View allAll Photos Tagged Selenium
LEICA M2 SUMMICRON 40
PAPIER BARYTE AGFA BROVIRA GRD 5 /VIRAGE SELENIUM
TIRAGE DE LECTURE
HP5/RODINAL 3200 ASA
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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Rolleiflex sl 66, delta 400, d76 1+1
Ilford multigrade fb classic 5k mat
PQ universal
stop bath water
Alkaline Fixer
Selenium-sepia duotone with dilute bleach bath
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
Lith Prints, Photoshop borders, described here in due time... remorseblog.blogspot.com/2022/01/printing-holme-fen-risin...
Ilford HP5 D76
Print 14x12 Fomabrom Variant IV (old stock fogged) Multigrade Dev. Bleach to get rid of fog Selenium Tone.
HP5 D76
Print on old well expired Foma Variant IV 123. Dev in multigrade. Very fogged paper, highlights grey. Bleached to retrieve them (maybe started to go a bit far at the top) then selenium tone.
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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Part 6 of the series on long exposures simply called Exposed
Just a series on long exposure daytime shots.
Shot from the South Pier in IJmuiden, you can see two other piers in the distance.
Technical info:
10 stops ND filter
f/22
ISO100
1min10s exposure (70s)
Software:
Lightroom 2.0
PS CS3 - Silver Efex Pro - Red Filter - Selenium toning
Explore #250 April 15 2009
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Ilford HP5+ in Ilfotech DDX
91/2x12 Print on Ilford RCV dev in Moersch 4812 Selenium tone.
Meopta Opemus 7 Schneider Companion S 50mm f2.8.
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 April 29, 2007
Nikon FM, Micro-Nikkor 55mm
TMax 100 in TMax RS 1:4
Lith Print Jan 22, 2017
Selenium toned
This was my third or fourth attempt to print this; it took a very long exposure to get any detail in the blossoms. The mottled effect was unexpected.
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.
Last year I took this B&W HDR nightshot of a frozen lake and put it up on Flickr but I never was really satisfied with the final result. So I decided to process it again. I think I'm satisfied now.
f/7.0
ISO 400
Multiple exposures: 6, 20 & 30s.
PS CS3
Photomatix
Silver efex Pro - Selenium tone
Note: Yes, this time you're right: this is an HDR shot
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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
The previous upload made with this 4x5 pinhole negative was a rather grainy Lith print on expired paper. This one is a regular warm-tone print on Rollei Vintage 332 paper, slightly toned in selenium and sepia.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Contact print of 6x12cm negative by Holga WPC pinhole camera.
Fomatone 100 negative developed in D76 1+1 for 10 minutes and printed with WA Developer on Adox MCP. Slight selenium and sepia toning.
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Eastman Kodak 2-D (8x10") with 9 1/2" Wollensak Velostigmat Series II
Fomapan 200 in Pyrocat-HD
Contact printed on Foma 542 II
Developed in Meritol
Toned in Sepia / Selenium
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On tonight's evening news, the weather man predicted we've reached a turning point for this Winter's coldest temperatures. The coming week will bring warmer temperatures and even a bit of rain. Mind you, this is the same fellow that only a few weeks ago, predicted the month of February will be colder then usual. So we shall see. In the mean time, I'll try a selenium tint on this photo from December 26th, when it was indeed very cold and snowy.
I uploaded the untoned print in May this year, and I was always a bit annoyed by the very green hues of it. So I've toned the print in selenium and rescanned and spotted the scan in Gimp. Much better IMO.
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 Ilford Art 300
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
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.
One of my first ever analog photos! Jokingly, I bought the last single use camera they had at some souvenir store on my visit to Bavaria back in 2015. The cashier told me something like "oh but this is still film, you know, no one buys that anymore". I didn't care much, bought it, shot with it, then mostly forgot about it. I had it lying undeveloped in some closet for a few years until I actually had it developed by a local drug store chain. And so, my analog journey started.
It was only recently that I came across the negatives from this camera again while looking through old photos. This one was a stand-out shot to me, it just worked. Originally, it was a color photo but I had the idea of trying it as a lith print in b/w – and so I did.
This was by far the longest photo paper exposure I've had to date. The negative was pretty dense thanks to heavy fog plus it had the brown/orange color masking too.
I've made three different lith prints – including this one. Still have a hard time deciding which is the best but this one hits my original vision the closest, I think.
With its super fuzzy and unsharp look, I kind of wish I had kept the camera itself... makes for very interesting, artsy shots!
Lith print onto Agfa Multicontrast Premium MCP 312 RC with Moersch Easy Lith 1+10
Briefly toned in selenium: Moersch MT 1 1+50
Unknown single use camera + unknown plastic lens + unknown C-41 film (how helpful ;))
C-41 lab development
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Somehow, I urgently needed to make this image. Can't really explain why, but it turned as it should. I'm looking for serenity, but of a slightly disturbing kind, something might happen....
The Robert Rigby 4x5" pinhole camera, new Fomapan 400 film, printed on Rollei Vintage warm tone RC, toned in selenium and just a bit of sepia.
Contact printing on digital negative film and Fomalux SP111 paper (18x24) , development Fomatol PW, bleached in a dilution of 1+40 . sepia toner in a diluition 1+9 and selenium toner in a diluition 1+20.
Another from Þingvellir. Mamiya 645, 80mm lens. Delta 400 in Ilfosol-S. Printed on MGWT, toned in MT3 and Selenium
Claunch, N.M.
April, 1981
Leica M4-2, 50mm
Agfapan 100 in Rodinal 1:50
Lith print Jan 22, 2017 on Fomatone 132 in Moersch SE5 30+30+10/1000ml
Selenium toned
One of my first experiments with lith printing. Unpredictable and interesting if tedious process. Untoned prints tended towards a greenish yellow turning more to a coppery brown with toning.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Just back from a very short break away. For some reason this year whenever I have some leave, the weather just hasn't played ball.
My 1st visit to Porlock Weir, on a very grey and drizzly afternoon, I sat patiently as the tide rolled in, waiting for the rain to ease just enough to try a long exposure shot.
Processed with Nik Silver Efex for monochrome then added a subtle blue Selenium toner effect to the image.