Sinar
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I went to Sempach a third time to photograph the city gate. This time I had Portra 400 with me and my new Shen Hao TZ - 45 IIB with the 6x17 filmback. I'm reasonably happy with the result - but had to cut off a lot on the left and right because there were buildings that were interfering with the view.
Camera: Shen Hao TZ-45 IIB
Lens: Schneider Kreuznach APO 150
Filmback: Shen Hao 6x17
Film: Kodak Portra 400, 120
Scanner: Epson V850 Pro
ScannerSoftware: SilverFast
Sinar F 4x5 camera
Schneider 150mm F5.6
Shanghai GP3 ISO 100
Blazinal 1+25 20C 10mins
Fix 5mins.
© All Rights Reserved
Graflex Speed Graphic Large Format 4X5
Lens: Cooke Telephoto Anastigmat F/5.6 320mm 12 1/2 Inch Series III (Made by Taylor-Hobson England (Maybe Year 1906-1923)
120 film Back
Kodak EPP
CineStill D9 First Developer Bath 1+1 9mins 15 Sec)
Rinse 6 Lifes or 6 Inversion Cycles
Color&Reversal Bath 7mins
Rinse Fill and Empty Tank 6 times
Bleaches & Fixer Bath 8mins
Wash fill and Empty 10 times
Stabilizer: 1min
Scan：Epson V800
© All Rights Reserved
Toyo 45G Fujinon A 240mm/F9 Yellow Filter. Ilford FP4+ 125 ASA.
1/30s F25. Mangrove Base Zone II; Cloud Highlights Zone VIII/IX.
Standard development Ilfosol-3.
11 AM, Bright sun. The cumulus clouds had built up through the morning, and blew off soon after I finished shooting.
Paper negative
Self-made film holder still lets in light.
But the effect of it makes the picture almost picturesque.
The thin strip of light only hits the elevations in the paper.
Linhof color 5x7 (by adapter from 4x5), Computar Symmetrigon 150mm. one second exposure in the wind.
Fomaspeed 311 with yellow filter and exposed at ISO3.
Paper negative, overexposed and underdeveloped. The uneven development makes a really nice effect. Linhof Color 4x5, Computar Symmetrigon 150mm f6.3.
I originally said it was a Direct positive, but I was mislead by a wrong prefix in the name of the file from 2018. (Silverfast repeats the prefix from previous session unless you change it)
The picture was finished long time ago and when I put it out here, I was misled by the prefix.
I am sorry about it, but now I have corrected it. I found the result a bit difficult to explain and had to check the original. But at that time I treated both paper negatives and positives the same way, with highly diluted paper developer.
Another image from my film archive, one of the very first photographs I made on Dartmoor when we moved here nearly twenty years ago. The film I used, Fuji Velvia 50, transformed landscape photography on its release in the 1990s, because of its vivid saturated colours and dramatic contrast. But it wasn’t without its problems. It suffered from a strong magenta bias and extremely limited dynamic range, five stops (!) at best. No wonder companies like Lee made a small fortune selling graduated neutral density filters. They were essential if you wanted to avoid blowing out the highlights in a high contrast scene like this. The film was also very slow and plagued by reciprocity failure.
Nevertheless, it was very fine grained and in large format capable of capturing very fine detail, even by today’s standards. Modern imaging software makes it much easier to correct unwanted colour casts and rebalance tone and colour. Even so, an image captured on Velvia will always have that distinctive Velvia look. And despite its technical limitations, in the hands of skilled practitioners – true photographic visionaries like Joe Cornish, David Ward, Christopher Burkett, William Neill and Jack Dykinga, to name but a few – it has been used to create some of the finest landscape photographs ever made. Not that I mean to imply any of my own humble efforts deserve to make that list!
Ebony 4x5ins field camera, 90mm Grandagon, Fuji Velvia 50. Original photograph copyright © Simon Miles. Not to be used without permission. Thanks for looking.
Paper negative
Linhof color
f27 and 30 sec
The paper negative can give excellent results, but it also requires respect for the light and the right exposure.
I am beginning to suspect that I should go for exposure closer to ISO 8 thant ISO 6.
Van Dyke - Large Format 6x8 (Full Plate) Negative - UV Light Exposure - Gold Toned - Arches Aquarelle
Toyo 45G. Nikon 120mm/5.6 AM*ED Macro Lens. Ilford FP4+@100. F16@ 1/30s.(3.5-stop bellows factor.) Normal development in Rodinal 1:50 for 15 minutes.
Speedlight with softbox, left. White V-flat right.
2:1 Magnification.
Father and daughter...
Toyo45G Fujinon A 240/9. Red Filter 2.3 stops. Ilford FP4+ @100. Standard development in Ilfosol-3 @1:9. Negative scanned on D850.
Speedlight with grid and black flag above left.
From a small street in Åsgårdsstrand in Norway, leading towards a house where Edvard Munch had his studio and lived during summer time.
A contact print made on Fomaspeed 311.
Taken with Linhof color, Leitz EPIS 400mm f4 at f8 and 5x7" Fomapan 200.
No season for snow this year.
Fomapan 100 developed in Rodinal 1:50.
Linhof color, Computar Symmetrigon 150mm f6.3.
Baker Nevada just outside of the Great Basin Range National Park. This is a re-edit of a large-format film photo I took several years ago.
Every time i enter the #gate to the #forest it is like something is #soaking me in. I #enter a #special #world. It is filled with #mood, #easy #vibes and #simple #living. It is like coming #home. I #love this #feeling. It #heals my #heart.
#polaroid 59, #4x5 #ebonycera
waiting for new developer and fixer.
these were 4x5 paper negatives taken ????
I used the wrong developer. sigh..
but they're fun to play with.
5 more after this.
of course, no comments needed.
some paper, dunno which.
see what you can see.
**wednesday I was playing with the LF camera and managed to screw up four more negatives. I'm glad it's photo paper and not 4x5 film.
this is how I learn, and in this case, relearn.
Taken August 12, 2024.
Toyo 45G Fujinon A 240mm/9. Rollei Infrared 400 film. Hoya 720nm IR filter - 5 stops exposure compensation. 1/8s F16.
Standard development in Rollei Supergrain developer 1:12 for 7 minutes.
This has been sitting on the desktop for some time - there were technical difficulties developing the negative, but I like the overall look of the image.
There is a substantial anti-halation layer on the Rollei IR film which must be washed off. The exposed film sheet sits on a rack in the developing tank, held in place by tabs around the edges - I suspect that the film was not adequately washed around the edges, and so the border is underdeveloped. In addition, it was a real struggle for my hazy 240mm lens to shoot into the bright blue sky at F16, so there is some faint mottling.
Callie is known locally as 'black jesus' - he is kind, a deep thinker, ridiculously easy company.
Six days a week, his long gangly legs and endless ropey arms make their way around the island by bicycle, (often balancing a variety of fruits and coconuts on his handlebars to sell), easily traversing 20km-30km a day.
On this day, he told me that he had recently had a stroke and that he had some paralysis down his right side. The doctor told Callie that it was a good thing that he took one of his epic bicycle rides shortly after the stroke had hit, because doing so had minimised the lasting affect of the heart-event on his limbs.
Before the portraits, I showed Callie the images I had taken of his sister Anna - he got emotional: there she is...there she is'...
Callie, and ordinary men and women like him, make you feel part of something that matters. That a world of decency, respect, hard work, honesty and self-sufficiency, can and does still exist.
Whenever I speak to Callie or see one of his enormous hands lift from a handlebar to waive as I pass him, his give-everything smile beaming, I realise that 'god is one of us' and that our blessings are too many to count.