Ilford ID-11
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Hasselblad 501CM Distagon 50mm, Efke IR 820 in eco film developer,
Kallitype on Hahnemühle Platinum Rag,
Sodium acetate developer 3 mins,
Citric acid 1% 4 mins,
ATS acidic fixer 1+10 4 mins,
MT3 Vario Toner, bleach 1+75 1:30 mins, toner setting D.
Europe, The Netherlands, Zuid Holland, Rotterdam, Cool, Coolhaven, Little C, Balconies (slightly cut from all sides)
Much has already been said and written about Little C. See the previous post for a little sample.
The style of the building complex can partly be traced back to the inherent cynicism of the project developers that created a project that uses the morphology of ultimately very problematic urban districts/housing complexes like The Projects (New York) -and the long ago demolished Kowloon (Hong Kong) quarter.
This is for now the last of the Little C mini-series.
This is number 1343 of Minimalism / explicit Graphism.
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.
White Sunday in Hürth
Rolleiflex T, Delta 400 @ ISO 800 in Finol,
Kallitype on HPR, Rochelle salt developer, MT10 Gold toner 4 minutes prior to fixing.
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.
Holga 120N Tri-x in efd.
Quality control is carried out after each production of ferric oxalate. I do not rely on the test for residual iron II salt, only the result after printing is really relevant.
Because different developers have their own characteristics in terms of maximum blackening, colour and susceptibility to fogging, I allow myself the pleasure of playing with developers.
Kallitype onto HPR,
Sodium acetate developer.
Holga 120N, Efke IR820 in eco film developer.
Mike Ware´s New Cyanotype on Hahnemühle Platinum Rag.
Lead acetate toner 1,75% 2:45 minutes.
Holga 120N, HP5 in Tanol,
Kallitype on HPR,
Sodium acetate developer,
MT3 Vario Toner: bleach 1+100 1:20 mins, toner setting C.
Another bird shot from my trusty balcony. It was a very warm day and these Pigeons were busy.
Hope everyone has a great weekend.
Thanks for all the comments and support :)
Scadin Falls, Cullasaja Gorge, Nantahala National Forest.
Pentax K-1
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Affinity Photo
American Beech (Fagus grandifolia) in late winter garb.
Pentax K-1
SMC Pentax 1:3.5 35mm
Iridient Developer
Eno River State Park
A second shot with a slightly different perspective, processed in color.
Pentax K-1
SMC Pentax 1:1.8 85mm
Iridient Developer
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.
Bridal Veil Falls at high flow, Cullasaja Gorge, Nantahala National Forest
590nm IR-converted Pentax K-5
SMC Pentax-A 1:2.8 24mm
Iridient Developer
Rolleiflex T Tri-X in Pyro48.
Kallitype onto Hahnemühle Platinum Rag,
Rochelle salt developer, Palladium toner, ATS acidic fixer.
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,
Konica Auto-Reflex 60's SLR camera
Hexanon lens 57mm 1:1.4
Ilford Fp4+ Film
f 5.6 at 1/250
Home Developed by www.flickr.com/photos/ukke_photo/
Rodinal Developer 1+25
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.
Dead developer browns - the death of me. Only two images in this whole pack weren't completely dead! Arghhh.
A cold Sunday in Dayton.
Technical information:
Camera: Bronica ETRSi
Lens: Zenzanon PE 50mm f/3.5
Film: Kodax Tri-X 400
Developer: Adox FX-39 II
Scanner: Canon EOS R camera with Sigma 105mm macro
Other tools: Kasier Slimline Plano Lightbox and Essential Film Holder
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.
Rollei SL66SE, Carl Zeiss Planar 80mm f/2,8, Lens tilt used, Kodak T-Max 100 Professional TMX6052, Developer Ilfosol S 1+9, negative photographed on a light pad, digital processing in Lightroom.
The lens tilt used enables a plane of focus which is not parallel to the film plane, but tilted along the top of the wall, stretching from a metre or so to infinity. Notice that the grass in the foreground is not in focus, even though it is the same distance from the camera as a part of the the wall which is sharp.
de.wikipedia.org/wiki/Scheimpflugsche_Regel
Eno River State Park
Six-frame “Brenizer method” stitch
Pentax K-1
SMC Pentax 1:1.8 85mm
Iridient Developer
Affinity Photo
Solargraphy by camera fixed a to lawn mower. Vibration of engine made solar path to appear as a band.
Camera: 2 jar lids
Paper: Kodak Polymax RC, 8 cm in diameter
Exposure: 1 hour of work, then left still for 3-4 hours until sunset
Developer: D-76 1:1, fixed
Scanner: CanoScan 9950f
Leica M2
Leica Summilux 35mm f/1.4 II
Ferrania P30
Adox Silvermax Developer (1+29)
11 min 20°C
Scan from negative film
In PORTO and throughout Portugal are buildings like this-
prime location(s) along the Douro River,
close to other Investment opportunities,
but- because of layers of burdensome Bureaucratic B.S.-
these buildings- sit, undeveloped while housing and especially affordable housing remains a scarcity here,
as in many parts of developed world today.