Painting with Developer
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HP5 in Finol,
Kallitype, Sodium acetate developer,
1st MT12 Cobalt toner 12+9+7+4+450ml 1:30 mins
2nd MT7 Iron Blue 4+2+4+3+400ml 2 mins
3rd Lead acetate 3% 1 min.
As I mentioned a few days ago, I am currently looking into the production of ferric oxalate, not because I am dissatisfied with Bostick&Sullivan's product, but merely out of a thirst for knowledge.
I do not know the recipe of B&S, presumably it is iron(III)-nitrate and oxalic acid.
In my first attempt I followed the recipe of Pizzighelli and Hübl (ferric hydrate and oxalic acid). An interesting alternative, but time-consuming.
In the second attempt, it was iron(III)-nitrate and oxalic acid. The time required is similar, but with fewer steps.
The substance is not clearly defined, which makes it difficult to determine the exact content of oxalate solutions. The prevailing opinion is that the solution for the platinum process should contain 27% iron(III)-oxalate, for the Kallitypy 20%.
For practical purposes, the determination method using the specific gravity is sufficiently accurate, although any free oxalic acid present cannot be determined.
For the Kallitype, a specific gravity of 1.13 results in a solution of about 20%; for the comparison of the mode of action, the three oxalate solutions were brought to exactly this value. The measurement of the pH value showed clear deviations between the (acidic) solutions, which indicates different contents of free oxalic acid.
Paper: Hahnemühle Platinum Rag
Developer: Sodium Acetate
To obtain comparable densities, different exposure times were necessary.
From left to right:
B&S 3 minutes, P&H 2:30 minutes, Ox (iron nitrate) 2:15 minutes.
Wie schon vor einigen Tagen erwähnt, beschäftige ich mich momentan mit der Herstellung von Eisen(III)-Oxalat, nicht weil ich mit dem Produkt von Bostick&Sullivan unzufrieden wäre, sondern lediglich aus Wissensdrang.
Die Rezeptur von B&S ist mir nicht bekannt, vermutlich handelt es sich um Eisen(III)-Nitrat und Oxalsäure.
Bei meinem ersten Versuch bin ich nach der Rezeptur von Pizzighelli und Hübl (Eisen(III)-Hydrat und Oxalsäure) vorgegangen. Eine interessante Alternative, doch der Zeitaufwand ist hoch.
Beim zweiten Versuch waren es Eisen(III)-Nitrat und Oxalsäure. Der zeitliche Aufwand ist ähnlich hoch, allerdings bei weniger Arbeitsschritten.
Die Substanz ist nicht klar definiert, was es schwierig macht, den exakten Gehalt von Oxalat-Lösungen zu bestimmen. Nach vorherrschender Auffassung sollte die Lösung für den Platinprozeß 27% Eisen(III)-Oxalat enthalten, für die Kallitypie 20%.
Für die Praxis ist die Bestimmungsmethode über das spezifische Gewicht hinreichend genau, wobei allerdings ein eventuell vorhandener Anteil an freier Oxalsäure nicht festgestellt werden kann.
Für die Kallitype ergibt sich bei einem spezifischen Gewicht von 1.13 eine etwa 20% Lösung, für den Vergleich der Wirkungsweise wurden die drei Oxalatlösungen auf exakt diesen Wert gebracht. Die Messung des pH-Wertes zeigte deutliche Abweichungen zwischen den (sauren) Lösungen, was auf unterschiedlichen Gehalt an freier Oxalsäure hindeutet.
Papier: Hahnemühle Platinum Rag
Entwickler: Natriumacetat
Um vergleichbare Dichten zu erhalten, waren unterschiedliche Belichtungszeiten erforderlich.
Von links nach rechts:
B&S 3 Minuten, P&H 2:30 Minuten, Ox (iron nitrate) 2:15 Minuten
Kallitype 19x19cm.
modified mixture again (added one drop Na2 5% to two ml sensitiser), with the aim of largely maintaining the cool tone after acetate developer, which normally disappears during clearing.
After some attempts on HPR this time on COT-320.
Bloomington architect George Miller designed this beautiful Queen Anne style house for Edward & Ora Gridley in 1885. Edward Gridley was the son of Asahel Gridley, a local land developer and attorney. The house was preserved by Alice Light McTurnan, whose family lived here from 1904 to 1996.
The Edward & Ora Gridley House is a contributing property in Bloomington's East Grove Street District. This residential historic district includes 43 houses and apartment buildings, 25 of which are considered contributing buildings. The houses in the district were built between 1855 and 1915 for many of Bloomington's upper middle class residents. Due to a building boom between 1880 and 1900, the then-popular Queen Anne style is the most prevalent in the district. Other popular architectural styles in the district include Greek Revival homes from the 1850s, Italianate homes built between 1860 and 1880, and Arts and Crafts homes built in the 1900s. The district was added to the National Register of Historic Places (NRHP) in 1987.
Bloomington is the seat of McLean County. It is adjacent to Normal, and is the more populous of the two principal municipalities of the Bloomington-Normal metropolitan area. Bloomington is 135 miles (217 km) southwest of Chicago, and 162 miles (261 km) northeast of St. Louis. The estimated population of Bloomington in 2019 was 77,330, with a metro population of 191,067.
Ilford HP5 35mm film, developer ID-11 10' at 20°C. Exposure ISO 400 @35mm lens, available light. Digitized with Alpha 6000 edited in ACR, inverted in CS6.
Efke IR820 in Eco film developer,
Kallitype onto HPR,
Ammonium citrate developer,
MT10 Gold toner after fixing.
(Image taken with an Analog film camera).
Black & White Film: Ilford FP4 @ISO 100.
Camera: Pentax Spotmatic (1964),
Lens: Tele-Lentar 105mm f2.8 (1980)
Notes: Is truly a wonderful experience to be able to take pictures with a 58-year-old fine machine like the Pentax Spotmatic.
Copy negative with a DSLR, edited with Nick Silver Efex Pro2. Shooting data recorded and Exif data input with AnalogExif.
Location: Sanford, Florida).
(Press "L" or click on the image for a large view).
Thanks for your visits, comments, faves, and views.
Chair and drying octopus, Parikia, Paros
July 1975
photo by Mary Lou
2400 dpi scan of a 6x6 cm Kodak VP120 negative
Mamiya C220 TLR, 80 mm lens
Affinity Photo
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.
FP4 N+1 eco film developer.
Kallitype onto HPR.
On the left, Ockre developer (rochelle salt/tungstate mixture) untoned.
On the right, short gold toning with the aim of achieving a cool highlight colour while retaining reddish shadows. The desired highlight colour is achieved after just one and a half minutes in the MT10 gold toner; the shadows are not yet completely toned, but are already significantly cooler.
Zwischendurch mal etwas zum Aufwärmen.
Linhof Technika Tmax 100 in Tanol,
Kallitype onto HPR,
developer Rochelle salt and Sodium tungstate mixture.
Catecholentwickler haben den Nachteil, daß sie als giftig eingestuft sind und als Warnhinweis auf der Flasche ein Totenkopf-Piktogram aufweisen müssen. Auch das Hydrochinon der Lithentwickler ist als gesundheitsschädlich eingestuft. Bei Konzentraten besteht für Anwender allerdings nur eine Gefahr, wenn man das Zeug schluckt oder darin badet. Es macht also eigentlich keinen Sinn, das Catechol aus dem Zweitentwickler nach Lith zu verbannen. Ein Austausch gegen eine ungefährliche Substanz ist möglich, aber nicht ökonomisch. Der Ersatzstoff ist erheblich teurer, im Grunde also eine nutzlose Spielerei. Ein erster Versuch zeigt auch eine etwas kontrastreichere Wirkung, was sich aber noch ändern ließe.
Linke Seite: Lith gefolgt von Brenzkatechinentwickler
Rechte Seite: Lith gefolgt von 2,5-Dihydroxibenzene Kaliumsalz Entwickler.
Catechol developers have the disadvantage that they are classified as toxic and must have a skull and crossbones pictogram on the bottle as a warning. The hydroquinone in lith developers is also classified as harmful to health. With concentrates, however, users are only at risk if they swallow the product or bathe in it. It therefore makes no sense to ban catechol from the second developer after lith. Replacing it with a harmless substance is possible, but not economical. The substitute substance is considerably more expensive, so it is basically a useless gimmick. A first attempt also shows a somewhat higher-contrast effect, but this could still be changed.
Left side: Lith followed by pyrocatechol developer
Right side: Lith followed by 2,5-dihydroxibenzene Potassium salt developer.
Olympus OM2, red filter, Kodak High-Speed Infra-Red film developed in Kodak D76, negative scanned, digital processing in Lightroom.
The geotag is accurate to a few hundred metres only.
Heading north from Jones Gap on the Bartram Trail, Nantahala National Forest
Pentax K-1
SMC Pentax 1:3.5 35mm
Iridient Developer
Zero Image pinhole camera + FP4 in Pyrocat HD
Thanks to everyone for comments and "favs" appreciated always.
Live Oaks (Quercus virginiana), Spring Island, South Carolina
590nm IR-converted Pentax K-5
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Nikon N80 (2000)
Nikon ED Nikkor 28-200mm 3.5-5.6G
Ilford SFX 200
Kodak HC-110 Developer
DsLr ScAn
LRC/Negative Pro
Im Dunkelsteiner Wald bei Gansbach, Niederösterreich
Zenza Bronica EC, Zenzanon MC 1:2.4 f=80mm, Marumi MC-YA2 orange filter, f/8, 1/15
Ilford Delta 100 film/Adox FX-39 II 1+14 developer
Camera Olympus OM-1
Film Ilford hp5+
Lens Zuiko 50mm f1,4
Developer Ilfosol3
Scanner Epson Perfection V800
4x5 negative contact printed on 5x7 Ilford MGFB Classic photographic paper. Ilford MG developer at usual concentration of 1:9.
Initial exposure for 7 secs (one second underexposed) with burning of center for one second. Development for 25 secs - 10 second water bath - re-exposure to light for two seconds - then development continued for 95 additional seconds. Stop, Fix, and Wash.
The finished print was photographed with the Nikon D850 and Nikkor 105mm/2.8D Macro lens. The WB was checked with a gray card, and there was no B&W conversion. There are minor adjustments to the Black and White points - otherwise, no global changes to contrast were made, and there was no local dodging and burning.
Solarization, as rediscovered and practiced by Man Ray and Lee Miller, is a technique in which the partially developed positive image is briefly re-exposed to light, leading to interesting effects which include a partial reversal of tonality, particularly in the light tones (which contain less exposed silver halide.) Strong black or white "Mackie" lines may occur at borders between areas of high contrast.
The Sabattier effect, discovered in 1862, is similar but is said to have been produced in photo prints only partially developed, as opposed to the full development practiced by Man Ray. Solarization of negative film is a somewhat different process in which very long exposures lead to complete tone reversal.
This project (and it was a project...) arose from a discussion at the Brooklin, Maine Camera Club. Thanks to Stephen Greenberg and Russell Kaye.
Konica Auto-Reflex 60's SLR camera
Hexanon lens 57mm 1:1.4
Ilford Delta 100 Film
1.4 < f < 2 at 1/250
Home Developed by www.flickr.com/photos/ukke_photo/
Rodinal Developer 1+25
Sunset, Bald Head Island
I know this seems over the top, I haven't boosted the color (I rarely do) and at any rate this really is what it looked like.
Pentax K-1
SMC Pentax 1:3.5 35mm
Iridient Developer
Affinity Photo
Camera - Lubitel 166B (120 film format)
Film - Ilford HP5 Plus 120 Black and White (ISO 400)
Developer - Lab-Box, CineStill Df96 Monobath
Scan - Epson Perfection V600 Photo
The Fall is such a wonderful time of year for photography. I often reject posting a photo just after development, and then going back over the photos a few months later decide it wasn't so bad after all.
Chinquapin Mountain, Nantahala National Forest
590nm IR-converted Pentax K-5
Lensbaby Velvet 28/2.5
Iridient Developer
Rolleiflex T Tri-X in Pyro48.
Kallitype onto Hahnemühle Platinum Rag,
Rochelle salt developer, Palladium toner, ATS acidic fixer.
Kallitype
Hahnemühle Platinum Rag, Potassium Citrate developer, ATS alkaline fixer:
untoned
MT10 Gold toner
MT3 Vario toner (thiourea)
Leica M2
35mm Summicron (type 3) (yellow filter)
Fomapan 100 in Arista developer (Clayton F60) (1:9 @ 68 deg for 7 min)
Ilford HP5+, developed in homemade Kodak D-76 (1927), 1+3 dilution
Holga 120N
Printed on 18x18 Fomaspeed Variant Velvet using homemade no name developer
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.
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)
Beginners in the technique of Kallitype often ask which developer they should choose.
Only a comparison of colour and tonal values with identical exposure time. To achieve the same level of blackness with the acetate developer, the exposure time would have to be slightly longer.
I really like my new purchase. It's built like a tank (weighs like one too), built in bellows for macro shots, interchangable lens system, multi-exposure and looks so darn cool.
About the shot - Double exposure and processed in LightRoom. Shoot on Lucky 100 film.
This is also self-developed with Ilford developer and fixer.
Event: NEC Classic Motor Show
Location: National Exhibition Centre (NEC), Birmingham, UK
Camera: Canon EOS 5
Lens(s): Canon EF 50mm f/1.4
Film: Ilford HP5+
Shot ISO: 400
Exposure: f/2.8 or f/2 - 1/60 mostly
Light Meter: Camera
Lighting: Overhead LED
Mounting: Hand-held
Firing: Shutter button
Developer: Ilford DD-X(1+4) for 10 mins
Scanner: Epson V800
Post: Adobe Lightroom & Photoshop (dust removal)