Darkroom print of 35mm negative on Foma 112 RC, slightly toned in sepia and selenium.

Ilford FP4+ in D76 1+1 for 11:00 minutes. Camera: Nikon F-801s with 50mm/1.8 AF-D.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

… or perhaps selenium would be more accurate (it’s kind of a bluey purple).

This wobbly was taken in May at the RHS gardens at Wisley, from under shady trees looking out on a bright sunny day.

The result was quite curious with this rainfall effect. It reminds me of the pixel sort function that you get in some distortion apps like MirrorLab even though it’s a straight ICM. Normally I don’t get a result that is quite so textured. As the shutter was quite fast there would have been only one movement: straight up (or possible down). The Mistress Serendipity was at play again :)

I tried rendering it in monochrome and was surprised at the result. I thought you might lose the sense of trees but they are still there. I’ve recently previewed more of my wobbly takes in black and white, and some of them seem to work quite well. So that’s another thing for me to explore in my 100x project this year.

Thank you for taking the time to look. I hope you enjoy the image. Happy 100 and Donnerstagmonochrom :)

[Hand wobbled in bright daylight.

Developed in Capture One.

Processed in Affinity with heavy sharpening.

Converted to monochrome in Nik Silver Efex with a light selenium toning, playing a lot with brightness and contrast to get a pleasant balance between the rain and the texturing in the foreground grass, while maximising the rain textures...]

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.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

I realized I needed to work harder on my darkroom skills, if I want to get just a little bit close to the epic landscapes of Don McCullin.

So over the last couple of weeks, I've been teaching myself dodging and burning techniques and more elaborate use of filters for contrast control in the darkroom.

Bottom half is printed grade hard (magenta), sky is burned grade soft (yellow). Toned in selenium 1:19, 3:00 minutes.

Ilford XP2

Lith print on Fomatone 133(current) Moersch SE5 50+50+100OB+900 then Selenium

HP5 ID-11

Lith on Retrobrom

Moersch Easy Lith 40+40+100OB+800water

Selenium tone

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

contact printing on Fomatone fb classic (18x24). paper (18x24) , development Ilford PQ Universal. Selenium toner in a diluition 1+20.

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.

Kingsgate Footbridge above the River Wear in Durham City with a Selenium B&W finish. The student Union Building is on the left

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

A different shot of The Wherry at Whitburn - given a Selenium treatment in Silver Efex Pro

Super Isolette, Tri-x in efd,

Select Sepia VC (PW15),

two tray Lith and Catechol,

untoned on the left,

two toners on the right

1st MT1 Selenium 1+20 one minute,

2nd MT10 Gold two minutes.

Hasselblad 501cm, Sonnar 150mm.

Window light

Ilford HP5 in Xtol, N + 1. 14:15 min.

Printed on Ilford MG and developed in Dektol. Finally toned in thiourea and selenium.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

(... in selenium colour shade...)

View On Black

in Explore Jan 17, 2009

Sometimes I think I'm creeping or crawling... ever and ever again...

but it makes me happy in a way... so please don't wonder...-

meet me beneath... on the floor...

North Carolina Outer Banks wild horse.

Silver gelatin lith print, 2011. 9x12" on 11x14 Fomabrom 112 in Arista Lith, Moersch MT3, Selenium.

Silver gelatin prints available on request.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

Darkroom print on Fomabrom 111 with well seasoned WA Print developer, followed by toning in Selenium 1+19

Negative: Adox CHS II, developed in Rodinal 1:25 for 6:00 minutes

Camera: Hasselblad 500 c/m with 2.8/80mm Planar and 3x yellow filter

Stanton Moor.

A selenium toned image.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

Fomabrom 111 FB paper, Selenium and Sepia toned

A woman stands at the side of the road waiting for a tricycle to pick her up. I shot this image while riding shotgun in a tricycle along a busy road. Vintage selenium toning applied.

Sutter Creek, CA -

BHF, inverted lens

Forte paper, selenium toned

Got myself a "new" old camera on a flea market in Stockholm during my holiday: a Franka Solida II with Ennagon lens in reasonable condition.

This shot was handheld in low light, f4 and 1/50 sec if I remember well.

Darkroom print on expired Agfa Brovira grade 1, slightly toned in selenium and sepia.

--------------------------------------------------------------------------------------------------

Agfa Isolette III with Kodak Tri-X 400 developed in Pyrocat-HD.

Printed on Kodak Ektalure (G)

Two trays lith:

SE5/D/E - Ω/NH4Cl/B

Selenium toned

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

Previously uploaded as a negative scan.

Technical details: Foma 111 FB paper souped in Adotol WA warm tone developer, followed by Adox Selenium 1+19 and Foma Sepia 1+19 A (15 sec) and 1+19 B (1 minute)

Monochrome - toned Selenium with one of Dave Striker's Gradient maps.

Close-up/Macro using a 60mm (equiv. 120mm) with 26mm (16mm + 10mm) Extension Tubes. I found I couldn't get the depth-of-field using a 30mm Macro lens. The extra camera-to-subject distance required with the longer lens gave a better depth-of-field.

Speedlight with 16" softbox.

Carcassonne.

Leica M9 Mono 35mm Color Skopar. Interneg onto Ilford Art 300 Easylith 25+25+950 and a bit of selenium to finish off.

FP4 4x5 in DDX.

16x12 Lithprint Foma Retrobrom in Moersch SE5 1+15 with 100ml OB light selenium tone.

Taken at the Gran Paradiso, looking at the Levanne mountain range opposite the valley. Near Ceresole Reale, Piemonte, Italy.

Taken with a Canon F1n on Ilford FP4. Self-developed in Tetenal Ultrafin.

Printed with a DurstM670, on Ilford MGIV RC, developed in AM6006, selenium toned.

'Scanned' with an iPhone

I shot the same scenery in color:

www.flickr.com/photos/14202200@N00/51177955225/in/datepos...

and

www.flickr.com/photos/14202200@N00/51174302801/in/datepos...

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

a comparsion

Adox Vario Classic in Amidol plus (two tray with Catechol with 10ml Finisher Blue/litre working solution) each one minute

MT3 Vario Schwefeltoner: bleach 1+200 2 mins, toner setting A bright yellow 30 secs (middle)

followed by MT1 Selenium toner 1+20 2 mins (right)

I don´t know why, Amidol prints are particularly susceptible for every kind of toning.

view large (2420 x 800) to find the home- could take time to load

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.

Graflex Crown Graphic on Kodak Plus-X, expired in 1980. It is severely affected by mould, but fortunately I like the effect.

Darkroom print on Rollei Vintage RC 332 with some dodging. Selenium toned to get rid of some of the green hues.

This is my last batch of this paper, it is not available anymore at Macodirect

Acadia National Park, Maine

This is a lith of a previously posted image.

Lith Photo

Selenium toned

Holga Camera

Tri-X Film

This is a Selenium version of an earlier post. I have been studying B&W photography lately and thought of trying it out on this.

Thanks guys for helping make this image to FP (Highest was at No. 8). Cheers! Have a great weekend!

Location: Manila Bay from the Folk Arts Theatre breakwater

A selenium toned version of a picture I posted last year. The field got a little too dark, but I like the ice like effect on the trees in the background.

Happy New Year!

Zenza Bronica SQ-A, Zenzanon-PS 80mm f/2,8

Kodak TRI-X 400 developed in ID-11 1+3, 19min@20°C

Fomatone MG 131 18x24

Moersch Easy Lith 1+15, 9th print in 800ml with replenishment

Adox Selentoner 1+5 6:30min@20°C

Digitised with a Pentax-M Macro 4/100 on a Pentax K-x.

And another one: an older negative, printed only now!

I've found this one a bit difficult to print so that it hits my vision for it just right. After quite a few different prints, I ended up with this one and love it a lot. Especially the softness and creamy tone, pure eye candy.

Never before have I used a two bath lith process but I recently read quite a bit about it and decided to try it for myself with this print. To be honest, I couldn't tell you why I mixed my 2nd developer like I did, I was just told it would make sense that way ;)

As was expected, the paper lost its nice and strong warm color in the second developer but I managed to get this nice creamy tone still.

Paper: Agfa Multicontrast Premium MCP 312 RC

Two Bath Lith:

1) Moersch Easy Lith 1+10

2) Rollei RPN Eco + Moersch Lith B 1+1+75

Toned in selenium (Moersch MT 1 1+10) for a few minutes afterwards.

Nikon F3 + Ai-S Nikkor 50mm f1.8 + Ilford XP2 Super

C-41 development by an external lab.

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

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

Thanks for the tip, @Barry Haines. Need to figure out how to better reduce the noise....