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Three Light set-up.
One overhead 22 inch beauty dish.
Two edge lights in small soft boxes from behind.
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Seneca Improved View 5x7, New Guy collodion, 5x7 tintype
f/4.5, 15 seconds
Black spots from unfiltered silver bath. I should've found a more flattering angle, lol. I look dead AF. Severe fog from warm developer.
Will have to get better focus and try again.
Osaka VW45FC, Osaka 120mm f/6.3, Macophot IR820c
IR720 + CPL filters
Metered at ISO 0.8
F/16, 30 seconds
Rodinal 1+50, 12 mins, 68F/20C
Mod 54 in Paterson tank.
Inversions for first minute then 3 times at the top of every minute after.
Justin is the Creative Director of Chichester Festival Theatre. I couldn't photograph him in the auditorium of the theatre because final rehearsals for the opening play of the festival were underway. So I decided to use the communal orchard alongside the theatre that was in full bloom at the time.
A ruined building on the site of Tangmere Airfield, a WW2 RAF base. Famous for being one of the bases Douglas Bader flew from.
Glass negative (wet plate collodion) of the north woods here on the farm. The lens was an old Darlot magic lantern lens. I like how it makes swirly chevrons in the out of focus areas.
5 minute exposure. I’ve estimated the lens as about f8.5 or so.
I recently visited Stockport, Ohio, with my 1921 Cirkut No. 10 to capture a panorama of the historic Stockport Mill and Muskingum River Lock and Dam #6.
I made a few passes, but this infrared exposure is my favorite.
📷 1921 Cirkut No. 10
🔎 16.5” Schneider Repro-Claron
🔴 Kodak Wratten 89B
️ Agfa Aviphot Pan 200
Outdoor passion for polaroids. Indoor passion for painting.
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Horseman L, Schneider Symmar-S MC 210mm
Fomapan 100 in Rodinal, semi stand development (1:100, 60min)
My cranky girlfriend with a preference for facial hair.
Negative, Positive
Homemade emulsion printed back on itself.
4x5 Silver gelatin on Arches platine.
Sloppy brushwork.
Very happy, I have something workable for my paper negatives here.
Neue Nationalgalerie by Mies van der Rohe, in Berlin.
Continuing my architecture work, reflecting on Sugimoto's approach: his way of completely blurring the building ("twice infinity") is indeed a beautiful way of just seeing shapes - and discovering what "remains" of the building. But somehow I can't fully accept the complete loss of details…
So I have been toying with the Verito convertible lens, creating two negatives that are printed together - one properly in focus for the details, the other one at… "twice infinity" (by simply unscrewing the front element of the Verito…)
View large.
Deardorff 8x10, Wollensak Verito, Fomapan 100. Tanol 1+1+100, 16 min @ 20°C. Lith baryta print.
Shot on Kodak Portra 400 sheet film using a 1994 Tachihara Field 4 x 5 in. view camera. Home developed and DSLR scanned.