San Mateo County Group
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The orchid is backlit by a softbox acting as a scrim - a snoot is providing additional light on the center of the main orchid.
Toyo 45G View Camera Fujinon A 240mm f/9. Ilford FP4+ @125. 1/60 sec f/16 ASA 125.
Standard development in Ilfosol-3 @1:9 dilution.
Printed on Ilford MG Fiber Classic - Glossy. Ilford MG Developer @1+9. Six seconds exposure with dodging of the central petals and 3 seconds burning of the leaves and stem.
Despite taking all of the expected measures, my developing time for this contact print was uncomfortably fast. I have ordered some silver chloride photo paper, which is much slower, and I may experiment with one of the old school developers...
Scaleber Force waterfall in the Yorkshire Dales, England.
Sanderson Half Plate Camera, Berthiot Olor 300mm lens, Fomapan100 developed in Kodak HC-110
Cottage thats going to change in the near future as building and renovation works have begun.
MPP Technical
90mm, f45
Kodak TMax 100
1sec exposure
.6gnd for sky
This Cattleya hybrid is from a cross I made 9 years ago (its second blooming) and the seed sown myself in Starbucks coffee jars, as flasks.
See it in color here: flic.kr/p/2rWbSuc
Photographed with Ilford Delta 100 @ 64ASA, developed with Barry Thornton's 2-Bath developer (5+5 min).
Intrepid 5x7 camera with Wollensak Verito lens at F6.0
Photographed with the Deardorff 8x10 camera and the 11" Verito lens. Ilford FP4+ developed in Pyrocat HD.
I realize that to many people, these photographs are redundant, repetitive, but for me they reveal different moods and attitudes as my technical approach is refined and shifts from one time to the next. I feel like I am finally getting what I want from the Verito lens, which is too soft for my liking when used fully open, so I am now using a smaller aperture these days. In this case, it was f11, which preserved some of the soft glow and corner swirl, but tamed the extreme softness nicely. This 11" Verito is far softer than the smaller versions of the lens and IMO it benefits from being more restricted.
My first large-format studio photograph made using electronic flash.
I only realised yesterday that the Super Topcor 150mm shutter has a PC sync socket, which means I can trigger my studio flash directly from the Horseman.
Photographed on a Horseman 985 with a Super Topcor 150mm f/5.6 and Fomapan 100. Exposure was 1/60 sec at f/16 with 210mm of bellows extension. Room lights were off.
The lighting was built around three speedlights: key, fill and a snooted spot used to pick out the upper petals and unopened buds. The digital reference setup on the Nikon D800 was key at 1/2 power, fill at 1/8 and snooted spot at 1/8.
Film developed in Beutler, then digitised and converted to black and white.
Description:
Horseman 985
Super Topcor 150mm
Fomapan 100 4×5
D23r
Close view of the surviving church fabric at St James Church ruins, Bawsey, Norfolk.
Link to images, article and website,
The weather this past 10 days has been awful. Long grey days of unrelenting rain and cold. I want to venture out, but it's not photography weather, so I work with what I have, ya know?
Photographed on 8x10 inch Bergger Pancro 400 film (well past its expiration date: 2019), developed in Rodinal 1:25
Camera: Deardorff with the 12" f4.5 Ektar lens (@f16)
In reference to my previous image of the two salt prints, this is the print that was made on Arches Platine. I still think the iPhone is giving it a little more contrast or clarity than the actual print, but it is a fairly close representation.
A fortuitous developing "issue" left me with some poor looking negatives, once refixed and rinsed off they didn't look just as bad. However the "damage" was done
Upon scanning the negs this beautiful Milky Way looking scar appeared behind the tree.
Large format negative.
Pinhole camera by Reality So Subtle. 4x5z
Horseman 985. Super Topcor 150mm f/5.6. 4×5 sheet film. Fomapan 100 developed in D23r.
Link to images, article and website,
Field test to find out how my film testing worked out in the field. The film was tested to produce negatives suitable for Salted Prints. I'll know better whenI print, but it's a start.
Photographed with Ilford Delta 100 @ 64ASA, developed in PMK (Pyro).
Intrepid 5x7 camera with Wollensak Verito lens at F6.0
Photographed on 5x7 inch Ilford Delta 100 film, using my Burke & James camera with an 1800s Voigtlander Petzval lens.
Film developed with Pyrocat HD developer, 1:1:100 for 12 minutes.
part of the winter spring clean.
Large Format 4x5 crown graphic special camera
Paper negative: Ilford MG FB
ISO 3
Shot at f/5.6 for 20ish seconds
Home developed in eco pro for 2 min
Next to the History and art museum (Nationalmusée)
Photo taken on 4x5 Fomapan 200 and developed in Adox Rodinal.
From an 8x10 inch Fomapan 100 negative (well, branded as CatLabs X80, but it's Fomapan) developed in PMK Pyro. Not bad, but the shoulder rolls off very early, making for somewhat difficult to visualize high values. But it works in its own way.
Deardoff with Schneider 240mm Symmar-S
40 seconds exposure at f16. (Long reciprocity + bellows extension)
Iran, Panoral 45 camera, Schneider Super Angulon 90/5.6 , Hoya red filter, Ilford Pan 100, 6x12 roll film
www.mr-alvandi.com/gallery/panorama/amameh-012.html
Instagram: www.instagram.com/alvandicamera
Telegram channel: telegram.me/mreza_alvandi
What do I see ? Well... The way it started, it looks like we'll keep playing the Blues in the New Year...
I try and stop by this every time I have a camera on me and take a photograph. Sad to see it slowly slipping away.
Horseman 985, Ilford FP4 Plus 4×5, developed in Beutler. I like the tonal hierarchy this combination produces.
Digitised with a Nikon D800 and Micro-Nikkor 55mm f/3.5.
Linhof Technorama 617s III | Schneider Apo-Symmar L 180mm f/5.6 | Kodak Ektar 100 | 9 minutes exposure
Linhof Technorama 617s III | Schneider Tele-Xenar 250mm MC f5.6 | Ilford SFX 200 R72 Infrared Filter
What are we doing with the Earth, the river is dry and there is almost no snow in the mountains!
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Sinar P2
Schneider 90mm
Ilford HP5
4x5
Rodinal 1+50