View allAll Photos Tagged fp4plus
Leica III + Summaron 3.5/35 + FP4-plus - digitalisée avec Nikon DF + Micro-Nikkor 2.8/60 - 4 min. développé avec Ilfotec LC29 1+9
Ilford FP4+ in the Rolleiflex MX (f3.5 Tessar)
I don't typically use the Rolleiflex at its widest aperture because sharpness is less than ideal at f3.5
But out of curiosity I did that during a comparison test yesterday. This image was made with the aperture wide open. Depth of focus is - not surprisingly - very shallow (about 12" of reasonably sharp focus), and sharpness is just OK in the point most in focus. But the feel is very nice, with the softly rendered background.
"Soft" has its place.
Note to self: next time, use a green filter to create better separation between the Ivy foliage and the dead Maple leaves.
Nikon F2 eye finder (c1979)
Ilford FP4+ 125 ISO metered film pushed.
Ilford Microphen Dev.
Scan: 1200 DPI
photographed 2019
La Palma
Voigtländer Perkeo - Color Skopar 1:3.5 80mm
Ilford FP4plus in Xtol 1:1 (Digitized with the Sony)
Nikon FE 28mm F/2.8 AI-s lens
Ilford FP4+ film developed in ID-11 (1:1) for 9.5 minutes @ 21.5C.
V500 scan @ 600 dpi.
Saturday 8th February 2025.
Camera: Voigtländer Bessa II 6x9 Rangefinder.
Lens: Voigtländer 105mm Color-Skopar f/3.5.
Film: Ilford FP4 Plus ISO 125 120 black & white negative.
Exposure: 1/100 @ f/5.6.
Development: Kodak D-76 1+3 20C for 22 minutes.
Copyright 2025
Tasmania Film Photography
ALL RIGHTS RESERVED
Ilford FP4 Plus 125 reversed in PQ Universal and scanned with Plustek 7600i Ai.
Best enjoyed with Dark Ambient / URBEX
Zeiss Ikon ContaxⅡa
Carl Zeiss Opton Sonnar50mmT* F1.5
ILFORD FP4Plus
D-76 (Self-formulation)
1+1 22℃ 18:00
Inside the abandoned Anechoic Chamber where Radiotehnika used to test their speakers. It's a huge cube with ~1,5m long triangular low frequency absorbers placed in funny patterns and wire floor in the middle - it's a huge one! Well, was.... They'll be building a PARKING LOT here, WTF...
It was a trip just to be there, to close the massive doors on rails, and enjoy the silence.
Ilford FP4 Plus 125 reversed in PQ Universal and scanned with Plustek 7600i Ai.
Best enjoyed with Dark Ambient / URBEX
After overlooking the River Derwent for well over a century, this 19th Century manor has run out of time. It's scheduled for demolition to make way for a new bridge across the river.
EDIT:
Happily I've been advised that I was misinformed—apparently the pictured house will not be removed during the bridge works—good news.
Saturday 10th September 2022.
Camera: Leica IIIf (red dial) 35mm rangefinder (1952).
Lens: Leitz 3.5cm Elmar f/3.5 (1939, un-coated).
Film: Ilford FP4 Plus ISO 125 35mm black & white negative.
Exposure: One of several bracketed exposures from 15-90s @ f/12.
Development: ID-11 1 + 3 20C/21m.
Copyright 2022 Tasmania Film Photography
ALL RIGHTS RESERVED.
In Explore
October 5, 2022
www.flickr.com/photos/tasmania_film_photography/524039054...
“The nicest thing about the rain is that it always stops. Eventually.”
- A.A. Milne - "The Wind in the Willows".
Mamiya RB67 50mm F/4.5 Sekor C
FP4 film developed in ID-11 (stock) for 7 minutes @ 22.3C.
Gentle modification in Lightroom 6.
V500 scan @ 1200 dpi.
Alternate edit of the previous image.
Photographed on Ilford FP4+ and developed in PMK
Camera used: Intrepid 8x10 with the f4.5 Kodak Ektar 12" lens. Exact exposure details not recorded, but probably 20 seconds or more at f22 or thereabouts.
I’ve recently had a realization about the tree roots work I’ve been doing in the Marys River over the past 7 years: there’s a connection between what I’m doing (the act of wading deep in the river to make the photographs, perhaps more than the photographs themselves) and something from my distant past that apparently I’ve never really come to terms with. This is difficult to talk about.
When I was maybe 7 or 8 we were spending the summer at the family’s cottage - my mother and brother and I. We had a cat with us that summer (a cat I remember nothing about - no name, nothing, which is surprising) and she was pregnant. One warm summers evening, she gave birth to 4 or 5 kittens. I have a vague memory of the cat giving birth in a cardboard box under the kitchen sink. The next thing I remember is my mother carrying a pillowcase with something in it down to the lake and telling me not to follow her. But I did follow her a few moments later, in time to see her holding the pillowcase under the water. The only thing I remember after that is that she cried about what had happened. I didn’t understand what she’d done, or what happened to the kittens. She’d drowned them, of course. We couldn’t keep them - we didn’t have the financial resources to care for so many cats (and I doubt my father would have tolerated them). I don’t remember if my mother explained what happened or if I just figured it out, but I understood, and I was changed by this understanding. I couldn’t understand how my mother could have done such a thing. It created a huge question mark in my psyche about the nature of our species that I wouldn’t have any kind of answer for until much later in my life.
I’ve realized there’s some psychological connection between my memory of this event and my exploring the river to make photographs of the trees, reaching into the water with their arms/roots. It makes me think of my mother’s arms holding that pillowcase underwater. It’s shocking how events from our early lives shape who we become and guide our pursuits in later life.
5th January 2022
Camera: Rittreck Six SLR.
Lens: Rittron 80mm f/2.
Film: Ilford FP4 Plus ISO 125 120 black & white negative.
Exposure: 1/500 @ f/2.8. MLU.
Development: ID-11 1 + 4 20C/25 minutes.
Made at close range (approximately 0.9 metres) at f/2.8 to verify accurate focus after calibrating the back focus of the 80mm Rittron lens for this Rittreck Six SLR. As originally assembled by Musashino Kōki the lens was focusing rather beyond its optimum infinity setting. I had to hand make a suitable shim from a sheet of 0.25mm steel shim stock, to move the lens just far enough away from the body to prevent the lens focusing past its sharpest infinity focus.
The exact focus point for this subject was the word "Electric" in "LINCOLN ELECTRIC CO. (AUST.) PTY. LTD."
Looks sharp. I think the adjustment worked.
See this folder for more images of and by the repaired Rittreck Six:
www.flickr.com/photos/tasmania_film_photography/albums/72...
Copyright 2022 Tasmania Film Photography
ALL RIGHTS RESERVED
In Explore, February 9th, 2022
www.flickr.com/photos/tasmania_film_photography/518700059...
A scene from the old Royal Derwent Hospital precinct in Tasmania's Derwent Valley. Tasmania's wonderful late afternoon light was at its best on the day.
9th February 2021
Camera: Voigtländer Prominent 35mm Rangefinder.
Lens: Voigtländer 50mm Ultron f/2.
Film: Ilford FP4 Plus ISO 125 35mm black & white negative.
Development: ID-11 1 + 3 20C/18.5m.
Copyright 2021 Tasmania Film Photography
All Rights Reserved
In Explore July 22 2021
www.flickr.com/photos/43224475@N08/51325798483/in/explore...