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Sucessfully developed this UE film in PMK but I tried it in Pyrocat HD but I underdeveloped it by about 4 minutes.
1/5
FIU Hollo School Developers Luncheon
Miami, Florida | November 18, 2016
Tibor and Sheila Hollo School of Real Estate: business.fiu.edu/academic-departments/real-estate/
Master of Science in International Real Estate: msire.fiu.edu/
To learn more about the Hollo School Developers Luncheon please visit: biznews.fiu.edu/2016/11/visionary-real-estate-project-tak...
Developer stamp on back reads "Carhart's High Mat Panel Art Prints. Jun 23, 1938." The heavy coats the kids were wearing suggest that the photo was taken months earlier. Photo was found on eBay.
So ever since I found out what the first camera I ever used to take a photo was, I have wanted to get my hands on one. That camera is the Hanimex 35SE; this is not that camera. But it's still a Hanimex, so I'll count it. Meet the Hanimex 35ES, it's cheap, it's plastic, and it's basically a Halina 160 with a slightly different exterior. But you know, it just might be the cheap camera you're looking for.
You Can Read the Full Review Online:
www.alexluyckx.com/blog/2026/05/19/camera-review-blog-no-...
Hanimex 35ES - Hanimar 33mm 1:5.6 - Ultrafine Extreme 100 @ ASA-100
Flic Film Elementary Developer (Stock) 3:00 + 3:00 @ 20C (Constant Rotation)
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Fujifilm X-T1, Iridient Developer & Aperture
Fuji X Secrets workshops
Read the X-Pert Corner blog.
New books:
Die Fujifilm X-E2. 100 Profitipps
developer: Fuji Microfine 1+1 13' 18C
"Hanta Baru" is an Italian restaurant with view in my neighbourhood.
Camera: 1953 Contax IIA with Zeiss 50mm f1.5 T* Sonnar. Filter: Zeiss 354/G yellow filter. Film: Kodak T-Max 100. Developer: Kodak D76 1:1 9.5mins at 20*C. meter: Minolta Auto Meter VF. Digital Conversion: Epson V550 scanner and Lightroom 6
I had always wanted to try this homemade developer but didn’t want to waste a roll of something from a trip. So, I took a tool of Kentmere (inexpensive B&W film), went and bought the three ingredients I didn’t have and set out some items to shoot. The ingredients are, Washing Soda Powder (Sodium Carbonate) I bought at Home Depot, Vitamin C Powder I bought at Whole Foods and Instant Caffeinated Coffee that I bought at Trader Joe’s, and the iodized salt I had. For a 1000ml solution use 40 grams of instant coffee, 16 grams of washing soda, 8 grams of vitamin C powder and 1 gram of iodized salt (optional and not needed if using distilled or filtered water). Mix the coffee in 800 grams of water, mix in the washing soda, mix in the vitamin c (there will be a slight reaction because of the washing soda, then add the salt if needed. Bring the temperature of the solution to 68 degrees F or 20 C. For developing time used the Stand Process. The photos lost much of the shadow details and I think this was because I agitated at the beginning and again at the halfway mark of 30 minutes. Next time I will only agitate for 1 minute initially and end the process at 45 minutes.
This negative had a massive stain on it from the developer so I got to was it and scan it several times
So, my C41 chemicals were exhausted, haha.
Mamiya C330
Seiko 80mm f/2.8
Kodak Ektar 100
Jobo C41 Press Kit
Photo technical info:
- Camera: Nikon F3, Lens: Nikkor f2 35mm, f11, 1/250 s
- Film: Ilford Delta 100, Developer: Spur Acurol-N
© All rights reserved - This photograph is copyright protected. Please do not add to blog sites, reproduce, publish, print, use on the internet or for other purpose without my permission.
Do please request to license from Getty Images or see www.malcchapman.com
Admiralty Arch, between Trafalgar Square and The Mall, London. It was built in 1912 as a memorial to Queen Victoria. It is now to be sold to Spanish developers, Prime Investors Capital, for £60 million to convert to a luxury 5 star hotel.
Blurry photo taken at Sapo's Codebits 2011 in Lisbon.
The blurred action depicts hardworking developers during coding competition.
The omnipresent green is a Codebits' trademark.
Experimenting further to see what I can use for developer when using an inkjet printer with developer on photo paper. This will also finally to print a photo on photo paper without a dark room.
Here I brush on Foma 312 paper the retro320 developer. It gives enough time to make some creative decisions. Toning with Ferro Blend (red) and FAC plus Kferro (Blue)
Hasselblad Planar 80mm, SFX (715) eco film developer
a somewhat different use of lith, soft and warm and fine grained
I call this treatment "hidden lith"
moderately overexposed Fomatone 132with hard grade (magenta) filter
two tray
Easy Lith 1+10 8 mins (until the shades are clearly visable, without considerable density of midtones and lights)
Catechol 1+100 3 mins for full tonal range and warm hue
UDATE: Final shot now on my website
Wanna see how it was made? BLOG LINK HERE
For full viewing pleasure please press the "L" key to go dark
It started in August, but even before that, it began when I was 8. When I saw the first year's run of Nintendo Power. On the cover, the artist painstakingly recreated either a scene from the video game featured or at the very least had an artistic spin for the video came on the cover. Some that come to mind are the Castlevania 2, Mega Man 2, Dr. Mario, Super Mario Bros. 3, and Maniac Mansion covers of Nintendo Power. I always admired and respected the cover artist and photographer's interpretation of the game and wanted to revisit it.
That someday came when I first picked up an issue announcing Epic Mickey. Being a huge Disney fan I played the game, got all the references to older Disney characters and animation shorts, and felt inspired again. Shortly before I got this in gear it was announced that in late 2012 Nintendo Power was sending out its last issue. Ironic as it is shortly before I shot the portrait version, and experimented with a landscape panorama shot (coming very soon) it was announced by Warren Spector that Disney was closing shop on the group that made Epic Mickey, Epic Mickey 2, and Epic Mickey: Castle of Illusion. I would not abide without seeing this through fully and dedicating this first to Nintendo Power's cover art staff, and Warren Spector and his brilliant crew at Junction Point.
Next how this was created. This was the sum of paint, styrofoam, white styrofoam poster board, and certain art/craft items. all items were hand drawn and examples were made in mock-up from a combination of actual shots of the attraction (it's a small world") from Disneyland, paused stills from Youtuber Sylux8675309 , and a DeviantArtist Klashkrool 's creation. (Thanks to both of you, for your assistance)
To keep my sanity between work and doing this project podcasts from Mega64, No Agenda, Inside the Magic, and The Gaming Cult Podcast kept me entertain and on track, however, the project did take several hiatuses. This project was scheduled for Christmas (unofficially), then New Year's Day (unofficially) seeing as I live in the Midwest again now, the cold and of course weather were key components to my efficiency. When it wasn't that I was working on how to get the model to look as close to the original video game as I can get it....with artistic license. That said, what you see is the labor of love (literally) where my blood, sweat, and tears (also literally) went for the last 5-6 months. I will indeed provide the Strobist info on how this all was lit in due time with the landscape and panorama photos to be released shortly and not as weekly updates to the NEW and IMPROVED project 116.2!
This is a very celebratory even with dedications and premieres, my my.
Yes, folks, this marks the first photo of "Project 116" the sequel to the original that used solely one lens (ef 50mm f/1.8 mkI), one upload a week, for the last 6 months. This time I will be using my oldest lens I own the EF 17-40mm f/4 USM L ultra wide angle zoom class lens. I hope to see you next week for my update and for the next six months. I hope I make new regulars and contacts, and you folks keep me in mind weekly as we see what all this wonderful workhorse piece of glass can do!
Again, I feel a big weight lifted off my chest now that I see this project finished and almost exactly how I wanted it (and looking almost like the video game to boot). Thank you all around again to the following for support and inspiration.
-My wife Stephanie
-Warren Spector and the Junction Point developers
-Nintendo Power
-Sylux8675309
-Klashkrool
-The Gaming Cult Podcast
-The Mega64 Podcast
-The No Agenda Podcast
-Inside the Magic Podcast
-Management of Claim Jumper for letting me bring in my work to work on between double shifts
-and lastly you the viewer, who I constantly try to wow and impress not just to push me but to see if I can inspire you...Thank you.
Swing by my website:
Check out my Blog on Thursdays
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Check me out on Instagram: @bendersamaphoto
34 – Charles Irwin Douglas Moore Residence – 2242 S Hobart Blvd – 1908 (Note: This is third of three houses owned by C I D Moore in West Adams Heights – 1903 to 1906, 2057 S Oxford Ave; 1906 to 1908; 2071 S Hobart Blvd; 1908 - 1937, 2242 S Hobart Blvd.)
C I D Moore was an executive with the Pacific Mutual Life Insurance Company (formerly: Conservative Life). It was primarily the Conservative Life company which developed West Adams Heights in its early days. This is the third house in West Adams Heights Moore commissioned. In 1903 he built a house at 2057 S Oxford Ave, living there three years before building a home at 2071 S Hobart in 1906, and living there for two. Most-likely these first two homes were built in order to help generate interest in the community. Moore’s final residence at 2242 S Hobart was positioned to be behind his employer George Ira Cochran, who happened to be his brother-in-law as well. His wife’s mother and sister lived next door at 2248 S Hobart Blvd, in a house built for them by Mr. Cochran. The Moore residence is a typical Transitional Victorian/Craftsman, leaning toward the Craftsman. The house is currently owned by the First AME church on Harvard Blvd, and at the time of this writing (2013), it is undergoing an extensive restoration. Moore’s father-in-law had been Dr. Rutherford D Moore, a prominent Methodist pastor, a missionary to Japan, the first to translate the bible into Japanese, and a dean of the University of Southern California.
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”