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First analogue print after rodinal stand development. Kentmere 400@1600
Premier tirage après essai de stand dév. Kentmere 400@1600
Le tirage argentique sur papier baryté (cartonné) ton chaud est disponible sur Etsy.
The analogue warmtone fiberpaper is available on Etsy.
www.etsy.com/fr/listing/1157648864/tirage-argentique-bary...
Développement et Tirage maison environ 20x20cm sur Papier Baryté Ilford.
Analog self development and printing on Ilford Fiber paper. Available here : www.etsy.com/fr/listing/1157063722/pere-lachaise-fiberpap...
Samuel Nicolás©
Canon EOS 50. Canon EF 300mm f4.
PrÃa, diciembre de 2020. PelÃcula Fomapan 100, 135mm. Revelado con Rodinal, dilución 1+100, 1 hora, temperatura 20º
Positivado en papel baritado Ilford MG IV brillo, tamaño 30x40 cm
Revelador Tetenal Eukobrom dilución 1+9
Escaneado con cámara DSLR.
No tengo acceso a escáner en el que quepa una copia de 30x40.
Bordes con PS
..important pgraph of mine (to me)
analog archives
©MadDreamer ©2👽22 .All rights reserved. Do not use without written permission from photographer.
Just out of curiosity...
Made a contact of some 120 film on old fiber paper and developed it in film developer.
It developed FAST, and it has huge grain. It's actually a terrible print! But I like the dark and strange mood of this landscape.
It might be interesting to experiment some more, but with much lower dilutions.
Met a few awesome people while testing out the new camera and got some great street portraits!
Thanks for looking!
—-
Zi - Silver Gelatin Print
Pentax 67
SMC 90mm f/2.8
Tri-x 400TX in HC110
Fomatone 131 fiber warmtone paper
camera:Pentax Asahi
film:Kodak 400TMAX 35mm
printed on Ilford fiberpaper warm
I am almost back! Sorry for so long absence!
All this time I was with you in my heart and thoughts!
NOTE 1: Frame is part of developing process and it is manually adopted carrier.
NOTE 2: Absence I am working on some project. I didn't know that it will take so long,
I am very sorry for that!
I love this place. It is all concrete and in a way very primitive...it is 2001 Space Oddity. Soul inside the stone.
Scanned from 17x17 gelatine silver fiber print.
Holga 120 GN.
Kodak Tri X 120 400 @ 250 in D73.
Fomatone Classic MG fiber paper developed in Moersch SE2 Warmtone.
Holga 120 camera. Scanned from 17x17 gelatine silver fiber print.
Tri X 400.
Fomatone MG Classic developed on Moersch SE2 Wam.
Mamiya 645 pro
80mm f/2.8
Tri-X
Self developed in Rodinal
Printed with an Omega B22 onto Ilford FB Classic Mat with contrast filter no.2.5
Le tirage argentique sur papier baryté (cartonné) ton chaud est disponible sur Etsy.
The anbalogue warmtone fiberpaper is available on Etsy.
www.etsy.com/fr/listing/1171024929/tirage-baryte-darkroom...
Fujica ST810
Tamron 28/2.5
Ilford HP5+ 400
Paper-scan.
A color-scan of my darkroom print. Portriga-Rapid, Grade 2 (fiber based).
Picture is from Murcia, Spain back in november '18.
fomabrom 111
Expired 4x5 Efke PL 100 M
Tominon 4.5/135mm
"It's only a paper moon
Sailing over a cardboard sea
But it wouldn't be make belief
if you believed in me"
Again..geometry. This time, sometimes, it even hurt my eyes. I hope you like it. Thanks for passing by.
Bronica C. Nikkor 75/2.8.
Kodak Tri X 120 400 @ 250.
Scan from 17x17 cm gelatine silver print. Ilford Warmtone fiber paper developed in Ilford Harman Warmtone.
scan of lumen print, hue and contrast adjusted in Photoshop Elements
bracken fern exposed in sunlight on Ilford Multigrade IV FB B&W photographic paper, fixed in sodium thiosulfate
Samuel Nicolás©
Fujica STX-1. fujinon 50mm 1.9.
Asturias, Febrero de 2021. PelÃcula Fomapan 100, 135mm. Revelado con Rodinal, dilución 1+50, 8 minutos y 30 segundos, temperatura 20º
Positivado en papel baritado Ilford MG IV brillo, tamaño 30x40 cm
Revelador Tetenal Eukobrom dilución 1+9
Escaneado con cámara DSLR.
No tengo acceso a escáner en el que quepa una copia de 30x40.
Bordes con PS
School project, based on the movie "Black Snake Moan".
Scans of prints I made in the darkroom, on 8x10 Ilford glossy fiber paper. Shot on Fuji Neopan 400
Please don't use this image without my explicit permission.
© All rights reserved Luca Tabarrini.
Elisabetta.
La sua musica: soundcloud.com/beth_in
Yashicamat 124
Ilford Hp5 Plus in diluition E
Stampa domestica 12x12 su carta Ilford FB matte.
Please don't use this image without my explicit permission.
© All rights reserved Luca Tabarrini.
Tiziana. Il suo stream: www.flickr.com/photos/tizianananni/
Yashicamat 124
Stampa 12x12 su carta Ilford FB multigrade Matte
I am slowly working on a analog darkroom series of photos relating to tea, gardens, and cafes.
This is a bit challenging because it isn't always easy or possible to set up a large camera at a cafe without getting on other peoples' nerves.
Gardens are a bit easier, as in this photo. This is the first image in the series, and I am in love with it because I love tea and the accoutrements that go along with it.
Photographed with:
8x10 camera on Ilford Delta 100 film, printed on Ilford warmtone fiber paper. Toned in selenium 1:3 for 3 minutes 40 seconds.
I put some little prints I'd made up on etsy . Most of these images are on my old photostream, but looking at them today as I scanned, I'm still very happy with them. This is a print scan, btw.
Please don't use this image without my explicit permission.
© All rights reserved Luca Tabarrini.
Elisabetta.
La sua musica: soundcloud.com/beth_in
Yashicamat 124
Kodak 400Tx in Hc-110 diluition H
Stampa domestica 12x12 su carta Ilford FB matte.
Darkroom print on old agfa paper.
Philips Photocresenta bulbs with lower wattage (smaller then I thought and badly opalized) in the enlarcher seem to give more even illumination, with 6x6 at least.
Developing the old Agfa paper in multigrade rather then Agfa developer gave me less fog.
Cambo SCII 4x5 view camera + Schneider 150mm f/5.6 lens
Kodak Professional Tri-X 320 black and white film
A scan of a print I made on Forte Polywarmtone, double weight, fiber based, black and white photographic paper... Really nice stuff...
Holga 120CFN
Kodak Tmax 100
Pushed 4 steps (1600!!) with Tmax-dev
Paper: (old) Agfa MCC
I shot this yesterday, and after developing and loosing the time in the darkroom until 3 am this morning I eventually made some nice prints out of this roll :-)
I thought that I had shot a roll of Tmax400 at 1600, but it was Tmax100, so I had a new exciting experience with pushing this roll!
I made a lot of mistakes shooting it too, which makes me think that it is funny that some frames actually made it through - one of them was that the 12/16 counter-thingy had changed and I overlapped a lot of them which is why this is not 6x6 as intended...
Please don't use this image without my explicit permission.
© All rights reserved Luca Tabarrini.
MIchele.
La sua musica: soundcloud.com/beth_in
Yashicamat 124
Ilford Hp5 Plus in Hc-110 diluition E
Stampa domestica 12x12 su carta Ilford FB matte.
Apart of the Surf Culture series.
6x6in Analog print shot with Holga
Gelatin silver lith print.
Kodak 400Tmax
So I received some NOS ferrotyping plates, which I found on ebay for a price lower than new ones. The results with these have been perfect. Absolutely perfect.
The process that I have found to work for me is:
*wash prints
*air dry prints
*soak prints in photoflo solution of about 1:100 (twice as strong as used for film) for at least ten minutes
*apply to plates sopping wet, and roll on with a roller
*drain excess photoflo off plate, you do not want excess water on the plate when you put it on the dryer
*dryer set to just about medium temp (obviously this is going to vary from model to model)
*use tightest notch for the canvas cover
The prints will pop off the chromed plate with an audible popping noise when dry. I run cold water over the plate before applying the next set of prints, starting with a hot plate seemed to have a detrimental effect, producing an uneven gloss. But I haven't experimented with this enough to say for sure yet, prints just seemed to come out better when applied to a cold plate.
So I received some NOS ferrotyping plates, which I found on ebay for a price lower than new ones. The results with these have been perfect. Absolutely perfect.
The process that I have found to work for me is:
*wash prints
*air dry prints
*soak prints in photoflo solution of about 1:100 (twice as strong as used for film) for at least ten minutes
*apply to plates sopping wet, and roll on with a roller
*drain excess photoflo off plate, you do not want excess water on the plate when you put it on the dryer
*dryer set to just about medium temp (obviously this is going to vary from model to model)
*use tightest notch for the canvas cover
The prints will pop off the chromed plate with an audible popping noise when dry. I run cold water over the plate before applying the next set of prints, starting with a hot plate seemed to have a detrimental effect, producing an uneven gloss. But I haven't experimented with this enough to say for sure yet, prints just seemed to come out better when applied to a cold plate.