powerful stuff. "Selenium" refers to the tone used in SEP.
I'm pretty happy with the Nik Collection. It's relatively straightforward, and I find a little fiddling goes a long way. It's also now free; I was shocked and pleasantly surprised when I noticed an unsolicited refund on my credit card last week!
Filters: gold-n-blue polarizer, 2-stop soft-edge GND, 6-stop ND
TriX in Jobo Alpha
Polychromeprint (though in this case it is more an Oligo-, but it get's more flesh anyway) onto Kodak Bromide + selenium
Rolleiflex sl 66,delta 400, D76 1+1
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
Split toning selenium sepia
I jhimages.co.uk I Twitter I
This is an long exposure for around five minutes. I used two Hitech Filters a Ten stop and a Three stop. It was an overcast day but there were clouds which were moving fast which made the movement in this image.
From my recent trip to Finland, the Uspenski Cathedral in Helsinki.
For some reason, my scanner seems to have problems rendering the fine warm nuances in the print. It does with all prints made on this paper. Tried to faithfully adjust the white balance in post here so that it actually matches the print.
Print on Labaphot Labaspeed AS 314 PE with Rollei RPN Eco 1+9
Briefly toned in selenium (Moersch MT 1 1+50)
Nikon F3 + Nikkor 20mm 1:3.5 + Ilford FP4+
Film processed in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Pretty fuzzy, almost like a Holga, to some degree. Shot wide open, the Seagull 4A TLR camera certainly has some Holga-esque quality to it ;)
Love how dramatic and fuzzy this image is! Can't even make out my beautiful tie, what a shame! ;)
This camera is all new to me, I just wanted some 6x6 camera that doesn't break the bank, is relatively small and lightweight and just... works. I've only had it for two days at this point but I already like it a lot!
Labaphot Labaspeed AS 314 PE in Rollei RPN Eco 1+9
Toned in selenium (Moersch MT 1 1+10) for ~10 minutes
Seagull 4A + Kodak T-MAX 100 (expired '04; EI 64)
Rodinal 1+50 @ 20 °C (roughly an n-1 development, untested, time guessed)
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
An older negative printed only now. Certainly something for the lith grain fetishist ;)
I much prefer this lith print over my original upload which was simply a direct negative scan. This print has such a heavy, dramatic look to it and fits the subject much better, I believe.
Fomaspeed Variant 313 in Moersch Easy Lith 1+10
Briefly toned in selenium: Moersch MT 1 1+10
Nikon F3 + Sigma 24mm f2.8 Super Wide II + Kodak T400CN
C-41 processing by an external lab
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Taken in a valley in Northern Iceland.
Mamiya 645, 80mm lens. APX100 in XTOL.
MGWT in WT, MT3/selenium
Sailboat moored off Babson Island. Same foggy morning - we were en route to the loop hiking trail.
Interestingly enough, Michael suggested trying the selenium toning during the processing. This is different from his usual practice of yellow split-toning, and I think it does evoke the blue in the morning fog.
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD
Printed on Foma 542 II
Developed in Catechol/Sepia
Toned in Selenium / MT3
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Final print .
first day - test print, pilot print, analyzing.
second day - work on the final print, toning with selenium, drying.
third - sepia toning, final drying.
fourth day - continued drying
fifth day - continued drying.
sixth day - mounting in passepartau.
Ilford multigrade fb classic 5k mat
PQ universal
stop bath water
Alkaline Fixer
Selenium-sepia duotone with dilute bleach bath
Darkroom print of 6x6 fomapan 400 negative on Agfa Brovira grade 2 matt, using Compard warm tone developer. Toned in selenium and just a touch of sepia.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
In August I was wandering around St John’s College in Cambridge (you will perhaps recall the chapel and the stained glass window wobblies). And there I was, clicking away with the camera…
The college is one of the richest in the University (and, by implication, one of the richest in the world). The buildings are grand and imposing.
But the place was a disappointment to me. The green spaces were just grass and there seemed to be no love of flowers or soft aesthetics. All power and intimidation and little heart or soul. Or perhaps it was just me .
This was one of the several cloistered walkways I came across. All very photogenic in a cliched sort of way.
To make this image different I lowered the viewpoint and took it off-centre. Then, in Silver Efex (that tool of wonder), I created a dark and moody version to add atmosphere. The day was really bright and hot so it didn’t really look like that. The image was lightly selenium toned to give it a subtle coldness to match my mood.
I’ll post the in-camera version in the first comment so that you can see how I played.
Thank you for taking the time to look. I hope you enjoy the image. Happy Monochrome Thursday :)
HP5 dev in Rodinal 1+25 6x9cm
Print Fomatone 532
Moersch Easylith 1+20
Plus 2 stops 8mins
Selenium 1min
91/2x12 print. My enlarger doesn't go to 6x9cm so 6x7cm crop
Hurrah back in my darkroom.
Richmond Park, which is located in south-west London in the borough of Richmond Upon Thames, is perhaps best known for the hundreds of red and fallow deer freely roaming its 2,360 acres. Its wildlife and nature reserves have been a source of interest for photographers over the years, and the park's vast open spaces have inspired many landscape artists over the years, as well as serving as a site for numerous films and television series.
I first began visiting the location on a regular basis in the summer, scouting at sunrise for spots that I thought would make captivating images. As summer gradually turned to autumn and the scenery's colours began to change, there was a steady increase in the amount of fog and mist forming each morning. This added a mystique to the entire landscape, but the scene at the centre of the park became truly magical. A trench had been dug in the early 17th century to drain the area, creating the Pen Ponds, where streams now flow from higher ground and where a selenium-based prototype weapon that could be used against German Zeppelins was tested during the first world war.
This two-minute exposure of the larger of the two ponds was taken on a calm, crisp and chilly autumn morning. My aim was to capture the surreal layer of fog covering the water, but also the soft pink tones in the sky, reflected in the pond shortly before the sun emerged on the horizon. The final image was edited from a single exposure, so in comparison with the architectural images I work on, which often require multiple exposures and Pen Tool selections in Photoshop, it was a very straightforward image to process.
The highlights, shadows and contrast were corrected using Curves and Levels adjustments, and Colour Balance adjustments with Apply Image layer masks used to target the brighter and darker portions of the image, bringing out the colder tones along the trees and water at the same time as the warmer tones in the sky. I then emphasised the intensity of the fog by adding a low-opacity Colour Lookup, setting this to Bleach Bypass and the Screen blend mode, and applying a reflective Gradient Mask across the centre of the frame. Using Silver Efex Pro set to the Luminosity blend mode, I increased the structure in the foreground trees and amplified the Whites across the image. Then, using Colour Efex Pro, I applied a gentle amount of Tonal Contrast to the shadows and a Pro Contrast adjustment to the overall image, excluding the sky where I wanted to retain the soft texture and gradual shift in colour. The final adjustments were made using luminosity masks, which I used to target and tone down the highlights and to apply a small amount of vibrance in the sky, as well as enhancing the natural vignette along the edges of the water.
Throughout post-processing, it was important to me to retain the clean, natural and low-contrast finish to what struck me as a beautifully minimalist scene. On this foggy morning, when the only sound came from the occasional bird or deer in the distance, the scene seemed worlds apart from the everyday stampede of Central London.
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