Film camera Minolta 507si, Minolta 24-50/4, film Fomapan 100, dark room, enlarger Meopta Opemus 5, author's hand lith print, Fotospeed lith developer LD20, paper Bromekspress-1

Pinhole film camera Zero Image 2000 6×6, rolfilm 120mm Foma 200, author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1

Gomdruk, gumprint.

Only three layers,

Scheveningen blue,

Transparent yellow

Magenta

Size A4

The surface of the water mirrors many things.

-Masumi Kato

Died on the twenty fourth day of the second month, 1825 at the age of sixty four.

Every few years I like to reread Japanese Death Poems (compiled by Yoel Hoffman and Charles E Tuttle Company.)

The book belonged to my best friend who passed from this Earth about six years ago to a far better place.

2 layer Gum Bichromate print on Strathmore mixed media paper.

With Kallitype print process on Bergger cot 320

Platinum toned

8x10' analogic film

www.instagram.com/stefano.bernardoni/

Wet Cyanotype

Distilled Vinegar

Water colour cold pressed 300 gsm.

Exposure 3hrs under UV lamp.

salt print

8x10 film printed on Arches paper 180gr

Borace gold toned

www.instagram.com/stefano.bernardoni/

Film camera Minolta 507si, Minolta 24-50/4, film Fomapan 100, dark room, enlarger Meopta Opemus 5, author's hand lith print, Fotospeed lith developer LD20, paper Bromekspress-1, scanner Epson 3200

Film camera Minolta 507si, Minolta 24-50/4, film Fomapan 100, dark room, enlarger Meopta Opemus 5, author's hand lith print, Fotospeed lith developer LD20, paper Bromekspress-1

Salt print on Fabriano Artistica.

Chems: Ammonium Chloride and Potassium Citrate and two coats of Silver Nitrate.

Negative is a slightly thin Efke Ir-820 infra-red film.

IR film seems well suited for salt process due to the dramatic range... Need to do more of these come warm weather!

Honolulu, Hawai‘i.

Le Bambole Mk. VIII, "The Pin-Debonair Pinhole Camera". Kodak Ektar 100.

From a series "Off the Right of Way".

Palladium; 10"x15"

Van Dyke brown print

Gumprint, Gum bichromate print, gomdruk.

Original Nikon D80, digital negatives with paint shop.

Paper Fabriano Artistico HP 300 gr.

6 layers:

1: Paris blue

2: Gamboge gum (gummigut)

3: Kraprood (madder red)

4: Lazur yellow + Gamboge gum

5: Alizarin Crimson

6: Pruisisch blauw (Prussian blue)

casein over Chrysotype

from original camera negative

8x10

2012. Сyanotype, author handmade, watercolor paper Daler Rowney 300 g/m2, 20x30cm, scanner Epson 3200

Cyanotype N°70 - Tonifié au maté + café/ yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - Yashica mat 124G + Fuji Pro400H (conversion NB)

Inter-négatif numérique

#cyanotypes #cyanotype #cyanotypeprint #cyanotypeprocess #alternativeprinting #alternativephotography #argentique #analoguephoto #blueprint #ishootfilm #alternativephotographicprocesses #alternativeprocesses #alternativeprocessphotography #todaysalternative #analogphoto #analogphotography #todaysalternative #fisheyelemag #blackandwhite #blackandwhitephotography #cianotipia #cianotipo #experimentalphotography #country #countrylife #countryphotography #countryliving #yashicamat124g #yashica

Original exposure and development:

8th May 2022, mid-afternoon

Chamonix 810V, Rodenstock APO-Sironar S 240mm f/5.6

Ilford FP4+ 10x8 @ 125

560mm bellows

2” f/5.6

510-Pyro 5:500, 10' 20ºC, Stearman SP810 tray

3x 30” tap water wash/stop

4min fix in Ilford Rapid Fixer (currently out of Alkaline fixer; may reinstitute 1min sodium sulphite hypoclear)

wash: 10 fill/dump 1l tap water, 10 agitations per litre

Ilfotol rinse

Print:

15th May 2022 / 22ºC / 52% RH

10x8 contact print from Ilford FP4+ negative on 14x11 Bergger Cot320

3ml Fotospeed argyrotype sensitiver, 1 drop of tween20 solution (mix of 1 drop and 5 drops distilled water)

Paper dried 3hrs25mins, no prehumidification

20mins daylight exposure, overcast, 3.35pm

5mins wash in 1.5l distilled water with squeeze of lemon juice

5mins wash in 1.5l tap water

3mins fix in hypo

1hr final soak

Dried flat for 24hrs

Digitized with Nikon D800E/85PC-E, stitch of two shifted frames.

Cámara estenopeica: lata de cerveza.

Exposición: Septiembre-2017 / Septiembre 2018, 1 año.

Papel brillante Ilford RC multigrado.

Epson V370 scanner.

18x27

Zero Image pinhole camera and a J Lane dry glass plate

25/7/2021

Canon Canonet QL17 GIII / Fomapan 200.

Developed in Wineol

Red wine: 500 ml

Soda ash: 2 full tablespoons

Vitamin C (no sugar): 2,5 gr

Film Fomapan 200: temp. ~24C, 42 min.

Gold Toned Kallitype onto Bergger COT 320, Sodiumacetat Developer

Just a phone grab for now. Will update this with a scan, and hopefully also post the consequent anthotype.

ORIGINAL EXPOSURE

2.30pm, 23/04/22

Subject on white baking parchment

Chamonix 810V, Rodenstock APO-Sironar S 240mm f/5.6

Ilford FP4+ 10x8, EI 64

7" f/5.6, 440mm bellows extension, no movements

Metered +2EV off bright paper.

FILM REVERSAL DEVELOPMENT

26/04/22

DIY B&W Reversal Development to make a slide for anthotype contact-printing

Stearman SP810 daylight tray then white Paterson open tray

Ingredients:

FD: 500ml Ilford Multigrade 1+5 (no hypo addition for EI64), 12mins 20ºC

Second Dev: 500ml Ilford Multigrade 1+9

Bleach: 3% Hydrogen peroxide 500ml, 26.2g EDTA-4Na with 9.5g sodium bicarbonate, 18.33g Citric acid crystals.

Bleach lasts for 3 films only: now exhausted.

Clearing Bath: 500ml water, 12.5g sodium sulphite

Stage 1 in SP810

FD: 12mins 20ºC, standard agitation

First Wash: 5mins with 5 changes of water

Bleach: 20ºC 9mins, constant agitation

Remove lid from tray

Clearing Bath: 2mins, continuous agitation

Second Wash: 5mins with 5 changes of water (easier to put lid back on for this)

Transfer sheet to white Paterson tray.

Stage 2: Re-exposure: 60secs about 45cm with 100watt bulb in inspection lamp;

Stage 3 in Paterson Tray

Second Dev: 6mins 20ºC

Third Wash: 2x rinses with ±750ml water

Fix: 500ml Ilford Rapid Fixer 5mins

Final Wash : 10 changes of 750ml water, continuous agitation (back in SP810)

Final rinse in Ilfotol, 1 min, in Paterson tray.

Will attempt an anthotype soon, using a suitable colour of emulsion, perhaps blackberry.

Kallitype. 20x27cm. Canson paper.

toned in selenium.

Palladium/ Blue toned kallitype on Arches Platine.

Contact print from 8’x10’ Foma film

printed on Bergger cot 320 paper with salt paper process

Gold toned (Borax), beeswax and lavender coated

www.instagram.com/stefano.bernardoni/

Platinum/Palladium-toned Kallitype, 5x7", on Hahnemuhle Platinum Rag paper. Original photo made with a Fuji X-T1.

Platinum/palladium-toned Kallitype test print, 5.5" x 8.5", on Hahnemuhle Platinum Rag paper. In this series of test prints I'm trying to perfect my digitial negatives before I start to make large prints.

Gum bichcromate over cyanotype from swing-lens negative.

Pre-fix lumen print on Jessops monochrome photographic paper

Platinum/Palladium-toned Kallitype print (5x7"). Original photo made with a Nikon FM3A and Agfa APX film

Cyanotype N°256 - Tonifié au maté + acide tannique / yerba maté and tannic acid toned

Papier - Canson Montval

Prise de vue - Holga 120 GFCN - bergger pancro400

Gumprint, Gum bichromate print, gomdruk.

Original Nikon D80, digital negatives with paint shop.

Paper Fabriano Artistico HP 300 gr.

6 layers:

1: Paris blue

2: Gamboge gum (gummigut)

3: Kraprood (madder red)

4: Lazur yellow + Gamboge gum

5: Alizarin Crimson

6: Pruisisch blauw (Prussian blue)

We walk the paths on earth, we appreciate landscapes and moments, we are grateful for what we have lived, because we don't know when we will die.

Quarter plate black trophy-plate aluminum.

J. C. Somerville St. Louis # 2 brass lens.

Pinhole film camera Zero Image 2000 6×6, rolfilm 120mm Foma 200, author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1

Cyanotype N°114- Tonification au maté + café / yerba maté and cofee toned

Papier - Moulin du coq - Le rouge

Prise de vue - konica hexar af + tmax3200

Inter-négatif numérique

#cyanotypes #cyanotype #cyanotypeprint #cyanotypeprocess #alternativeprinting #alternativephotography #argentique #analoguephoto #blueprint #ishootfilm #alternativephotographicprocesses #alternativeprocesses #alternativeprocessphotography #todaysalternative #analogphoto #analogphotography #fisheyelemag #blackandwhite #blackandwhitephotography #cianotipia #cianotipo #experimentalphotography #konicahexaraf #train #trainphotography #lecture #voyage #bnwminimalism #incredible_minimal #tmax3200 #kodaktmax

2012. Сyanotype, author handmade, paper Daler Rowney 300 g/m2, 20x30cm, shift change on a digital camera Canon 5D

Chemilumen Contact Print

Ilford Multigrade RC Deluxe Pearl.

Sprayed with limescale remover and water.

Exposure 6 hours.

Fixed in dishwasher salt over night.

Thoughts: So far really liking the Bergger Cot 320 paper. Has a nice feel and color and seems easy to work with.

Tech: Salt Print

Bergger Cot 320 coated with gelatin.

Graflex Crown Graphic with Schneider-Kreuznach Super-Angulon 90mm f/8

Green Hoya X-1 filter

2 minutes at f45

Arista EDU 100 Black and White 4x5 film.

HC-110 1:100, stand

25x25

With Kallitype print process

Selenium toned after fix

8x10' analogic film

www.instagram.com/stefano.bernardoni/

Cyanotype

Here I used a paper negative then toned in tea as it was rather faded looking in blue.

This was exposed for 30 minutes under UV Lamp.

Printed on water colour hot pressed 300 gsm.

New Cyanotype

from original camera negative

8x10

Packed the car the night before my second field trip so I could get set up before the morning fog burned off.

5x7 alumitype; J. C. Somerville St. Louis # 2 lens.