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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)
I know I'm posting these late, but there are certain reasons why that have to do with my own methods of working on reviews. This past fall especially through October was beautiful with amazing days that I couldn't turn down taking out a certain film stock that's up for review next year because I had the developer mixed up. Not wanting to waste it I shot through three rolls for a YouTube Video and Review at the same time. This is from roll number one through the older parts of Kerr Village to the Oakville Harbour.
Canon EOS Elan 7 - Canon Zoom Lens EF 28-105mm 1:3.5-4.5 USM - ORWO UN54+ @ ASA-100
Flic Film B/W Cine Film Developer (Stock) 6:00 @ 20C
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
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
Mamiya 645 PRO
Ilford HP5 PLUS,400 iso,$27.00 -3 roll,Amazon.
Developer-Cinestill DF96,$19.00-B&H Photo
4 min. constant agitation @ 80deg. F
Photo Flo-16oz.,$10.92-B&H Photo
Film Scanner-Epson Perfection V600,REMAN.,$149.00-Amazon
Scanner Software-SilverFast SE 9
120 Negative Storage-25 pages-$5.50-B&H Photo
Look for our FPP Newsletter tomorrow February 5th. Our latest developer (D96) is in-the-house!
Photo courtesy of Mark O'Brien.
Camera: Bronica SQ-A
Lens: Zenzanon 150mm F4@11
Light meter: Sekonic L-758
Exposure: f4 - 1/500s
Film: Tmax 100 EI 100
Film developing:Tmax 1+5 Jobo CPA
Fixer: Adofix 1+9
Scanner: Epson 4990 Photo
Leica M2
Leica Summilux 35mm f/1.4 II
Ferrania P30
Rollei Supergrain Developer (1+12)
7 min 30 sec 20°C
Scan from negative film
First shots from my FrankenBessa with a 24mm by 70mm mask for panoramic pictures on 35mm film. I had an issue with the film sitting evenly across the film gate. Should be an easy fix.
Camera: FrankenBessa with 24mm by 70mm panorama mask.
Lens: 65mm f8 Schneider-Kreuznach Super-Angulon
Film: Fuji 200
Developer: Unicolor C-41
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
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.
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.
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...
NB: This is a cross-view stereoscopic pair.
Pink Lady’s Slipper (Cypripedium acaule), Nantahala National Forest
Pentax K-1
SMC Pentax-A Macro 1:2.8 50mm
Iridient Developer
Affinity Photo
Taking a freshly arrived camera out for a spin, the EOS 3000 is one of the many consumer SLRs from the late 1990s and early 2000s. And while I'm not a Canon shooter, I actually like the camera. The lens is another matter.
Canon EOS 3000 - Canon Zoom Lens EF 38-76mm 1:4.5-5.6 - Eastman Double-X @ ASA-200
Adox Scala Developer (1+1) 7:15 @ 24C
Scanner: Nikon Coolscan V ED + Nikon Scan 4
Editor: Adobe Photoshop CC
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
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!
A boy and a dinosaur in Okayama, Japan.
Leica M3, Ilford FP4, Kodak Tmax developer, Ilford Multigrade RC deluxe satin paper, Silver gelatin print.
kurtkgledhill.myportfolio.com
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):
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.
2020-10-18
Nikon F90X
Nikon Ai 35mm f/2 lens
Kodak Tri-X 400 (800-push) 35mm film
Kodak Xtol (1+1) developer (bad mix)
20ºC - 13min
kallitype , palladium toned , NaCitrate/ammonium Citrate developer , Weston Diploma(new) paper, Tmax 100 120, prescysol-ef , Mamiya C330 ,
Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - CineStill BwXX @ ASA-250
Kodak TMax Developer (1+4) 6:30 @ 20C
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
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.