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Developed on the basis of experience gathered internationally with the other 2A8 variants, the 2A8+ cE features the latest upgrade package for the central European Forces.
View towards Addingham, Addingham High Moor.
19/6/17
Taken with Yashica Mat with yellow filter.
Ilford HP5+ 120 format film.
Developed myself in Rodinal 1 + 50 11 Mins at 20C.
Ilfostop.
Fomafix P.
Scanned with Epson V550.
Adjusted in Lightroom.
062004.
Alien art
We have been developed according to the tree of life.
The current biological development-stage is not enjoyable. We suffer from illnesses (mentally and physically), from aggressions we do to each other, etc.
We are that what nature could do until now in our biological development. Our societies couldn’t do much either to lead us to a better life. We are stuck, our scientific, technological and psychological knowledges are no help too. We kill other human beings, inflicting suffering to each other. We are not in a proper stage of our biological development, we didn’t biologically develop enough. We have a lot of warriors and guns ready to kill others. We prepare us and plan for the very sad actions.
Maybe some aliens are very lucky that they could able to pass this horrible stage we are in now.
We are not able get it that "killing any human being for any reason is not acceptable". Our feelings and emotions put us on a road which doesn’t have any exits.
patrickjoust | flickr | tumblr | IG | prints for sale
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Konica Hexar RF and Voigtlander Color-Skopar 21mm f/4
Kentmere 400 developed in Xtol (1:2)
The new Bothell Landing Pedestrian Bridge over the Sammamish River in Bothell, Washington. This was my submission for Worldwide Pinhole Photography Day, April 25, 2021.
Photographed with a Voightlander 116 Roll Film Camera, the lens was replaced with a pinhole.
Pinhole - 0.5mm,
Focal length - 135mm,
Aperture - f/270,
Exposure - 10 minutes,
Film - Kodak Contrast Process Panchromatic 4X5 expired Jan. 1961 (Cut down to fit),
ASA - about 5,
Development - Rodinal 1:100 Semi Stand for 1hr"
Portland developed a reputation early on in its history as a hard-edged and gritty port town. Some historians have described the city's early establishment as being a "scion of New England; an ends-of-the-earth home for the exiled spawn of the eastern established elite." In 1889, The Oregonian called Portland "the most filthy city in the Northern States," due to the unsanitary sewers and gutters, and, at the turn of the 20th century, it was considered one of the most dangerous port cities in the world.
My DIY drier for home-developed film.
A result from attempt #3 of developing E6 film, Lomography X-Pro 200, in B&W then C41 chemistry. This time, I developed in Rodinal 1:25 at 38C/102F for 30 minutes, fogged the film for 3.5 minutes on each side, then developed in Unicolor/Argentix developer at 38C/102F for 25 minutes, followed by 6.5 minutes in blix.
E6 chemistry is not the easiest for me to get, plus its shelf-life is short, and I don't shoot too much E6, so those are the reasons for me for trying this method. I only have another 2 rolls of E6 film; two other Lomography X-Pro 200 rolls. I may try this method, with some alterations again, or cross process them. Don't think Rodinal and Lomography X-Pro 200 are the most ideal, but just experimenting with what I have available at the moment; it produces a lot of grain and an orange tint, which needs to be colour corrected. I read that Provia 100 and HC-110 is a good combo.
Pentax K1000
Lomography X-Pro 200
Rodinal/Blazinal --> Unicolor/Argentix
Epson V550
Camera: Pentax 6x7 MLU
Lens: Takumar 35mm f/4.5 Fisheye
Filter: Red, R60(R2)
Film: HP5 Plus developed in Rodinal 1+50
Scanner: Plustek OpticFilm 120
Sorry for posting another cattle egret, but there wasn't much else to shoot at WW this morning. I thought it was nifty how the wings are still developing on this juvenile.
And I embraced
Where lovers rot...
Her ghost in the fog
Mysterious walk through the woods at Chedoke Rail Trail.
Born between the late 50s and early 60s from the complex beats of Brazilian carnival Samba, and developed by guitarists such as João Gilberto (and even Coleman Hawkins with his 1962 'Desafinado'), the Bossa Nova postcarded Brasil and the multiculture of Rio de Janeiro around the entire world. Rosinha de Valença was one of several real talents to fly with the breeze. By her release of "Um Violão Em Primeiro Plano" in 1971, experimentation of the form was producing such gems as this version of 'Summertime' which starts as if it should sit on Nick Drake's 'Pink Moon' and finishes like the end of a VistaVision film.
Two films of Rosinha playing closer to the Bossa Nova years:
www.youtube.com/watch?v=8SMu8QtfyOg
www.youtube.com/watch?v=4ByHT3U_2DY&list=LL&index=1
Rosinha was born in 1941 in Valença, Rio de Janeiro and passed away in the same area in 2004. She was truly "de Valença". Valença is around 80km behind the wonderfully named Sugarloaf Mountain, just after Volta Redonda.
AJM 03.11.22
Press play and then 'L' and even f11. Escape and f11 a second time to return.
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
I developed the lumen photograms in dilute developer, or fixed direc, or first bleached before processing, then developing in dilute paper developer and then fixing. They now should be real to light. When first bleaching it goes more to gray black, when first developing it keeps the brown color from the exposure.
Looking west late afternoon, with dew points in the mid-60's, it was only a matter of time when instability would erupt.
patrickjoust | flickr | tumblr | IG | prints for sale
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Mamiya C330 S and Sekor 80mm f/2.8
Fujifilm Neopan 100 Acros developed in Xtol (1:1)
OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 40-150mm F2.8 PRO + MC-14
Developed by Adobe Photoshop Lightroom CC 2015.8
Expired Fuji Superia 400, C41 50 min x 2 in Tetenal, developed in the kitchen, room temperature.
Zorki C (1957) with Industar 22 lens. Flash on.
Really starting to miss colour film now.. I have a fridge full to develop but need to focus on ironman training until the end of August..
Here is a film scan from last autumn
Leica M6 + Leica Summicron 75mm f2 APO + Kodak Vision3 200T motion picture film + 85B filter
Sophie (again sorry!)
Home C41 developed & Epson v800 scan (colours as scanned)(scanned as lose film) - mrleica.com/2016/11/04/c41-colour-film-developing/
4/52 - Teleidoscope theme: "Develop"
Uma foto Simples, sem manipulação (tirando a parte das cores) e totalmente improvisada.
agradeço ao meu amigo Adriano por me ajudar com a Luz.
(com o quarto escuro eu usei um pequeno refletor, enrolado em uma cartolina para fazer a iluminação.)
Ah! minha foto anterior ganhou como melhor da semana no grupo "The Teleidoscope"
[ Press Press Press Press Press Press Press Press Press Press Press L ]
Chevrolet’s arch-rival, Ford, was keenly aware of the importance of Chevrolet’s new Corvette. Henry Ford II lured former GM executive Lewis Crusoe to help develop the new car for Ford. Crusoe was joined by several others including Ford chief designer, Frank Hershey.
Franklin Quick "Frank" Hershey (1907–1997) was an American automobile designer and student of General Motors Vice President of Design Harley Earl. Hershey is known for his 1932 Peerless V-16 prototype, 1949 Cadillac tailfins, and the 1955 Ford Thunderbird. Hershey was born in Michigan, and raised in Beverly Hills and La Puente, California. He attended Occidental College where he majored in forestry. Hershey served in the Navy during World War II.
In 1952, Frank Hershey was hired to head the Ford Division studios. After several years with Packard, he went to Ford where he designed the 1953-1957 full sized Fords. According to an interview given by Hershey to James W. Howell in 1995, George Walker had been hired as the public face of Ford design. Hershey designed the landmark Ford Thunderbird, and admitted so in a 1954 interview, which created friction between Walker and Hershey.
Hershey began working on a two-passenger open vehicle with a Ford Interceptor V8 engine, based on the upcoming Ford overhead-valve V8 engine, slated for introduction in the 1954 models. Hershey based his two-seater on one of his favorite English sports cars, the Jaguar XK120. The car would have the same wheelbase, interior seating position, steering wheel angle, and pedal angles.
On 18 May, 1953, Crusoe was shown a painted clay model that closely resembled the final car after comparing it favorably with the current European trends. Henry Ford II approved the final design concept and Crusoe gave the go-ahead for production in September.
Even as the 1957 Ford Thunderbird went on sale, its future was in doubt. Frank Hershey assigned Rhys Miller and Bill Boyer to prepare facelifts for 1956 and 1957, but its long-term prospects were murkier. If the Thunderbird was indeed a promotion, as Tom Case said, there was little reason to continue it once its tooling costs were paid off.
Lewis Crusoe understood that the main impediment to Thunderbird sales, aside from price, was the car’s limited practicality. With no rear seat and almost no trunk space, it was for customers who could afford two or more cars. In the fall of 1954, he asked Boyer and crew to explore the possibility of a stretched, four-seater Thunderbird, known internally as project 195H (the H standing for the number 8, meaning the 1958 model year).
If Frank Hershey was truly the father of the Thunderbird, he was not well rewarded for his efforts. In May 1955, George Walker became vice president of Ford Styling, the first time the Ford Motor Company had such a position. Hershey had never cared for Walker’s team and being passed over in favor of Walker was a bitter pill to swallow. Shortly after Walker’s ascendancy, Hershey was gone; Dick Samsen says that McNamara fired him, but Hershey later claimed that he resigned to avoid being fired by Walker. Hershey went on to work at Kaiser Aluminum.
Shortly before Walker’s promotion, Ford established a separate Thunderbird design studio. Headed by Bill Boyer, the Thunderbird studio had its own stylists and body engineers, allowing it a surprising degree of independence from the rest of the Styling department. The studio’s first challenge was to turn the 195H four-seater concept into a production car.
Rollei 6003 Pro / Zeiss Planar 80mm 1:2.8
Ilford HP5+ / Minolta Autometer IVF / Epson Perfection 4490
Self-developed in Kodak D76 (stock)
Development details on FilmDev
Press "L" it's worth.
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You can follow my street work at my secondary Tumblr blog: www.tumblr.com/blog/smilefromthestreetsyoushoot
Enjoy. Why not? Of course you will. I know, you know it.
Nikon FE2 + Ai Nikkor 50mm/f1.8 using Adox Silvermax (ISO100) developed for 12 min. in 1/40 Rodinol at 20C in a LPL an old stainless steel lid tank with the usual inversion method. Printed with an LPL 7453 enlarger +fujinon-EP 135mm/5.6 lens at f16/35sec with 00-56-23 filter settings.. Paper is 5x7 iAdox MCC110 processed with Adotol WT developer and Rollei Selenium Toner II. Dry-mounted with a Seal Junior 60 press on PGI museum board and scanned on a CanoScan LiDE 40 scanner.
This tree is behind the wall of a university guest house. I pass by it almost every morning and photograph it each spring.
Decided just to make it 4 shots rather than 5 so you don't get bored😀. So here is shot 3 of 4. The rainbow is quite intense now and still holding that weird shape. There's probably a name for it.