T-Max Developer
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FP4 N+1 in Tanol,
Gold toned Kallitype after fixer,
paper Hahnemühle Platinum Rag
developer Sodium acetate
Holga 120N, Efke IR820, eco film developer,
Kallitype.
Directly used MT17 Selenium toner decreases the saturation. After a pre-toning with Lead, the opposite happens.
TD: Kodak Tri-X 35mm film, developer D76 1+1 8'20°C. Exposure ISO 400 @35mm lens, available light. Digitized with Alpha 6000 edited in ACR, inverted in CS6.
It used to be a pub. The Sun Inn offered everything the traveller needed including accommodation and a beer garden behind the building. These days, pubs are being converted into residential homes and developers make sure that the yard behind is turned into accommodation too, rental or other.
Fuji X-Pro1.
(Image taken with an Analog film camera).
Black & White Film: Rollei Retro 80s @ISO 40.
Filter: Red, Support: Tripod with timer
Scan with Plustek 8100@3,600dpi, then edit contrast with Nick Silver Efex Pro2 & ACDSee Photo Editor 11.
Notes: Using Rollei Retro 80s for the first time, negative came out dense, next time will try ISO 64 and 9 minutes on Xtol @ 1:1.
(Location: Smyrna Dunes Park, New Smyrna Beach, Florida).
Thanks for your visits, comments, faves, and views.
Das Record Rapid ist eines der Papiere, die keinen, oder nur wenig Verzögerer im Lithentwickler benötigen. Easy Lith FT Special enthält jedoch eine größere Menge Kaliumbromid. Dennoch kann dieser Entwickler verwendet werden, das Papier benötigt dann jedoch eine erheblich längere Belichtungszeit. Unabhängig von der Entwicklerabstimmung liegt der Snatch-Point normalerweise bei etwa 10 Minuten. Auch bei einer längeren Belichtungszeit kommen dann die Lichter nicht wesentlich farbiger, es sei denn, es wird ein zweiter Entwickler für die Lichter eingesetzt. Nach der üblichen langen Entwicklungszeit im Lith, bringt der zweite Entwickler allerdings nur wenig Effekt, weil die Lichter schon ausentwickelt sind. Soll ein anderer Ton für die Lichter erzeugt werden, muß die Entwicklungszeit im Lith verkürzt werden, damit der zweite Entwickler noch ausreichend unentwickeltes Silbersalz vorfindet. Allerdings würde dann das, für dieses Papier übliche tiefe Schwarz fehlen. Deshalb braucht es eine kurze Behandlung mit einem Nachbrenner (mit B oder Omega) nach dem Lith. Sobald sich ein tiefes Schwarz in den Schatten zeigt, wird zweimal kurz gespült, bevor im Siena die noch fehlenden Lichter entwickelt werden. Das mag kompliziert klingen, doch erfahrene Lithprinter werden dies nachvollziehen können.
Record Rapid is one of the papers that require little or no restrainer in the lith developer. Easy Lith FT Special, however, contains a larger amount of potassium bromide. Nevertheless, this developer can be used, but the paper then needs a considerably longer exposure time. Regardless of the developer adjustment, the snatch point is usually around 10 minutes. Even with a longer exposure time, the highlights then do not come out much more coloured, unless a second developer is used for the highlights. After the usual long development time in the lith, however, the second developer brings little effect because the highlights are already developed out. If a different tone is to be produced for the highlights, the development time in the lith must be shortened so that the second developer still finds sufficient undeveloped silver salt. However, the deep black that is usual for this paper would then be missing. Therefore, it needs a short treatment with an afterburner (with B or Omega) after the lith. As soon as a deep black appears in the shadows, a short rinse is done twice before the still missing highlights are developed in the Siena developer. This may sound complicated, but experienced lith printers will be able to follow this.
Delta 100 4x5 in MZB,
Kallitype on HPR, Ferric oxalate no.4 toner test, Sodium acetate developer.
MT3 Vario toner: bleach 1+50 30 secs, toner setting A50+40+900ml 30 secs.
Holga, Delta 400 @800ASA in Finol,
reprinted as Kallitype, based on a lith print from 2010,
COT-320, Sodium acetate developer, alkaline Copper toner 20 secs followed by MT3 Vario toner setting D, without prior bleach.
Analogue Photography
4X5 Wisner Field Camera
Schneider 180mm f/5.6 lens
Tri-x Professional 320
Developer HC-110
I shot this fence from the other side last year, under very similar conditions (sunset, fine weather), so apologies for the repetition if it looks familiar!
Happy Fence Friday
Late afternoon on a walking track around local coastal wetlands in Sydney, March 2021.
Camera: Canon EOS100
Lens: Canon EF24-105mm f/3.5-5.6 IS STM
Film: Ilford HP5+
Developer: Ilfotec HC dilution 1+47
Scan: Epson V700
Post processing: Lightroom 6
Please don't use this image on websites, blogs or other media without my explicit written permission. © copyright 2021 Lynn Burdekin. All Rights Reserved.
Chateau Frontenac from the St-Lawrence River, Quebec, Que, Canada
Detroit Publishing Co., 1890
Original picture:
Library of Congress, USA
©Detroit Publishing, Co., 1890
© Alain Girard, Restored & Colorized, 2022
In the 1870s, a restoration project began in Quebec under the British governor general of Canada aimed at restoring the capital to its former 17th century look. One of the contributors to this project was Lord Dufferin, who supervised the construction of the old city wall and many public buildings that followed the theme of old, medieval, European Quebec. Dufferin also made a plan to reconstruct the Chateau Saint-Louis which was located on the cape where the Chateau Frontenac currently stands and served as the home of the French governors from 1620 to 1834. Dufferin's plan did not take off until the City Council and the Board of Trade adopted the idea and planned to instead construct a grand hotel on the site to attract upper-class tourism to the area, but after failing to finance its construction, businessmen from Toronto and Montreal with connections to the Canadian Pacific Railway took control of the project.
The Château Frontenac was completed in 1893, and was designed by American architect Bruce Price and overseen by William Van Horne, the Canadian Pacific Railway's general manager and a key developer of the Canadian railway hotel system. The hotel was a part of a series of Chateauesque-styled hotels built for the Canadian Pacific Railway company during the late 19th and early 20th centuries. The last of the Canadian Pacific Railway's Chateauesque hotels was completed in 1908, leaving the rival company Grand Trunk Railway to continue the trend. The hotel was expanded in 1924 to designs by William Sutherland Maxwell. The 1924 expansion saw the addition of the hotel's central tower, which was built by Anglin-Norcross of Montreal. The hotel was named after Louis de Buade, Count of Frontenac, who was the Governor General of New France from 1672 to 1682, and again from 1689 to 1698.
The World War II Allies met during the First and Second Quebec Conference (in 1943 and 1944 respectively). During these conferences, officials including American President Franklin Delano Roosevelt, British Prime Minister Winston Churchill, and Canadian Prime Minister William Lyon Mackenzie King, discussed strategy for World War II.[15]
In 1953, this hotel was used as the filming location for the final scene in Alfred Hitchcock's film I Confess, featuring Montgomery Clift and Anne Baxter.
In 1993, the hotel saw another expansion, with the addition of the new wing that included a pool, fitness centre, and outdoor terrace. On June 14, 1993, Canada Post issued 'Le Château Frontenac, Québec' designed by Kosta Tsetsekas, based on illustrations by Heather Price. The $C0.43 stamp features an image of the hotel building, and has a perforated edge and is 13.5mm square .Printed by Ashton-Potter Limited.
July 2025 Entry
Location: Shannon Rd, San Jose, CA
Date: January 24, 2025
Camera: Linhof Master Technika 2000
Lens: Nikkor-W 150mm
Film: Ilford FP4+
Exposure Index: 125
Bellows Extension: 150mm
Bellows Compensation: 0
Exposure: 1/15s @ f/11 .7
Developer: Kodak HC-110 1:62
Development: Tray (continuous agitation)
Temperature: 20°c
Developing Time: 9’ 0” (Normal Dev)
Digitized: Nikon D850 w/Nikkor Micro 55AiS
Full Frame
-Thomas
Cadillac Place, formerly the General Motors Building, is a landmark high-rise office complex located at 3044 West Grand Boulevard in the New Center area of Detroit, Michigan. It was renamed for the French founder of Detroit, Antoine Laumet de La Mothe, sieur de Cadillac
The ornate class-A office building was constructed of steel, limestone, granite, and marble between 1919 and 1923
In 2001 GM moved the last of its employees into the Renaissance Center on the Detroit River.[7] In 1999, General Motors transferred the property to New Center Development, Inc., a non-profit venture controlled by TrizecHahn Office Properties which acted as developer and began renovation on the upper floors which GM vacated in 2000.[8] The Annex was constructed shortly after the main building, and in the 1940s, it was connected to the adjacent Argonaut Building with a pedestrian bridge on the fourth floor. A parking structure was constructed to the east across Cass Avenue and also connected with a pedestrian bridge. A third bridge was constructed across Grand Boulevard in the early 1980s, to connect the building with New Center One and the St. Regis Hotel.
Government of Michigan—Cadillac Place[edit]
The building now houses several Government of Michigan agencies under a 20-year lease agreement approved in 1998. At the end of the lease, the State has the option to purchase the structure for $1.[9] The building's 2002 renovation to house State offices was one of the nation's largest historic renovation projects.
Upon completion it was renamed Cadillac Place as a tribute to Detroit's founder, Antoine Laumet de La Mothe, sieur de Cadillac.
Cadillac Place currently houses over 2,000 State employees including the Michigan Court of Appeals for District I. The building's former executive office suite serves as the Detroit office for Michigan's governor and attorney general, and several Justices of the Michigan Supreme Court have offices in the building.
Abandoned John Deere Loader in Pomona, Georgia
Ilford FP4+ film developed in HC-110.
Test shots with new Canon IV 35mm rangefinder.
I cut a piece of plastic bird netting and laid it on the direct positive paper when I was loading the camera. I put the camera back in the dark bag and removed the netting prior to developing with Eco Pro Developer and fixer.
Late afternoon light on Sydney's Dee Why beach, winter 2020.
Camera: Olympus OM4-Ti
Lens: OM Zuiko 21mm f/3.5
Film: Ilford HP5+ bw film
Developer: Ilfotec HC dilution 1+47
Scan: Epson V700 @4800dpi
Postprocessing: Lightroom 6
Please don't use this image on websites, blogs or other media without my explicit written permission. © copyright 2020 Lynn Burdekin. All Rights Reserved.
Only just taller than a tree ...
El Capitan in afternoon light (and forced perspective).
590nm IR-converted Pentax K-5
SMC Pentax 1:3.5 35mm
Iridient Developer
Kallitype
Hahnemühle Platinum Rag, Potassium Citrate developer, ATS alkaline fixer:
untoned
MT10 Gold toner
MT3 Vario toner (thiourea)
The sodium acetate developer produces the coolest image tone in Kallitype.
One or the other user may well have doubts about this. If the results are not as cool as expected, this is not due to the developer but to the workflow. A really cool tone is only maintained if the print does not come into contact with tap water before fixing. If the print is rinsed with tap water after the developer or the clearing bath, the image tone will be significantly warmer. It is not a question of which shade is perceived as more pleasant, but rather an advantage to know how to control the colourfulness.
For toning before fixing (platinum, palladium, gold), a rinse cycle is advisable in order not to change the property of the toner by introduced acid. For all tonings after fixing, a cooler initial print has the advantage of a higher maximum blackening. This is not decisive for successful toning, but differences in hue and saturation become apparent.
Left: developer, Citric acid clearing bath 1% (with demineralised water), ATS acidic fixer.
Right with a short rinse with tap water after the clearing bath,
Got back to the VSCC Derbyshire Trial to start my motorsport photography season off this year, and what an event again! The VSCC put on a great day. Shot the entire day on black and white film, and the old Hasselblad felt right at home.
Plenty more posts to come over the next few days as I have a lot of film to get through...
Camera // Hasselblad 500CM
Film // Ilford HP5 (pushed to 800)
Developer // Ilfotec HC (B)
Scan // Camera scan
"An early-morning walk is a blessing for the whole day."
Henry David Thoreau
“What is the good of your stars and trees, your sunrise and the wind, if they do not enter into our daily lives?”
E. M. Forster
“We can only appreciate the miracle of a sunrise if we have waited in the darkness” -Unknown
Illustrations/code-names for the development team here at work.
If you have a problem - if no one else can help - and if you can find them - maybe you can hire: The Developers.
A coworker and I went to see the Valley of Fire State Park for an afternoon. The park is a 1h drive north-east of Las Vegas, Nevada. He is our star developer, who is very productive, and comes up with creative ideas. I took this shot with his Xiaomi Redmi 5 mobile phone.
I processed a photographic and a paintery HDR photo from a single mobile phone exposure, merged them selectively, and carefully adjusted the color balance and curves. I welcome and appreciate constructive feedback.
Thank you for visiting - ♡ with gratitude! Fave if you like it, add comments below, like the Facebook page, order beautiful HDR prints at qualityHDR.com.
-- Xiaomi Redmi 5, HDR, 1 JPG exposure, 2019-03-04-sam-sheffres_hdr1pho1pai1f.jpg
-- CC BY-NC-SA 4.0, © Peter Thoeny, Quality HDR Photography
Wooden Bridge Road in the Korstian Division of Duke Forest.
A second exposure, in softer light from a passing cloud.
Pentax K-1
SMC Pentax 1:1.8 85mm
Iridient Developer
Rollei SL66SE, Carl Zeiss Planar 80mm f/2,8, Konica Infra-red film IR750 developed in Kodak D76, digitised by photographing the original negative on a light pad - tethered capture and digital development in Lightroom.
The Jura peaks are roughly 30km away in a northwesterly direction, seen from the same viewpoint as that for the previous photo. The use of long wavelengths (750nm) makes for a haze-free image.
en.wikipedia.org/wiki/Pow%C4%85zki_Cemetery
Leica Vario-Elmar-R 1:3.5/35-70 E67 (S/N: 3662380)
Agfa APX 400 @400ISO
Fomadon Excel 1+1 for 12 min. (20C)
Another lith re-interpretation of an older negative. I love how this one turned out, very colorful and nice tones overall!
The paper used here was ancient Revue BS 13 RC stock that was completely fogged. I couldn't even make a test strip as it would simply turn 100% black in normal developer. I ended up eyeballing/guesstimating the exposure time instead.
The print has a slight texture of microscopic black dots all over it. You can hardly see it on this upload.
I like this print much better than the direct negative scan I uploaded to Flickr a while ago.
Moersch Easy Lith 1+20
Nikon F3 + AF Nikkor 50mm f1.8 + Kodak Tri-X Pan 400
HOYA Yellow Filter (if I remember correctly)
Expiry date: 1990s (?)
Exposure index: 320
Scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
February 27, 2021
San Ysidro Creek Land Preserve
Montecito, California
Pentax MZ-S
Pentax smc P-F 24-50mm f/4 Kodak T-Max 100
f/6.7 1/45 ISO 100
XTOL Developer Stock 7 1/2 Minutes
Epson Perfection V550 Photo Scanner
0.01 inches recorded for the month of February...
This is a bulk gas carrier and guess what. That is a gas power station in the backround
Shot from Portishead Quay as the BRO Developer approaches Avonmouth.
Leica M2
Leica Summilux 35mm f/1.4 II
Ferrania P30
Adox Silvermax Developer (1+29)
11 min 20°C
Scan from negative film
A Willow Oak (Quercus phellos), a true oak named for its willow-like foliage, leans out over the river at Eno River State Park
Pentax K-1
SMC Pentax 1:1.8 55mm
Iridient Developer
Camera: Nikon F + Nikkor 55mm f1.2
Film: Ilford FP4 Plus 125
Developer: Adox Adonal
Scanner: Epson v300
Leica M2
Leica Summilux 35mm f/1.4 II
Ferrania P30
Adox Silvermax Developer (1+29)
11 min 20°C
Scan from negative film
Aria on the Bay is a high-rise condominium located in the Omni/Edgewater neighborhood at 1770 North Bayshore Drive, Miami, Florida, USA overlooking Margaret Pace Park and Biscayne Bay in Miami's Arts & Entertainment District, Aria on the Bay location is conveniently located to Downtown Miami, Design District, Wynwood, The Beaches and Brickell. It was approved at a height of 535 feet (163 m) in 2015 after an initial notice of presumed hazard by the FAA, who recommended a height of 460 feet. The 53-story building will have over 648 units ranging from 813-2365 sq ft as well as commercial space. Aria on the Bay is being developed by Melo Group and is designed by Arquitectonica who is handling the architecture, interior design and landscape.
Credit for the data above is given to the following websites:
Every time I come to San Francisco, there is some kind of smart-ass billboard along the highway ... "ask your developer," it says.
Ask her what? Whether Twilio is better than some other provider? Whether the cloud is here to stay? Who comes up with these crazy signs?
Fortunately, it doesn't matter very much ... by the time I come back again, this billboard will have been replaced by something else just as mysterious.
Note: I chose this as my "photo of the day" for Nov 21, 2015
************************
In early November 2015, I flew from New York to San Francisco to take a weekend street-photography workshop under the tutelage of Eric Kim. As you might expect, I took gazillions of photos; but not all of them were specifically associated with the workshop itself. On the way out to San Francisco, I took a bunch of pictures with my iPhone; and during the weekend, I took a number of photos that had little or nothing to do with street-photography per se.
I’ll upload the photos in dribs and drabs during the next several days, and let you decide which ones are sufficiently interesting to warrant a second look…