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Camera: Zenza Bronica EC-TL
Lens: 50mm Nikkor f3.5
Film: Ultrafine Extreme 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Leica M2
Leica Summilux 35mm f/1.4 II
Ferrania P30
Adox Silvermax Developer (1+29)
11 min 20°C
Scan from negative film
Project 366 (one photo per day for 2020 taken on 35mm film)
Event: Project 366
Location: Kitchen at home
Camera: Canon AT-1
Lens(s): Canon FD 50mm f/1.8
Film: Fujifilm C200
Shot ISO: 200
Light Meter: Camera
Exposure: 1/125 @ f/2.8
Lighting: Natural
Mounting: Tripod - Manfrotto
Firing: Shutter button
Developer: AG Photographic
Scanner: Epson V800
Post: Adobe Lightroom & Photoshop (dust removal)
UN 54 film developed in PMK developer. This developer is a bit different as it really enhances the greyscale
1/6
Minolta Dynax 4
Maxxum AF 50mm 1.7 lens + PZO Warszawa OG4 (yellow/orange) filter
Rollei Retro *)S + Rodinal 1:50 for ~14min (~20 celcius)... and I think it's a bit overdeveloped.
Fort Custer Recreation Area near Augusta, Michigan. January 9, 2016.
Pentax Mz-S
FA 28-105 f4-5.6
Kentmere 400 rated @400
Tmax developer 1+4, 6min @ 20c
Toned image from scanned B&W exposure. My first experiment with Tmax developer and K400.
16-00575_tu6
Looking past the WALL to East Berlin: The former PRUSSIAN PARLIAMENT building. Widelux panorama camera, Kodak HIE infrared film, Rodinal developer, Clayton paper developer + Besseler + Agfa MCC paper. The sun on the building was picked up and magnified a lot by the infrared effect.
Blooming Rosebay Rhododendron signals the arrival of summer in the Appalachians. Chattooga River near the Bull Pen Road bridge.
Pentax K-1
Pentax-A 50/1.2
Iridient Developer
Whitehall is a 75-room, 100,000 square foot Gilded Age mansion open to the public in Palm Beach, Florida in the United States. Completed in 1902, it is a major example of neoclassical Beaux Arts architecture designed by Carrère and Hastings for Henry Flagler, a leading captain of industry in the late 19th century, and a leading developer of Florida as a tourist destination. The building is listed as a National Historic Landmark. It now houses the Henry Morrison Flagler Museum, named after its builder.
The site of the home was purchased for $50,000 in 1893 (as of 2010 that would be $1,197,562.39) by Flagler. The site was later surveyed for construction in July 1900 and the home was completed in time for Flagler and his wife to move in on February 6, 1902. The architects were John Carrère and Thomas Hastings, who had earlier designed the Ponce de Leon Hotel and several other buildings in St. Augustine for Flagler. Whitehall was to be a winter residence, and Henry gave it to Mary Lily as a wedding present. They would travel to Palm Beach each year in one of their own private railcars, one of which was No. 91.
In 1959, the site was saved from demolition by one of Henry Flagler's granddaughters Jean Flagler Matthews. She established the Henry Morrison Flagler Museum non-profit corporation, which purchased the building in 1959, opening it as a museum in 1960. The upper ten stories of the hotel addition were demolished in 1963 in preparing the museum for the public.
Today, Whitehall is a National Historic Landmark and is open to the public as the Henry Morrison Flagler Museum, featuring guided tours, exhibits, and special programs. The museum offers several programs, many of which are seasonal, lasting only from October to January. In addition to an annual chamber music series, the Flagler hosts the Whitehall lecture series, which brings “experts and best-selling authors to discuss Gilded Age topics, events, and local history.” Past lecture series include historical talks about the dawn of the Progressive Era, World War I, Gilded Age presidents, engineering feats, and Metaphysical America: Spirituality and Health Movements During the Gilded Age. The Flagler also holds a special exhibition each year, often showcasing Gilded Age paintings, sculptures, glamour photography, or material culture, such as board games, jewelry, cartoons, Tiffany & Co. silver pieces (including ones displayed at the 1893 Chicago World's Columbian Exposition), and women's fashion. It also hosts a variety of local galas and balls throughout the year. The Museum is located at Cocoanut Row and Whitehall Way in Palm Beach.
Flagler died of injuries sustained in falling down a flight of marble stairs at Whitehall in 1913, at the age of 83. Mary Lily died four years later, and the home was devised to her niece Louise Clisby Wise Lewis, who sold the property to investors. They constructed a 300-room, ten-story addition to the west side of the building, obliterating Mr. Flagler's offices and the housekeeper's apartment, and altering the original kitchen and pantry area. Carrere and Hastings were the architects of the 1925 reconstruction. In 1939 it was described as a $4,000,000 building and Palm Beach's second-largest hotel.
When it was completed in 1902, Whitehall was hailed by the New York Herald as "more wonderful than any palace in Europe, grander and more magnificent than any other private dwelling in the world." It was designed in the Beaux Arts style, meant to rival the extravagant mansions in Newport, Rhode Island.
Distinct from these northern homes, Whitehall had no outbuildings or subsidiary structures. Nor had it elaborately planned or cultivated gardens. Plants, flowers, trees and shrubs were allowed to grow unaided.
The mansion is built around a large open-air central courtyard and is modeled after palaces in Spain and Italy. Three stories tall with several wings, the mansion has fifty-five fully restored rooms furnished with period pieces. These rooms are large with marble floors, walls and columns, murals on the ceilings, and heavy gilding.
Officially opened February 4, 2005, the $4.5-million Flagler Kenan Pavilion is the first addition to the property since 1925. The 8,100-square-foot (750 m2) pavilion is named after the mogul and William R. Kenan Jr., Flagler's engineer, friend and brother-in-law. It was designed in the Beaux-Arts manner by Jeffery W. Smith of Palm Beach-based Smith Architectural Group, Inc. and took almost four years to build. The featured display in this pavilion is Railcar No. 91, Flagler's private railcar built in Delaware in 1886. According to the museum, the car was restored using “documentation from the National Museum of American History, the Smithsonian, the Delaware State Archives, and the Hagley Museum and Library in Delaware.” It also houses the seasonal Pavilion Café and tea service.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Whitehall_(Henry_M._Flagler_House)
© All Rights Reserved - you may not use this image in any form without my prior permission.
Camera: 24Squared
Lens: .10m Laser-Drilled Pinhole
Film: Ultrafine Extreme 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Rail cars shot at EI/ ISO 25 and f/22 to demonstrate motion. Reversal experiment. Cars moving right to left and I swept left to right...
17 year old, expired, vintage, Eastman Kodak 5245 EXR 50D motion picture film shot at EI/ ISO 25. Usually an ECN-2 process film, I haven’t been completely happy with the results of the negatives. So, I decided to try my hand at color reversal with ECN-2 film. There is a lot of mythology about reversing ECN-2 film and not a lot written by those who do it/have done it. I am naïve enough to believe that any film can be reversed. I still think that.
My first attempt at reversing EXR 5245 resulted in great negatives coming out of the first developer and blank negatives coming out of the final wash!?! I have heard of this happening. My immediate theory was something is interfering with the second developer leaving only the first developer (B&W) results which were washed away in the bleach. Or the color developer is dead. Some internet sleuthing deduced that another possibility was that the film was not exposed enough. The film should be overexposed a stop or two (this is controversial), and it should be overdeveloped in the first developer – use a paper developer at fuller strength and overdeveloped in the color developer. I was already using a pretty strong developer from The British Journal of Photography from the 1960s. But not as high a dose, at longer times.
Essentially: BJP Universal Paper Developer
3.2 grams Metol
12.5 grams Hydroquinone
56 grams sodium sulfite
63 grams sodium carbonate anhyd
2 grams potassium bromide
water to 1 liter.
Normal use with film is 1:4 dilution 2 to 4 minutes at 68 degrees F
The first failed development I used this at 1:5 for 5 minutes at 70 degrees F.
The color developer is RA-4 color print developer. In this case it is Fuji EC RA 108 P1-R developer replenisher. I use it concentrated and I usually can dilute it anywhere from 1:14 to 1:29 for negative films. RA-4 developer and E-6 developer are the closest to the native ECN-2 process with their Kodak CD-3 color developing agent. I did not think of it at the time, but process E-6 times might have been better.
The initial process looked like this:
Remjet Prebath (1 minute)
Rinse (4 x )
1st developer (300ml) 80 degrees F for 7 minutes
Stop bath 30 seconds
Wash 3 minute
Remjet removal however
Reexpose 2 minutes
Color Developer (300ml) 6 minutes at 105 degrees F
Wash 3 minutes
Color Bleach 5 minutes
Wash 3 minutes
Color Fix 5 minutes
Wash 5 minutes + fotoflow
Hang to dry
These results are from the second attempt. I extended time, temperature, and dilution for the first developer – 75ml developer to 225 ml of water (1 part dev to 3 parts water), at 80 degrees for 7 minutes. This produced heavy B&W negatives. I forgot to put some potassium thiocyanate in. I also forgot to ensure the pH of the color developer was around 10.59.
Color developer was about 1 part developer concentrate to 11 parts water (25 ml of developer concentrate) at 105 degrees F for 6 minutes (doubling the original ECN-2 development times). Stop is sodium bisulfite bath. Bleach and fix times were extended from ECN-2 times to 5 minutes each.
Results are here. The “slides” were a little dark but they scanned nicely. I eventually scanned them at 48 bit RGB at 4800 DPI. Is that overkill? I dunno, they look like slides, however the dust becomes like coal chunks. More to care for….
Remember if you use this process that I have only tested it once, so far, on well expired, overexposed 50D a couple of generations old. I have no other experience yet, hopefully tonight….
Taken with Agfa Isolette III camera Solinar Lens
120 Arista.EDU Ultra Black and White Film
Developed in Caffenol CM(rs)
Printed on Omega D700 enlarger with 80mm Nikon lens
Ilford Deluxe RC Glossy Paper
8x8 size
Legacy Pro Black and White Paper Developer
201705-202P8x8
St Chad’s Church, Shrewsbury
Topcon Super D
Topcon 35mm f/2.8 RE Auto-Topcor
Kodak TMAX100
T-MAX Developer
March 2015
Film: Kodak 400 Tri-X 4x5 sheet film (Kodak D76 1+1 / 10min.)
Enlarger: Omega D5XL
Paper: Ilford Multigrade FB Classic Matt Variable Contrast Paper
Camera: Cambo Wide 650 4x5+Schneider center filter
The contact sheet is here www.flickr.com/photos/bamboolize/16533661626/in/dateposte...
NB: This is a parallel-view stereoscopic pair.
Yellow Lady’s Slipper (Cypripedium pubescens), DuPont State Recreational Forest
Always a treat to come across this most elegant and beautiful wildflower, especially here in the southern US, where it is quite rare.
Pentax K-1
SMC Pentax-A Macro 1:2.8 50mm
Iridient Developer
Affinity Photo
Fujifilm X-T1, XF18-135mmF3.5-5.6 R LM OIS WR, RAW / Iridient & Lightroom 5.5
Fuji X Secrets workshops
Read the X-Pert Corner blog.
New books:
Die Fujifilm X-E2. 100 Profitipps
A male Calypte costae vigilantly surveys his territory. Rancho Mirage, California.
Pentax K-1
SMC Pentax-D FA 70-210mm F4 ED
HD Pentax-DA AF Rear Converter 1.4x AW
Iridient Developer
Bronica sq Ai, Zenzanon 50 mm, f16, 1/30. Ilford Panf 50 120 film. Developer Kodak D-76, 1:3,15 min, 20 C.
at a locksmiths' workshop. first time i do what Kodak say i should do with their products - following data sheet of Tmax film and developer - i got a fantastic result. i'm on my way of establishing a solid workflow with one film and one developer. hope the manufacturer will stay afloat...
The grand 1911 Beaux Arts Security Bank and Trust building that first housed Gianninni’s famed Bank of America, eventually becoming the headquarters of the Key System (the pre-cursor to all of our modern mass-transit systems in the Bay).
In the early 2000s, a developer was granted approval to construct a hotel on the adjacent parcel that would also rehabilitate and reuse the Key System Building, but the hotel project lost its financing.
Though another developer emerged in 2007, the building remains vacant while the developer awaits a better real estate market.
For Processing BW Film - Not For Drinking!
The FPP’s new Caffenol Developer for Black and White Processing at home! CUP O’ JOE is a powder solution in a handy pouch that when mixed with water produces 1 Liter of BW Home Developing solution that will process up to 4 rolls of 35mm, 120 or 8 4x5 sheets of BW film.
filmphotographystore.com/products/darkroom-supplies-caffe...
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.
Hindmarsh Island.
Our access to Hindmarsh Island from Goolwa is via the bridge which opened in 2001. The bridge is 319 metres long and 19 metres high. Hindmarsh Island leads to the Murray River Mouth beside Mundoo Island and the start of the Coorong. It is 15 kms long and about 6 kms wide and roughly one third of the island is now part of the Coorong National Park. In 1990 the SA government passed an act of parliament allowing the developers to construct a bridge so that the developers could create a marina and housing development on the island. But the SA government accepted legal liability for the financing of the bridge. The bridge became one of the great fiascos and controversies in South Australian history. Some members of the Ngarrindjeri people objected to the proposed bridge in 1994 on the basis of the water channel being part of “secret women’s business” and it being a sacred site. The controversy ended in a Royal Commission and the decision that “secret women’s business” was a fabrication. The Ngarrindjeri group then took their case to the Supreme Court in Canberra which doubted that “secret women’s business” was a fabrication but did not endorse it. The Keating federal government then banned construction of the bridge because of this Supreme Court finding. A few years later the Howard Federal government legislated for the bridge to be constructed. The controversy became a conflict point with much conflict and many competing interests. It involved state and federal governments, locals and outsiders, white and non-white Australians, men and feminists, developers and anti-development people, lawyers for and against it, anthropologists for and against it and much secrecy about the significance or otherwise of the bridge site. This conflict point mainly had direct impacts on the local people – the town of Goolwa was divided over the issue as were the inhabitants of Hindmarsh Island, the Ngarrindjeri women were divided as some opposed the concept of “secret women’s business” and others said it was nonsense. The main people to gain were the developers who had eventual success with their marina and housing estate. The “outsiders” including professors, archaeologists, anthropologists, politicians, bankers and lawyers all made gains – in monetary, publicity or humanitarian rights terms. Their moments of glory seldom acknowledged the difficulties the whole controversy had caused for the Ngarrindjeri people. Ngarrindjeri people have accepted the outcome of the conflict point and whilst they still maintain that the area is a sacred site for Ngarrindjeri women and their “secret business” they allow their people to use the bridge to gain access to their cultural lands.
Captain Charles Sturt on his epic voyage down and up the Murray River in 1829/30 named Point McLeay after one of his officers on their rowing boat and Point Sturt after himself both on the edges of Lake Alexandrina. The large island near the Murray Mouth was named later by Captain John Blenkinsop after the first SA Governor Sir John Hindmarsh. Captain Charles Sturt later became an early settler in Adelaide. After he resigned his commission with the British Military Service he was granted 5,000 acres in NSW in 1835 near what was to become Canberra much later. He purchased a further 1,950 acres in NSW at Mittagong. Two years later he purchased a further 1,000 acres near Sydney where he intended to make a new home. He then overlanded cattle from NSW to South Australia in 1838 to revive his fortunes. This did not work but he was feted in Adelaide as a hero and so he sold all his lands in NSW to accept a government appointment as Commissioner of Lands in South Australia in 1839. He was soon after demoted by the Governor to Assistant Registrar. In 1844 Sturt led an expedition to the Barrier Range area of NSW and he went further trying to cross what was named Sturts Stony Desert. When he returned in 1846 he was made Colonial Treasurer which was a much higher paying position. He returned to England in 1847 to receive the gold medal of the Royal Geographical Society in London for his inland explorations. Sturt returned to SA and lived on his 380 acre farm and orchard on the Port River near Grange Beach. This was where he had built Grange cottage in 1841. He returned to England permanently in 1853 so his children could be educated in England. The Grange was sold by members of his family in 1877 to finalise his estate as Sturt had died in 1869.
Early pastoralists recognised the value of Hindmarsh Island as a well-watered spot surrounded by water supplies so Dr John Rankine of Strathalbyn took out occupational licenses on most of Hindmarsh Island in 1844. He had a boat as a ferry at Clayton to cart his sheep back and forth across the channel. But in 1851 the Hundred of Alexandrina was declared and surveyed into 80 acre sections for sale to farmers. The land was quickly taken up when made available for sale in 1854 and the wealthy of Strathalbyn including the Rankins, Gollans and Maidment family bought some land. One of the early farming settlers was Charles Price. Price and his family arrived in Melbourne in 1853 when he was aged 48 but he decided he did not like Melbourne and he voyaged to Port Adelaide. From here he took up land on Hindmarsh Island in 1853 against the wishes of Dr Rankine and he was the first to import cattle from his home county Hereford in 1866. He was also the first to import Shropshire sheep from the neighbouring county of Hereford earlier in 1855. He ran his Hereford cattle stud on the island from 1867 till his death in 1886 and during this time he sold prized stud cattle to George Fife Angas and John Riddoch. His 983 acres were sold at £5 per acre and his son moved on to Eyre Peninsula. Charles Price was buried in the Island Cemetery. Not far away is the Hindmarsh Island School which started in 1880 and closed in 1954. The building is now a part time café of sorts. Next to that is the island butter factory with grand buttresses. It operated from the late 19th century until 1936. Not far away is the Murray Mouth. There was also a Wesleyan Methodist Church on the island which opened in 1857 and closed around 1887 and was then demolished.
The local residents erected a stone cairn memorial to Captain Charles Sturt on the island in 1930 one hundred years after his discovery of the island in 1830. It is also a memorial to the other early explorer of these parts Captain Collet Barker (1784-1831) who explored here in 1831 just after Sturt. As a military officer he had served in India and explored areas in WA including King George Sound where Albany is located. Here he was in charge of the settlement at Raffles Bay with a group of convicts to control. His name was later used for the inland settlement of Mt Barker north of Albany. He was recalled to Sydney with the convicts in 1831 and Raffles Bay settlement was closed down. The Governor of NSW told him to explore the Fleurieu Peninsula region on his way back to Sydney. In SA he climbed Mt Lofty which had been named by Captain Matthew Flinders in 1802. Barker named the Sturt River which he discovered. Collet Barker then explored areas from Cape Jervis to the mouth of the Murray River. Here he was speared by local Aboriginal people. There is a fine memorial to Collet Barker in St. James Anglican Church in Sydney from his fellow officers. Barker’s journals were especially important as they convinced Sturt that the mountain he had seen from Lake Alexandrina was not Mt Lofty but another mountain. Sturt altered his maps and charts and named the second mountain after Collet Barker. This was done by Sturt in 1834.
67 Park Place, Bloomfield, New Jersey, October, 2024
Chamonix 4x5 view camera, 150 mm Symmar S lens on FFP Frankenstein film developed in Pyrocat HD developer
Camera: Leica CL
Lens: 40mm/f2 Leitz Summacron-C
Film: Ultrafine Extreme 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
These are test shots of a New-To-Me (built in 1972) Leica CL with a Summacron-C 40mm f2.
I love the 40mm focal length, especially on rangefinders and am completely puzzled as to a) why Leitz didn't offer framelines for this lens on the rest of their line other than the prevalent 35mm range of lenses they also sold being close in focal length and b) if they thought the 40mm was too close to the 35mm focal length, why did they go with the 40mm on this line of cameras.
They were developed with Minolta while Minolta helped Leitz develop the R-Series SLRs. Perhaps Minolta wanted the 40mm focal length to help with the transition from the cheaper fixed-lens rangefinders like the Hi-Matic line. If that is the case, why didn't they go with a 42mm or 45mm?
Either way, I'll take it.
It has a short base for a rangefinder but it fits in the front pocket of my pants. Try that with a M6 sporting a Summacron 50mm.