ADOX
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I have been using B&S ferric oxalate for decades. I am currently experimenting with the production of ferric oxalate with different starting substances. The original recipe by Pizzighelli and Hübl is quite elaborate and takes a few days and moreover the yield is low.
It is still too early to evaluate the print results, but what I can already say is that the tonal values and the colour tone are different from before.
With Palladioypes, the image tone is a little cooler, the tonal value differentiation clearer, both in the highlights and in the shadows. At least with pure Palladiotypes the Dmax is not higher than when using B&S
oxalate.
Seit Jahrzehnten benutze ich das Ferric oxalat von B&S. Zur Zeit experimentiere ich mit der Herstellung von Eisen(III)-oxalat mit unterschiedlichen Ausgangs-Substanzen. Die Originalrezeptur von Pizzighelli und Hübl ist ziemlich aufwendig und dauert einige Tage, zudem ist die Ausbeute gering.
Für eine Bewertung der Printresultate ist es noch zu früh, was ich aber schon sagen kann, die Tonwerte und der Farbton sind anders als zuvor.
Bei Palladiumtypien ist der Bildton ein wenig kühler, die Tonwertdifferenzierung klarer sowohl in den Lichtern, als auch in den Schatten. Zumindest bei reinen Palladiotypes ist die Maximalschwärzung nicht höher als bei Verwendung von B&S Eisen(III)-oxalat.
Palladiotype onto Arches Platine,
Warm tone developer mix Potassium oxalate/phosphate 2+1
Cyanotype on Hahnemühle Platinum Rag.
Classic Jacquard two part sensitizer.
Dense, hard contrast dig neg exposed for about an hour in my UV box. Won't be more Dmax in the shadows than this with my cyanotype process.
Citric Acid and H2O2.
Untoned.
Tomorrow I'll post the same print toned in Moersch Lead Acetate 1+1, 120 sec.
Ricoh KR-5, Rikenon 50/2, Kodak Tri-X 400@640, +1 developing, HC-110/dil. B, 8 min. Digitized with Nikon D700/ES-2.
Cyanotype on Hahnemühle Platinum Rag.
Classic Jacquard two part sensitizer.
Dense, hard contrast dig neg exposed for about an hour in my UV box. Won't be more Dmax in the shadows than this with my cyanotype process.
Toned in Lead Acetate (Moersch, 1+1) 2 min.
Citric Acid and H2O2.
Untoned.
PS borders.
Not the way I usually print a Holga negative. It is only a test to achieve maximum black with Oriental New Seagull. The negative edge becomes black after about 7 minutes. An identical degree of blackness in the image is achieved at about eleven and a half minutes. The corners close up without detail.
Winter 2010
The Holga was loaded with Delta 400. The real speed is ISO 640 when developing in Finol. However, with fading light in the late afternoon, 1250 ISO was required. When I took the picture, I didn't think about how I was going to get to this film speed during development.
At home I decided to use the normal development time in Finol, followed by 5 minutes in eco film developer.
The negatives looked pretty good, with detail in the deep shadows. No problem at all with conventional printing techniques, but with the necessary overexposure for lith, the differentiation of the shadows is only possible if maxima black is dispensed with and therefore developed shorter.
Nikon D90, Reversed Nikkor 50mm + Raynox250, 3 LED Spotlight.
1.3s, f5.6, iso 100, 190 Images Stacked (PMax+DMax ZS).
This Coptops annulipes (body ~20 mm) is a member of the flat-faced longhorn sub-family.
I found it on the outside of a Bungalow in Koh Lanta, Thailand and it was content with staying perfectly still for quite some time - enabling me to capture all the shots I wanted. This is a five-exposure focus stack (compiled using Zerene Stacker - DMax) which I believe capture most of the detail on it.
Another shot of the same specimen here: www.flickr.com/photos/tinyturtle/28565909488/
I'm unsure whether this print does the original negative justice, I'm unsure whether it's a good positive translation of the beautiful yet slightly overdeveloped negative it was copied from.
I tried something new here, a new dilution of the lith developer. I wanted to enhance color for this print so I decided to mix significantly more Part A than Part B concentrate into the developer. This also increased contrast even further which might not have been the smartest choice for a negative that was already processed incorrectly to begin with – and was captured on document copying film, too! At my rather weak chosen dilution ratio and room temperature, the developer acted slow: this print took roundabout 25 mins (!) in the lith developer. Test prints made beforehand took equally long until a plausible snatch point was reached.
I might try another print of this negative using a more balanced lith developer, following up with a second color-enhancing developer (Lith Omega? Pyrocatechol?) right after.
Apart from that, it is to be noted that the paper used for this print never really seems to reach satisfying DMax in lith developer, no matter what I try. I've experimented with this paper a few times before and the shadows never became as dense as I would've wished. Toning in selenium might be worth considering.
Earlier, I mentioned "document copying film". The film stock in question is Agfa Ortho 25, expired in 1990. I have owned two rolls of it from the same batch, this was the second one. This orthochromatic film stock was never meant for pictorial work and its sensitometric charts make that very clear but who would I be if I wasn't willing to experiment and try nevertheless? ;)
Development times and EI were guessed, not tested and I clearly overdid the development part a bit.
Pentacon Six TL + Carl Zeiss Jena DDR MC Flektogon 50mm 1:4 + Agfa Ortho 25 @ 12 (expired '90) in Rodinal 1+50
Lith print on Argenta Brom BW 122 with Moersch Easy Lith 15A+5B+480H2O
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
*Equip : Nikon D90, Nikkor AF-D 50mm f1.8 (Reversed), Ext.Tube, Raynox DCR250, 3 pcs LED-Spotlight + Diffuser, Fotomate LP-01 Focusing Rail.
*Studio Focus Stacking : 171 frames @f5.6, 1/1.3s, ISO 100.
*Post-Process : Zerene Stacker PMax+DMax, Photoshop CS5.1.
Camera: Nikon F-801s with 50mm/1.8 AF-D
Film: Rollei RPX 100 developed in D76 1+1 for 11:00 minutes
Darkroom print on 8x10" Rollei Vintage 112 with warmtone developer, slight increase of Dmax with Amaloco T50.
6x6 negative taken by Agfa Isolette II with yellow filter on Fomapan 400. Darkroom print on Fomabrom classic 131 FB paper, developed in Amaloco neutral tone developer. Short toning in Selenium 1+9 to enhance the Dmax.
Bergger Pancro 400 5x7. Shot linhof supertechnika. EI 400. Developed Pyrocath HD 1,5:1,5:100, 18 min (presoak 5 min, agitation first minute then 10 sec at each minute; Hypo clearing bathe and washing. Negative scanned and inverted. Densitometric readings in blue channel: DMax 1.72; Dmin 0,50. DR 1,2
nikon d3
STAKE SHOT BY : StackShot Macro Rail
JML optical 21mm f/3.5
shot at 2.5 :1 magnification.
Stacked from 32 shot
stacking by zerene stacker DMAX
DIST/STEP= .05mm
At last, the sand hills and plains started to open up our track. It was fun to move up a couple of gears
Great Victoria Desert WA
Nikon F3, Nikkor 50/1.4, Kodak Tri-X 400@640 Push +1 development, HC-110/dil. B, 8 min. Digitized with Nikon D700, AF Micro-Nikkor 60/2.8 D, Nikon ES-2, CS-LITE
Olympus Trip 35, Zuiko 40/2.8, orange filter, Cinestill BWXX 250@320, HC-110/dil. B, 6 min. Negative digitized with Nikon D700, AF Micro-Nikkor 60/2.8 D, ES-2, CS-LITE
Camera: Nikon F with Micro Nikkor 55mm/5.5
Film: Ilford HP5+, developed in D76 1+1 for 13:00 min.
Darkroom print on Rollei Vintage 112 paper, warmtone developer + Amaloco Dmax enhancer T50
handheld stack 12 images, canon 5DS-R and MP-E at 4X with diffused MT-24 at 1/4 power Pmax-Dmax blend
Second test 45 minutes exposure.
A bit dark but really good
Hahnemühle Platinum rag 300 gsm nice Dmax.
nikon d3
STAKE SHOT BY : StackShot Macro Rail
Nikon BD Plan (20X/0.4 210/0)
shot at 20 :1 magnification.
stacking by zerene stacker DMAX
Stacked from 73 shot
DIST/STEP= .0010mm
شكراً لك من مر من هنا
سبحان من خلق وإبدع
canon 60 d
STAKE SHOT BY : StackShot Macro Rail
JML optical 21mm f/3.5
shot at 7 :1 magnification.
Stacked from 30 shot
stacking by zerene stacker DMAX
DIST/STEP= .01mm
بسم الله الرحمن الرحيم
لا نملك الا قول سبحان الله سبحان من خلق وأبدع
صورة جديدة لأحد أنواع الدبابير لالصغيرة السريعة جداً والجميلة للغاية
سوف أحادول لاحقاً تصويرها كاملاً لكن في الحقيقة لم أستطيع وذالك لسرعتها
الصورة المعروضعة هي عبارة عن صورة مكونة من 129 صورة أخذت بواسطة تقتنية الفوكس المتلاصق وأخذت اللقطة قرابة 4 ساعات متواصلة
تحياتي لكم يا أخواني الكرام
LARGE
www.flickr.com/photos/8075450@N05/5867116236/sizes/l/in/p...
nikon d3
5X Achromatic Microscope Objective
STAKE SHOT BY : StackShot Macro Rail
shot at 5 :1 magnification.
Stacked from 129 shot
bellows 70 mm
stacking by zerene stacker DMAX
DIST/STEP= .02mm
thanks all comment
canon 60 d
STAKE SHOT BY : StackShot Macro Rail
JML optical 21mm f/3.5
shot at 11 :1 magnification.
Stacked from 38 shot
stacking by zerene stacker DMAX
DIST/STEP= .010mm
nikon d3
STAKE SHOT BY : StackShot Macro Rail
JML optical 21mm f/3.5
shot at 8.3 :1 magnification.
stacking by zerene stacker DMAX
Stacked from 88 shot
DIST/STEP= .010mm
شكراً لك من مر من هنا
Tulips
HP5. Pyrocath HD
Readings in the blue channel: Dmax 1,60; Dmin 0,38 DR 1,22.
Pure palladium print. Contrast agent Na2: 0,145 ml Na2 each ml of sensitizer
Paper: Henehmühle platinum rag paper
Exposure 8 min to UV lamp
Development Ammonium citrate. Three clearing baths (EDTA II, Na Sulphite, EDTA IV).
nikon d3
STAKE SHOT BY : StackShot Macro Rail
Nikon BD Plan (20X/0.4 210/0)
shot at 20 :1 magnification.
stacking by zerene stacker DMAX
Stacked from 177 shot
DIST/STEP= .0050mm
شكراً لك من مر من هنا
سبحان من خلق وإبدع
large
www.flickr.com/photos/8075450@N05/6171535231/sizes/l/in/p...
nikon d3
STAKE SHOT BY : StackShot Macro Rail
JML optical 21mm f/3.5
shot at 9.6 :1 magnification.
Stacked from 102 shot
bellows 160 mm
stacking by zerene stacker DMAX
DIST/STEP= .01mm