View allAll Photos Tagged Selenium
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.
Bei der Goldtonung von Lithprints legen alle Tonwerte an Dichte zu. Deshalb habe ich diesen Print 2/10 Blendenstufen kürzer belichtet.
When toning lith prints with gold, all tonal values increase in density. That is why I exposed this print 2/10 f-stops less.
Paper Select Ivory (PW17)
1st SE5 Lith 30+30+20+1000 ml 5 minutes.
2nd Pyrocatechol 10 ml + Lith B 15 ml + NH4Cl 20% 5 ml + Lith D 1 ml + water 800 ml 4:15 minutes.
1st toner MT1 Selenium 1+10 1 minute
2nd MT10 Gold toner 2:30 minutes.
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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
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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Ilford HP5 D76
Print 14x12 Fomabrom Variant IV (old stock fogged) Multigrade Dev. Bleach to get rid of fog Selenium Tone.
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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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.
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.
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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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Rolleiflex sl 66, HP5, d76 1+1
Ilford multigrade fb classic 5k mat
PQ universal
stop bath water
Alkaline Fixer
Selenium-sepia duotone with dilute bleach bath
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
"bird highway"
Rolleiflex sl 66, Delta 400, d76 1+1
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
selenium sepia split toning
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.
Saxony's only light house!
I got lucky: when I was there, it wasn't all surrounded by water. A small puddle formed that nicely reflected the lighthouse itself.
Love this shot a lot, it simply works for me. From the overall composition to the small intricate details, the lighting and the contrast range. Exactly how I wanted it.
I experimented with Catechol as a second developer here. Either I've messed something up or it's just like that but the smell of the developer was unbearable. I made a second print with slightly more exposure and no second bath and it turned out similar enough. Not quite as colorful, the saturation was a bit less, still more than usable.
Two-bath Lith Print on Fomatone MG Classic 131
1) Moersch Easy Lith 1+20
2) Moersch Pyrocatechol + NH4Cl
Toned in selenium (Moersch MT 1 1+50) for a few minutes.
Seagull 4A + Fomapan 100 in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Nikon FE
Nikkor 50mm f/2
Kodak Tri-X 400
Developed in HC-110
Scan from print
Paper: Fomaspeed var. 312
Toned in selenium
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
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
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
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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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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.
barber time...
Rolleiflex sl 66,delta 400, D76 1+1
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
Selenium toner 1+18 2min
Sepia toner 2min
From Þingvellir.
Mamiya 645, 55mm lens, HP5+ in Prescysol EF. Printed on MGWT and toned in MT3 / selenium
Rolleiflex sl 66, delta 400, D76 1+1
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+24 2min.
Sepia toner 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. ;-)
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyro-48
Printed on Select Sepia VC (PE)
Developed in Eco 4812
Selenium 1+10
MT3 (B)
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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
Mounted Focomat V35 print.
I'm still without a scanner hence the snapshot.
Mounted 9.5x12" selenium-toned silver gelatin print.
I'm spending as much time as possible in the darkroom these days, printing new work.
I hope you're all having fun!
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.
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Cambo Wide 650 (6x12) - with Fuji Acros 100 developed in PMK
Pictorico OHP digital negative
Contact printed on Orwo 118
Two trays lith development
Selenium / Gold
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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
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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
This print was slightly lighter than the previous example before toning.
Polychrome print on Forte PW15
1st toner SE1 Selenium 1+20 2 mins on the left,
2nd toner MT10 Gold (16th print in 450ml) 2 mins - not a good idea, because the print was already too dark for this toning, the density increases considerably as expected. A wrong decision, but an example to demonstrate what happens and how such results can be corrected.
On the right, an attempt to lighten a print that was far too dark. Because there is still enough untoned silver after the gold toning, it can be bleached with Ferricyanide and then fixed.
Ferricyanide-Bromide bleach 1+100 1:30 mins, ATS Fixer 1+5 15 secs.
Result: reddish Selenium shadows and bluish lights (much bluer than before bleaching).
A drawback is the excessive brightening of the highlights if bleaching is carried out until the lower mid tones are brightened as desired.