Fomatone 131 semi glossy, Eco 4812 1+14 3 minutes,

MT5 Sepia 1+8 6 minutes,

bleach 1+100 30 seconds,

MT5 again 30 seconds

Sony a7RM4 + MT5+Canon Stacking 2 2x TC+Canon 600 f4.0ii =2400mm

Fischenich Pond, Lobotype variant.

MT5 Sepia toner 1+50 1:20 mins

Rolleiflex T, Trix in Pyro48,

Ilford MGWT in SE2 Warm,

MT5 Sepia toner 1+10 3 mins, bleached 30 secs and toned again 30 secs

Ilford MGWT | MT5 Polysulfid & MT1 Selenium toned

Linhof 617 | HP5 | Pyro 48

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Pictorico OHP digital negative

Contact printed on Foma 542 II

Developed in Catechol+FB / Sepia

Toned in Selenium / Sepia

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Sony a7RM4 + MT5+Canon Stacking 2 2x TC+Canon 600 f4.0ii =2400mm

HP5 in Finol (N+1),

printed on Ilfobrom Galerie G3 in SE6 Blue.

Prior bleaching is required for sepia toning of bromide papers with MT5. The ferricyanide bromide bleach should be diluted between 1+20 and 1+30 for this purpose. Bleaching is carried out until the highlights and midtones disappear; the deep shadows should still be visible, otherwise the contrast will be reduced too much.

Bleach 1+20 for one minute.

MT5 sepia toner 1+10 for 30 seconds.

Für eine Sepiatonung von Bromidpapieren mit dem MT5 ist eine vorherige Bleichung erforderlich. Der Ferricyanid-Bromidbleicher sollte für diesen Zweck zwischen 1+20 und 1+30 verdünnt werden. Es wird gebleicht bis die Lichter und Mitteltöne verschwinden, die tiefen Schatten sollten noch sichtbar sein, weil sonst der Kontrast zu stark reduziert wird.

Bleicher 1+20 eine Minute.

MT5 Sepia Toner 1+10 30 Sekunden.

Handcrafted Gelatin Silver Print

Adox Variotone Fine Print

ECO 4812 | bleach | MT5 Polysulfide | MT1 Selen

Toyo 45A | 5.6/135 | Tri-X 320 | PYRO 48

Eos500, HP5 35mm in efd.

Fomatone 132 (batch 080348-01)

developer Meritol

toner MT5 Sepia 3 mins.

Zu diesem Zeitpunkt ist die Wirkung des Toners kaum erkennbar. Erst nach kurzer Bleichung (1+75 1 min.) wird die Tonung sichtbar. Enthält der Bleicher (wie hier) neben Kaliumhexacyanoferrat auch Kalium- oder Natriumbromid wird der noch ungetonte Rest des metallischen Silbers in Silberbromid umgewandelt, es muß also zur Stabilität des Prints nochmals kurz getont (hier 20 Sekunden) oder fixiert werden.

Die übliche indirekte Tonungsmethode (erst bleichen, dann tonen) ergibt eine andere Farbigkeit mit gelblichen Lichtern und grünlichen Schatten.

At this point, the effect of the toner is barely noticeable. Only after a short bleaching process (1+75 1 min.) does the toning become visible. If the bleach (as here) contains potassium bromide or sodium bromide in addition to potassium hexacyanoferrate, the remaining untoned metallic silver is converted into silver bromide, so the print must be toned again briefly (here 20 seconds) or fixed to ensure stability.

The usual indirect toning method (bleaching first, then toning) produces a different colouration with yellowish highlights and greenish shadows.

Toned Lobotypes

left Palladium toner

right MT5 Sepia 3 mins, bleach 1+75 1 min, MT3 Vario D for more yellowish lights.

Handcrafted Gelatin Silver Print onto Ilford Art 300

ECO 4812

bleach | MT5 Polysulfid

MT1 Selenium | MT10 Gold

Hasselblad 500C/M - Sonnar 4/150

FP4 Plus | PYRO 48

Kallitype

Hahnemühle Platinum Rag

Another toning attempt: Lead and Sulphur.

Handcrafted Gelatin Silver Print

Ilford MG Warmtone | ECO 4812

bleach | MT5 Polysulfide | MT1 Selen

Toyo 45A | 5.6/135 | FP4 | PYRO 48

Staglieno taken 1972, printed 2021.

Lobotype on HPR,

MT5 Sepia toner 1+50

toner - bleach - toner.

Leicaflex (standard)

50mm Summicron-R

HP5 @250

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Moersch MT5

Poskær Stenhus is the largest round barrow in Denmark, dating back to 3.300 B.C. It is located by the village Knebel on the hilly southern part of the peninsula, Djursland, at the entrance to the Baltic Sea between Denmark and Sweden in northern Europe. The central burial chamber is equipped with a capstone weighing 12 tons, surrounded by 23 slabs taller than a man, forming a circle.

Leicaflex (standard)

35mm Elmarit-R

HP5 @320

Studional 1+30 (R09 Spezial)

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Hasselblad 501CM, Planar 100 with extension tube, yellow filter,

Delta 400 @1000 ASA in Finol (7,5+7,5+490ml 20°C 23 mins).

Lobotype on Hahnemühle Platinum Rag,

MT5 Sepia Toner 1+50 1 minute.

Ilford Classic FB, ECO 4812

MT5 Sepiatoner

Hasselblad, Tri-X 400, ID-11

(Title inspired by Johan Alfraeus, Thanks :-)

Canon EOS-3

Canon EF 50mm f/1,4

Kodak Tri-X @320

Ilford Perceptol 1+1

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5

Olympus OM-2n

Zuiko 50mm f/1.8

Ilford HP5 @800

HC-110 B

Print

Bergger CB Style, Warm, semi-gloss Ivory

Moersch MT5 Sepia

Poskær Stenhus is the largest round barrow in Denmark, dating back to 3.300 B.C. It is located by the village Knebel on the hilly southern part of the peninsula, Djursland, at the entrance to the Baltic Sea between Denmark and Sweden in northern Europe. The central burial chamber is equipped with a capstone weighing 12 tons, surrounded by 23 slabs taller than a man, forming a circle. (Wikipedia)

Leicaflex (standard)

35mm Elmarit-R

HP5 @320

Studional 1+30 (R09 Spezial)

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Hasselblad 501CM, Planar 100 with extension tube,

FP4 in Tanol,

Fomatone 131 in SE2 Warm,

MT5 Sepia toner 1+8 2 mins, bleach 1+75 1 min and MT5 again 1 min.

Leicaflex (standard)

50mm Summicron-R

HP5 @250

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Moersch MT5

Olympus OM-2n

Zuiko 50mm f/1.8

Ilford HP5

Rodinal 1+50

Print

Fomabrom var. 112

Moersch MT5

Olympus OM-2n

Zuiko 50mm f/1.8

Ilford HP5

Rodinal 1+50

Print

Fomabrom var. 112

Moersch MT5

Leicaflex (standard)

135mm Elmarit-R

HP5 @250

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Olympus OM-2n

Zuiko 50mm f/1.8

Ilford HP5 @800

HC-110 B

Print

Bergger CB Style, Warm, semi-gloss Ivory

Moersch MT5 Sepia

Poskær Stenhus is the largest round barrow in Denmark, dating back to 3.300 B.C. It is located by the village Knebel on the hilly southern part of the peninsula, Djursland, at the entrance to the Baltic Sea between Denmark and Sweden in northern Europe. The central burial chamber is equipped with a capstone weighing 12 tons, surrounded by 23 slabs taller than a man, forming a circle.

Leicaflex (standard)

35mm Elmarit-R

HP5 @320

Studional 1+30 (R09 Spezial)

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

AUSSTELLUNG "QUIET LIGHT"

GALERIE VAZEROL14

CH-7000 CHUR

Handcrafted Gelatin Silver & Lith-Prints

8.10. - 5.11.2022

Ilford Art 300 | MT5 Polysulfid & MT1 Selenium toned

Hasselblad | Planar 2.8/80mm | HP5 | Pyro 48

Olympus OM-2n

Zuiko 50mm f/1.8

Ilford HP5 @800

HC-110 B

Print

Bergger CB Style, Warm, semi-gloss Ivory

Moersch MT5 Sepia

Poskær Stenhus is the largest round barrow in Denmark, dating back to 3.300 B.C. It is located by the village Knebel on the hilly southern part of the peninsula, Djursland, at the entrance to the Baltic Sea between Denmark and Sweden in northern Europe. The central burial chamber is equipped with a capstone weighing 12 tons, surrounded by 23 slabs taller than a man, forming a circle.

Leicaflex (standard)

35mm Elmarit-R

HP5 @320

Studional 1+30 (R09 Spezial)

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Handcrafted Gelatin Silver Print onto Ilford Art 300

bleach | MT5 Polysulfide | MT1 Selenium

Hasselblad 500C/M - Planar 2.8/80

FP4 Plus | PYRO 48

Leicaflex (standard)

90mm Elmarit-R

HP5 @320

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Holga 120N, Efke IR820 in efd,

Kallitype on Silica pre-coated Cot-320, Oxalate/Acetate developer,

toning Lead nitrate followed by MT5 Sepia (sulphur) 1+10

Leicaflex (standard)

135mm Elmarit-R

Red filter

HP5 @200

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Leicaflex (standard)

35mm Elmarit-R

HP5 @320

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Olympus OM-2n

Zuiko 50mm f/1.8

Ilford HP5 @800

HC-110 B

Print

Bergger CB Style, Warm, semi-gloss Ivory

Moersch MT5 Sepia

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Duaflex IV (620) with Kodak Tri-X 400 developed in Pyrocat-HD.

Printed on Orwo 116

Two trays lith

Toned in Carbon / shortly in Sepia

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Canon EOS-30

EF 24-105mm USM

Fomapan 400 @250

D-76 1+1

Print:

Fomabrom 112

Toned with Moersch MT5 & Adox Selenium

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Handcrafted Gelatin Silver Print onto Ilford MGWT matt

ECO 4812 1+14

bleach | MT5 Sepia | MT1 Selen | MT10 Gold

Hasselblad 500C/M - Sonnar 4/150

400TX | PYRO 48

Sinar P2 + Rodenstock Apo-Macro-Sironar 120mm/f5.6. Ilford HP5+ developed for 14min. in 1/20 Adox FX39II at 20C in a Jobo 2520 tank with reel on a Jobo processor. Split-grade printed with an LPL 7453 enlarger +fujinon-EP 135mm/5.6 lens. The base exposure is Gr2.5 with the water around the tree, the upper 1/4 of the frame and high lights in the upper right burned in at Gr0. Left, right , and bottom edges have been burned in a Gr5. Paper is 8x10 Adox Variotone M) processed with Chugai developer. Print was washed with a Patterson print washer, and Sepia (Moersch MT5) direct-toned and selenium toned (Adox Seletoner). Pressed with a Seal Junior 60 press and scanned on a Epson GTX970 scanner without adjustments.

This is the first time I have used Adox FX39II film developer and it seems as it will serve as a replacement for Rodinal which has bee my standard developer for several years.

Instead of directly printing on 8x10 paper, I test printed on 5x7 Adox MCC110, processed and dried them, but did not like the results. After looking at them for about a week, I realized I needed to burn-in the highlights of the water around the tree and did a second round of printing, first using 5x7 paper, then 8x10 MCC112 and then the Variotone. I usually try to get a final print in one afternoon, but in this case taking the time to decide on how to make the print over two sessions worked well and I am happy. Using 5x7 paper for the test prints encouraged me to try out more exposure and grade variations and thus also contributed toward a better print.

Leicaflex (standard)

135mm Elmarit-R

HP5 @320

Perceptol 1+1

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

Handcrafted Gelatin Silver Print onto Ilford Art 300

bleach | MT5 Polysulfid| MT1 Selenium

Hasselblad 500C/M - Planar 2.8/80

FP4 Plus / PYRO 48

FP4 in Tanol

ADOX Variotone, Catechol + Eco4812

Toner MT5 Sepia

Playing around with my new Elpro near focussing lens :-)

Leicaflex (standard)

50mm Summicron-R

Elpro VIa

HP5 @250

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium

APX400 in Rodinal

Lith onto Kentmere Art Classic + cold polysulphide (mt5)

Ruin of a castle in Slovakia

Toyo Metal Field, half plate Fomapan 100 in Pyro, printed on Adox MCC110 (SE2), bleached into midtones, MT5 sepia toner.

Hasselblad, Distagon 50mm,

Kodak Verichrome Pan,

Lobotype on HPR,

MT5 Sepia (sulfur) toner 1+50 1:30 mins, wash and bleach 1+75 30 secs, MT3 setting D to shift the reddish brown to a greenish hue.

Leicaflex (standard)

50mm Summicron-R

HP5 @250

Bergger PMK

Print

Fomatbrom variant 112

Ilford Multigrade

Toned in Moersch MT5 & Adox Selenium