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Location: Cheung Chau, Hong Kong
Canon New F-1
Canon FD 20-35mm f/3.5L
Rollei Retro 80s @ 50
Stand Development
R09 One Shot (1+200)
1 hr 5 min @ 20˚C
camera: Super Ikonta IV
film: Kodak Tri-x 320 expired in 2006
developed in ars-imago FE eco developer
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Developer Console (Free camera) | Hud Toggle
Original Photo 5k (15Mp)
Reshade
Photoshop Edit
Louisville, Colorado I'm sure various developers are trying to tear this farm away and replace it with homes or stores. Shame.
We have finally released the Developer Kit for our mesh heads!
Please share your advertisements in our flickr group, so our customers can find you: www.flickr.com/groups/4144858@N23/
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.
Ich habe eine volle Flasche Kodak HC110 Entwickler bekommen, der 1989 geöffnet wurde. Für die Filmentwicklung ist er zu schwach, aber als Zweitentwickler beim Lith-Printig hebt er die Lichter hervor.
Agfa MCP310 - Moersch Lith A+B+D rd. 7min - HC110 1+60 für 30-40 sec.
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I got a full bottle of Kodak HC110 developer that was opened in 1989. It's too weak for film development, but as a secondary developer in lith printing, it brings out the highlights.
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!
Sakurayama, Kurisawa, Iwamizawa, Hokkaido.
Mamiya Press Super 23 (back tilt used ), Sekor 50mm F6.3, T-Max 100 developed with T-Max developer RS for 6 minutes and 40 seconds at 26 Deg. C., scanned at 3200 DPI with Epson V700, edited with GIMP, and uploaded as the original size.
Bigger sizes: www.flickr.com/photos/threepinner/20479454290/sizes/l up to 10517 x 7050 ( equivalent to 74 Mega Pixels) .
I dare say to the members of Epson V700 group, "Upload images in big enough size and show your skill". This size is the limit for my PC with Core 2 Duo 2GHz, 4GB memory to handle.
Questions ( location, photographing, development, scanning, etc ) are welcome.
Kodak T-Max 100asa, developer T-Max 1+4 20º.
Leica-M6 TTL 0.72. Summicron-C 1:2.0/40mm.
Nikon Super Coolscan 5000 ED
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder,Serial Number 1395533
Leica-M 6 TTL 0.72 1998 Rangefinder Serial Number 2466527
Leica-M6 TTL 0.85 2001 Rangefinder Serial Number 2755204
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
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.
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
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.
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.
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!
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
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
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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):
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.
Sucessfully developed this UE film in PMK but I tried it in Pyrocat HD but I underdeveloped it by about 4 minutes.
1/5
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