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"Historic linden alley between Rzucewo and Osłonino - Poland"
Kine Exakta II (1949) + aus Jena Flektogon 2.8/35 (1963) + Ilford XP2 super 400 b&w film + C41 developer
(Visible parasitic light inside the camera body)
Testing times for D96 developer, I found this guy fishing on the Blanchard River. It's rare to see the river that low and to be able to steps on the falls, it would be even more rare if that guy caught anything.
Camera: Canon A-1, 50mm f1-4.
Film: Polypan F, ISO 50, expired 2015. FPPD-96 developer, 68 Degree, 8 minutes, 30 seconds, slow but continuous agitation in the Lab Box.
Under the railroad trestle over the Sammamish river in Bothell, WA.
Camera: Rolleicord Va Type 2
Lens: Schneider-Kreuznach Xenar, 75mm f/3.5.
Film: Kodak Tri-X 400
Developer: Rodinal 1:50, 13 minutes
This picture was developed with E6 chemistry that had been sitting out at room temperature since February. Quite the vintage look even though this is fresh Provia 100F slide film.
Carl Zeiss Jena Sonnar 1:2 f=5cm (collapsible)
Kiev 4M
ORWO N75 @ 400ISO
Ilford ID11 Stock (9min 30sec)
As promised since our update to the Venus, Isis and Freya bodies are now complete and our developer kits have been updated we will now reopen our applications to apply to be a Belleza Mesh Creator....
Details on our blog: BELLEZA MESH CREATOR APPLICATION & AGREEMENT – NOW OPEN!
Asakusa, Tokyo, Japan
Leica M7
Leica Summilux 50mm F1.4 ASPH
Kodak TMAX 100
Kodak TMAX Developer 1:4/6:00
Negative Lab Pro/Negative Supply Holder
FILM: Rollei RPX 100.
CAMERA: Edixa-MAT Reflex.
LENS: Helios 2/58 SMC.
DEVELOPER: Agfa Rodinal.
DATE: JANUARY 2017.
Future is now.
Carl Zeiss Jena Sonnar 1:2 f=5cm (collapsible)
Kiev 4M
ORWO N75 @ 400ISO
Ilford ID11 Stock (9min 30sec)
As usually, this Easter was an opportunity to take a walk around the countryside. This time, with my father, and using slightly different cameras. The weather was (evidently) nice, so we took roads I hadn't been to for quite some time. Nice!
Taken with Nikon AF240SV, a plastic compact film camera, with its 28mm lens, on a roll of Kodak Color+ 200 film. Scanned with Plustek OpticFilm 8100 film scanner.
coffee lovers, Sydney 2018. Olympus XA4 Zuiko 28mm f/3.5 macro, Kodak TMAX P3200 @ ISO1600 in TMAX developer. V700 scan.
UN 54 film developed in PMK developer. This developer is a bit different as it really enhances the greyscale
1/6
Voigtlander Brilliant, dodgy blurry triplet lens @f7.7 (wide open!), Kentmere 100, 15 minutes in Caffenol CM @20C.
+TATOO ®
+Camera & Film : Pentacon Six TL Mc Biometar Carl Zeiss 80mm / TMAX 400
+Developer : Kodak TMAX developer / TMAX Fixer / Ilford Stop Bath
+Scanner : Epson V700 Photo
Stretching 260 feet into the air, the 19-story, 162,000-square-foot tower was recently acquired by St. Augustine-based Augustine Development Group for $3.7 million.
The developer plans to transform the tower, originally built for the Independent Life and Accident Insurance Company, into a mixed-use residential and retail project. The modern reinforced concrete building’s interior once dominated by the use of granite, limestone and marble finishes, the modern reinforced concrete building’s second through 18th floors are slated to become 240 market-rate apartments. In addition, Augustine Development intends to lease the building’s 21,000 square feet of ground floor retail space along Julia Street to an urban grocery store operator. Once home to a sky lounge, the rooftop will be remodeled to include a high-end seafood restaurant, lounge and terrace with a pool.
The Film Photography Project now brings you D96 B/W negative developer. Long used in the motion picture industry as the standard B/W developer, but previously only available in very large quantities. We now have it available in powder to make 1 US Gallon.
D96 is a lower contrast film developer with the ability to increase the contrast by increasing your developing times or agitation. We have tested this developer with not only cinema films like X2 (Eastman Double-X), ORWO Cinema Films and FPP LOW ISO BW, but with standard B/W films like Kodak Tri-X. T-Max and Ilford FP4 an HP5 films.
Developer: Avalanche Studios
Art Director: Martin Bergquist
Images crafted with in-game tools only using a PS4 Pro. The 2.35:1 bars were however replicated in Photoshop as the game did not feature satisfactory frames within the supplied photo mode.
Shot on 4x5 FP4+ film, developed using Jolly's metol based developer with a pseudo-solarization process.
This is a experimental piece that i did a few years ago of a photograph that has been manipulated during the processing stage. The darker areas of the image display where the developer has been sprayed or brushed on like a painting as the image is developed over the top.
You can see more of the art work at my website at www.markchadwick.co.uk. Thanks for viewing!
What a nasty old day we had last Sunday. I loved it! This was at just about the time, early in the afternoon, when the snow started to turn to rain. It's a familiar pattern in winter: mild air, fresh off the Atlantic, drives colder air ahead of it, contact between the two masses chilling the frontal boundary so that precipitation descends firstly as snow, rapidly turning to rain. Not many about on the A11, where it forms a by-pass around Thetford. Off right the handy BP garage is undergoing a refurb, amounting to a complete demolition and rebuild. It's southbound counterpart, visible through the denuded dripping twigs on the opposite side of the road, was given the same treatment back in the summer.
Those of you not interested in the photographic details may skip the rest, but I was getting a bit experimental here. For one thing the film was a Fuji Neopan 400, expired in 2003. It has been discontinued in 120 size: I'm not sure about 35mm. In view of the out-of-datedness, I de-rated it to 200ASA. When I looked up developing times I discovered that the times for the two developers I have to hand ...Ilford Ilfotec LC29 and Fomadon R09... were the same, if the R09 were diluted 1+25. I made up a half-and-half mixture of the two. This is the shot I like best. Others were OK and their lack of sparkle is probably due to the simple fact of poor mid-winter light. Not much we can do about that, but (23rd January) we have already gained 56 minutes of daylight since the solstice in December.
Camera: Leica M5
Lens: KMZ Jupiter 8 f2
Film: FujiFilm Neopan 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Plotting some data from www.hackdiary.com/2010/02/10/algorithmic-recruitment-with... in preparation for Web Directions @media London on Friday.
Shows all developers who identify their location as London on Github, who have 4 or more other Londoners following them. The sizes and colours come from Betweenness Centrailty and In-Degree respectively.
Plotted with Gephi
Homemade coffee based film developer.
My formula:
Dissolve 5tbs instant coffee in 6oz water.
Dissolve 4tbs washing soda in 2oz of water. Stir until uniform.
Add soda solution to coffee.
Dissolve 1000mg Vitamin C in 2oz water. Dissolves fast.
Add Vitamin C solution to coffee/washing soda mixture.
Put in freezer until temp lowers to 20C.
I developed for 15 minutes, agitating 15 seconds for every minute of development.
IN ENGLISH BELOW THE LINE
Ja fa uns mesos que volia provar algun sistema de revelat invers "casolà" per a pel·licula en blanc i negre. M'explico: el revelat invers (reversal en anglès) és aquell que aconsegueix positius directes a la pel·licula. S'anomena així perque tota pel·licula primer cal revelar-la com a negatiu, i dins del propi revelat, posteriorment es capgira el que es negatiu per positiu, tant en color com en blanc i negre. El revelat invers en color és el anomenat E6 i l'he fet alguna vegada sense problemes, amb "kits" comercials.
Per al revelat invers en blanc i negre també hi ha "kits" comercials, però amb l'afegit que alguns dels liquids, en especial el "bleach" o blanquejador son especialment toxics i perillosos. Però molt, eh (permanganat potassic i sobretot dicromat potassic, a sobre barrejats amb acid sulfuric).
Per això he estat experimentant amb diversos procesos "reversal" alternatius amb quimics menys angoixants (també s'han de tractar amb cura, però el mateix es pot dir de tota la resta de química fotogràfica). He provat variacions del més comentat, basat en disolucions de peroxid d'hidrogen (aigua oxigenada) a 40º, però els resultats foren decebedors, de pobres a nuls. En el cas que em mig funcionà, la pel·licula quedà plena de taques i marques.
Finalment vaig provar un altre procés basat en un doble bany blanquejador: clorur ferric primer, i amoniac després. I funciona!!! Amb bons resultats a la primera i tot a temperatura ambient de 20º!
En primer lloc faig servir un revelador normal de blanc i negre, però força potent, en aquest cas HC110 però en dilució A, la més concentrada, i durant 8 minuts. Després d'un bany d'aigua, ve la sol·lució de clorur ferric 1+1 (reaprofitable), un altre bany d'aclarit, el amoniac 4+1 (força concentrat), un seguent bany d'aclarit, i finalment una solució de metabisulfit de sodi de 30 gr. x litre (i de nou aclarit amb aigua).
En aquest punt, cal fer una cosa que tot el sentit del fotograf analogic li diu que no, i és obrir el tanc de revelat i exposar la pel·licula directament a la llum d'una bombeta incandescent una bona estona, ben be un minut. Fins i tot millor treure la pel·licula de l'espiral per a exposar-la be. El blanquejador ha dissolt les parts ja revelades, pel que ara només queden les sals de plata no exposades amb la càmera. Es veu clarament que està bé si s'aprecien les imatges ja en positiu però força palides. A mi em varen quedar més aviat grogues perquè no vaig fer un bany prou intents després del clorur ferric, que ho tenyeix tot de groc (però amb més rentat queden més blanques). A partir d'aqui es pot fer la resta del procés amb llum. Només resta tornar a revelar la pel·licula amb revelador normal i corrent, rentar i finalment fixar-ho com sempre.
La intenció final de revelar invers no és tant obtenir diapositives en blanc i negre, sino pel·licules de 8mm i 16mm que pugui projectar en pantalla com es feia abans. I vaig pel bon camí!
Aqui teniu el video que m'ha servit per aprendre aquest procés, gracies a Analog Resurgence (que ho explica amb detall):
www.youtube.com/watch?v=vlYVI31WnIw&t=535s
=====================================
I've been wanting to try some "homemade" reverse developing process for black and white film for a few months now. Let me explain: the reverse development is one that achieves direct positives in the film. It is called so because every film must first be developed as a negative, and later in the process itself, what is negative is chemically reversed for positive, both in color and in black and white. The reverse color proces is called E6 and I have done it once without problems, with commercial kits.
There are also commercial kits for black and white reverse development, but with the addition that some of the liquids, especially the bleach, are particularly toxic and dangerous. And I mean a lot (potassium permanganate and especially potassium dichromate, mixed with sulfuric).
So I've been experimenting with various alternative reversal processes with less distressing chemicals (they also need to be handled with care, but the same can be said for all other photographic chemistry). I have tried variations of the most discussed, based on hot solutions of hydrogen peroxide (oxygenated water) at 40º C, but the results were disappointing, from poor to nil. In the case that half worked for me, the film was full of spots and marks.
Finally I tried another process based on a double bleach bath: ferric chloride first, then ammonia. And it works!!! With good results the first time and all at an ambient temperature of 20º C!
First I use a normal black and white developer, but quite powerful, in this case HC110 but in dilution A, the most concentrated, and for 8 minutes. After a stop bath, comes the ferric chloride solution 1+1 (reusable), a long rinse bath, ammonia solution 4+1 (highly concentrated and also reusable), another long rinse bath, and finally a solution of sodium metabisulphite of 30 gr. x liter of water (and again rinsed with water).
At this point, you have to do something that all the analog photographer's sense tells you not to do, and that is to open the developer tank and expose the film directly to the light of an incandescent bulb for a long time, well a minute . Even better to remove the film from the spiral to expose it well. The bleach has dissolved the parts already revealed, so now only the silver salts not exposed to the camera remain. It is clearly seen that it is good if you appreciate the images already in positive but quite pale. They were rather yellow for me because I didn't take a bath enough times after the ferric chloride, which dyes everything yellow (but with more washing they become whiter). From here you can do the rest of the process with light. All that remains is to develop the film again with normal developer, stop bath and finally fix and wash it as usual.
The ultimate intention of reverse developing is not so much to get black and white slides, but 8mm and 16mm film that you can project on the screen as it was done before. And I'm on the right track!
Here is the video that helped me learn this process, thanks to Analog Resurgence (which explains it in detail):