Foma Papers
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Just an attempt of Glycin after Lith. A 2nd developer is not necessary with this paper, because the lights come out with enough density. But Polychrome is always a must in my experimental run with new papers.
Lith 50+50+1000+20ml D
Siena 30ml +900ml water +15ml AmCloride + 15ml Carbonate + 6ml !!! (1+4 diluted) Lith D to prevent border fog.
This is a Salt Print made this morning, using a 5x7 dry plate negative (home-made, using the Foma Emulsion), on Bergger COT 160 paper. I used the technique described in the 2019 edition of Chemical Pictures. (Quinn Jacobson)
The print is gold chloride toned.
Contact print on fomatone MG 133, Developer Kodak Dektol.
Digital Negative, photo taken with a phone.
Enlarged through a diffusion filter under the lens – a worthwhile technique for smoother dark textures!
A diffusion filter on the lens during exposure of the film makes the highlights glow, in the case of placing it under the lens during enlargement, it makes the shadows bloom. The reason for that is rather obvious once you really start thinking about it: a diffusion filter always affects bright areas. In a photo taking scenario, those are the real bright parts of the image, in a darkroom printing setting it's the shadow areas of the negative, where the negative density is low so print (positive) density will be high (i.e.: the shadows)
I feel this technique is criminally underused. As long as you don't go overboard with it, it won't even look too cliché ;)
I used an ancient ('80s?) Hama diffusion filter here.
A lot of dodging and burning made this look as dramatic as it does now. Really, it was just a nice and sunny day when I took this photo 😝
Print onto Fomatone MG Classic 131 with Rollei RPN Eco 1+9
Nikon F3 + Nikkor 20mm 1:3.5 + Ilford FP4+ in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Ein Negativ mit zu geringem Kontrastumfang (0,67 logD) also eher ein Negativ für eine extraharte Gradation.
Geprintet auf Retrobrom 152 (Grade 2 Spezial). Das kann nur funktionieren mit kurzer Belichtungs- und langer Entwicklungszeit. Bei dünnen Negativen mit wenig Schattendifferenzierung ist es einfacher, Belichtungszeit und Entwicklungszeit aufeinander abzustimmen, wenn man das Bild mit dem Negativrand vergrößert. Wenn sich der Rand erst nach 8 bis 10 Minuten schwärzt, bleibt genügend Zeit, die langsam einsetzende Schwärzung der Schatten zu beurteilen. Kommt der Rand viel früher, wird der Entscheidungsspielraum enger und die Schatten könnten unkontrolliert rasant zulaufen.
A negative with too little contrast range (0.67 logD), needs a extra-hard graded paper. Printed on Retrobrom 152 (grade 2). This can only work with short exposure and long development times. With thin negatives with little shadow differentiation, it is easier to coordinate exposure time and development time if you enlarge the image with the negative edge. If the edge only blackens after 8 to 10 minutes, there is enough time to assess the slow onset of blackening in the shadows. If the edge appears much earlier, the scope for decision-making becomes more limited and the shadows could run uncontrollably fast.
Foma Retrobrom 152
exposed 15 seconds,
developer Easy Lith 50+50+900 ml
edges black at 10 minutes, snatch point at 14 minutes.
A group of trees at Skotterup Strand on the Øresund coast (Sweden in the background)
Camera: Toyo Field 45A
Lens: Fujinon-W 135mm f:5.6 (yellow filter)
Exposure: 1/15 @ F/45
Film: Foma Retropan 320 4x5" dev. in XTOL Replenished in a Jobo 2521 tank (2509n reel)
Dunes on Foma 100.
I shot a second roll, different film. Honestly, I like these better. They scan much easier. They don't have the deep shadows and huge contrast, but with a little work in post it's good, as well. At least much easier as trying to tame the Adox 20. But probably this is what you would expect from a special film versus an universal use film.
An alternative version of the previous photograph, but made with Fomapan 100 this time, developed in PMK. Different tonal rendering, but equally pleasing results.
Camera: Intrepid 5x7 camera with the 9" Wollensak Verito lens, at f4.5
Foma Retrobrom in SE5 Lith 50+50+30+1000ml A+B+D+water +3,8 f-stops 10 minutes followed by Lith B/Omega mix 1 minute
Scanned lith print.
Mamiya 645 ProTL w/ M-S 120 mm/f5.6.
Rollei RPX 25, developed in Rodinal 1+100, semistand 1 h.
Lith printed on Foma Retrobrom 152 Sp and developed in Moersch Easy Lith.
Untoned.
An extra treat with Foma Snowballs in the background :-)
Ikophot is a legendary light meter based on Selenium, and it's still working! Fom the 1950's, who could believe that?
No batteries or anything else needed.
Vintage Punch Buggy.
Toronto, Ontario
Arista EDU Ultra 100 with Y2 Yellow Filter
Nikon FE
Nikon 50mm F1.8 E Series
Epson V370