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Leica M2
Leica Summilux 35mm f/1.4 II
Adox HR-50
Adox Silvermax Developer (1+30)
9 min 20°C
Scan from negative film
Berlin-Weißensee, Jewish Cemetary
There are three Jewish Cemeteries in Berlin, all of them in the former Eastern half (Well, geographically they are still in the East;-) ). All of them survived the Nazi regime, and the last war.
While the smallest and most centrally located one is (from a photographer's point of view) rather unspectacular, the other two in Prenzlauer Berg and Weißensee are enchanted spots of morbid beauty. The larger of the two is the Weißensee one, hosting a good part the burial sites of the German elite before the 1930s.
Untouched for nearly a century and overgrown in many parts there is a special sense of transcendence and dignity to this place.
Voigtländer Bergheil 9x12, Foma Retropan 320 in Foma Retro Secial Developer
image from test roll shot with a newly acquired Beier Beirex 6x9 folder. Many film roller scratches, significant light leaks. Coaxed into this presentation in LightRoom.
Future is now.
Carl Zeiss Jena Sonnar 1:2 f=5cm (collapsible)
Kiev 4M
ORWO N75 @ 400ISO
Ilford ID11 Stock (9min 30sec)
Camera:Canon FT
Lens: Canon FL 50mm f1.4
Film: Macophot 64
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
The sun had set, and strangely for this time of the year in this part of the world, there were clouds gathering on the western sky. The young monk had just finished what looked like his daily chore of maintaining a small garden behind him and stepped up to that parapet wall. I wonder what he was thinking as the lights of the city below came on.
Nikon FM2 | Nikkor 50mm f/1.4 | Nova Silver Plus 125 | Studio-brewed D23 - 6½ min.
Dev.: D23 | Undiluted | 27.5° C | 6½' -: 10 inversions - 1st min. ; 3 inversions/min. - 5½ min. :-
Stop: Water + Acetic Acid - 3 min.
Fix: Kodak (recycled) - 20 min.
Final Rinse: Water + Glycerine (~5m/l)
UN 54 film developed in PMK developer. This developer is a bit different as it really enhances the greyscale
1/6
º
Nikon F-801s
Ai-S Nikkor 50mm Æ’2
Kodak Vision 250D_5246 [exp. 2003]
DIY ECN-2 kit_4:15min
3-panel stitch
º
Canadian Geese at Magnolia Dairy in Bothell, Washington.
Camera: KMZ FT-2
Lens: Industar-50 50mm f/3.5
Film: Adox HR-50
Developer: Beerenol (Rainier Beer)
This abandoned building at the former Weymouth Naval Air Station (Weymouth MA) has become a favorite of mine. The base closed in 1997 leaving behind many decaying buildings such as this.
Graflex Century Graphic
Kodak Ektar 101mm f/4.5 lens - Wratten Red # 25A Filter
Ilford Delta 100 medium format film (ISO 100)
1/100 second, f/8
Ilford DD-X developer +4
Negative scanned on Canon 8800f with VueScan software
Edited using Photoshop Elements & NIK Silver Efex Pro software
Camera: Hasselblad 500C/M
Lens: Zeiss Sonnar CF 150mm f/4
Film: Ilford HP5+
Developer: Kodak HC-110 (1+49, 8 mins) Development details on FilmDev
Scanner: Epson 4180
Cropping, levels and dust removal done in Darktable.
6609
The Developer's Leftovers
The video is here if you haven't already seen it!!
This large single family home used to be located on an even larger lot along with 5 others, it was demolished about a year ago. They had been sitting abandoned for about 8 years getting more and more decayed and vandalised. Likely worth about $2 million as of 2015 and worth substantially more by today's standards. Judging by the recent new builds in the surrounding area, each one of these homes will likely be replaced by 5-6 new detached homes each, forever changing the look of this once quiet and peaceful neighbourhood.
I had been to this area a couple times over the years photographing the group of abandoned homes. I made a return visit a year ago and was able to film two of them before demolition. I wasn't super excited about any of them at the time but I grew more fond of the locations as time went on. Custom built in 1984 this house was filled with dated decor which is something I always enjoy seeing. There was a surprising amount of stuff left over at this one as well! In the back there was a garage that was completely filled with stuff including strange collectables as well as brand new DVDs and CDs.
Enjoy the photos and video!!
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.
Nikon F2 AS (1978)
Lens: Nikkor 50mm f/1.4
Ilford Film 35mm HP5 400 ISO push. Ilford Microphen Developer, photographed 1998
Event: Event City Classic Show
Location: Manchester
Camera: Canon AT-1
Lens(s): 35mm f/2.8 + 50mm f/1.8
Film: Ilford Delta 3200
Shot ISO: 3200
Light Meter: Camera
Lighting: Overcast natural light or LED Hall lights
Mounting: Hand held
Developer: Ilford DD-X(1+4)
Scanner: Epson V800
Post: Adobe Lightroom & Photoshop (dust removal)
Isolation and Loneliness in Korea during the Pandemic
Camera: Leica M6 TTL 0.85
Film: Kodak TMAX 400
Developer: ILFORD DD-X (1:4 @ 20℃)
Paper negative shot with Crown Graphic / 127mm Kodak Ektar lens and developed in LPD paper developer.
Camera: Olympus Trip 35
Lens: 40mm f/2.8
Film: Fomapan 400 @ ISO 200 (maybe...)
Developer: Caffenol CL semi-stand
This camera was purchased as not working and "for parts only". This was a test shot, to check the lens after my best efforts to clean fungus. The rear lens element was too hazy, and the coatings were mostly gone after cleaning, causing the flare and overall low contrast seen in this photo. The shutter blades were stuck, there were a few rusty screws, but overall the camera was in good condition. The selenium cell was sort of working after resoldering the wires, but the exposures seem to be at least one stop off. I'm thinking of replacing the resistor in series with the galvanometer with a smaller value one, to try and get more accurate and predictable exposures. This photo was one of the few from this roll where the exposure seemed to be good. Most others were quite underexposed.
Loneliness...
Lonely swan in the rain on the side of Derwent Water, Keswick.
Camera // Yashica Mat
Film // Ilford HP5 plus 400
Developer // Kodak HC-110 (B)
Scan // Epson V850
31 August, 2017
蜻蛉 _Dragonfly_
Meopta Belar f3.5/80mm
F/ Moersch Photochemie
Eco film Developer
Separol NE on ADOX
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!
I'm already using coffee (caffenol c) as a developer for my bw films. Today I want to try to cross process a fuji nph 400 color negativ film. Took a few pictures this morning. On some blogs about caffenol there was mentioned that coffee is also able to develop these color films and is even used for paper prints. The color is almost 'washed' away but the film then is some kind of toned. I'm looking forward for the results.
Things needed are:
* instant coffee
* soda
* vitamin c
* potassium bromid
* citric acid
* fixing liquid
* a tank for the film
The film stays in the soup for about 15 minutes. The tank should be carefully agitated for the whole first minute and then three times every minute. After flushing with water the process is stopped by citric acid. The citric acid solution stays in the tank for 1-2 minutes. Then after another flushing with water fill in the fixer (e.g. Ilford Rapid Fixer or any other available for b&w films). Fixer stays for 8-12 minutes. Then wash the film following the Ilford scheme (3-6-12-24 agitations or 5-10-15-25). Last step is flushing with distilled water.
I really loved the graffiti in this hall, the exposed rebar and the challenge of shooting in really low light. Thankfully areas of sunlight allowed me to meter and focus so I could capture the scene. None of the blacks clipped, but the strong sunlight was too much for the FP4+ - must have been 5-6 stops brighter than my base exposure.
Camera: Wista 45DX
Lens: Rodenstock APO Sironar-N 150mm F5.6
Film: Ilford FP4+
Exposure: ISO 125, f22, 2 minutes
Movements: 1/2 front rise
Developer: Blazinal agitated first minute and stand developed for 49 more at 22 degrees
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.
Photographed August 2016 : Canon P rangefinder + Leica Summarit 5cm/1.5 FOMAPAN 400 rated ASA 200 developed in a Metol / thiocyanate fine grain silver halide solvent developer (16-8-XFG).
Fujifilm X-M1, XC16-50mmF3.5-5.6 OIS, all pre-production, RAW / Iridient Developer & Apple Aperture
Read the X-Pert Corner article about using the X-M1 and the two new lenses (XF27mmF2.8 & XC16-50mmF3.5-5.6 OIS) on June 27th.
Free PDF reading samples from my current book on the X-Pro1 (also suitable for X-E1 users):
English: Mastering the Fujifilm X-Pro1 (reading samples, 65 pages, PDF)
German: Das Fujifilm X-Pro1 Handbuch (65 Seiten Leseproben, PDF)
Fujifilm X-T1, Iridient Developer & Aperture
Fuji X Secrets workshops
Read the X-Pert Corner blog.
New books:
Die Fujifilm X-E2. 100 Profitipps
Osaka VW45FC, Osaka 120mm f/6.3, Old Workhorse Collodion (6 weeks old)
f/11, 6 seconds (estimated)
My first wet plate outside of a building. Took along the BastardBox I've been working on. First plate was a bust because the gel I used on top was not darkroom safe. I removed the gel and just used a big sheet of duvetyne over my head. Worked fine. Here I wanted to see what a lens flare would look like with collodion. Not much different than film, haha.
This being my first batch of collodion ever, I'm still working out the kinks as they happen. I didn't notice until I was on location all the floaties that had formed in my developer mixed 6 weeks ago. I'm not sure if the fog was due to that or if I was simply underexposing and overdeveloping. Maybe a combination.
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 aixà 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 quÃmica fotogrà fica). 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 cà mera. 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 camÃ!
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):