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Aufnahme 1972, Print 2010
Wegen eines Meßfehlers (Jugendsünde Ungeduld) sind die Schatten im Negativ fast zeichnungslos, die hellen Bereiche haben normale Dichtewerte. Die Schatten benötigen eine extraharte Gradation, die Lichter eine normale bis weiche Gradation. Gradationswandelpapier (allein) hilft hier nicht weiter, weil die Kurve durch Filterung insgesamt lediglich steiler oder flacher gelegt werden kann. Um die Schattenbereiche noch einigermaßen differenziert darzustellen, wird ein harter Entwickler benötigt. Ein solcher Entwickler allein kann jedoch bei der erforderlichen knappen Lichtmenge (für die Schatten) keine Lichterzeichnung hervorrufen. Weiche Entwickler arbeiten in der Regel wesentlich rapider als harte. Nach einem langsamen Bildaufbau bis zu den Mitteltönen im Erstentwickler, verstärkt der weiche Zweitentwickler die bereits vorhandenen Dichten und entwickelt die Lichter.
Für solche Problemnegative sind Papiere mit "langer Range" wie das MCC bestens geeignet. In diesem Fall wählte ich jedoch eine Festgradation um bisherige Erfahrungen zu überprüfen.
Erlkönig (#15)
Erstentwickler/first developer hart/hard working
Wasser/water 700ml, VGT A 40ml + Lith A 30ml + Lith B 60ml
Wegen des Sulfitgehaltes des VGT stellt sich kein Litheffekt ein, die Lithkomponenten wurden dem VGT zugesetzt, um ihn noch langsamer einzustellen.
Zweitentwickler/second developer weich/soft working
VGT B 20ml + C 40ml + 600ml Wasser/water
Entwicklungszeit/developing time: 2,5 + 1 Minute
Tonung: Bleicher 1+100 45 Sekunden MT5 1+10 2 Minuten
You are the light of the world.(Mt5:14)
today(27/08/11) morning I saw the light in Stanwell Park. Sydney, Australia
Toyo View 810M / Nikkor-M 9/300
Tri-X 320 / HC-110
Gelatin Silver Print 29x58cm
Ilford MG Warmtone / ECO 4812
bleach 1+60, 50s whole picture
... and partly sub-areas without toning
MT5 Sepia 1+60, 50s
MT1 Selenium 1+20, 90s
Holga 120N, Tri-x in efd
Erlkönig (#25b)
Entwickler SE1 Sepia 1+9 3 Minuten
Toner MT5 Sepia 1+10 2,5 Minuten
Hasselblad 500C/M, Planar CF80/2.8, Delta 400 in Tanol Speed, Printed on Kentmere Fineprint VC and developed in Multigrade, bleached and toned in MT5 Sepia
Rollei Ortho25 in Finol (1:1:150)
Agfa MCC in Eco4812(+FB) shortly bleached and split toned in MT5 (Polysulphid) and MT2
(afaicr)
Holga 120N, Delta 400 @640ASA in Finol 1+1+100 20°C 23 mins
three sulfur toners
MT5 Sepia (Sodium sulfide/Polysulfide)
MT2 Carbon (Sodium sulfide/Selenium)
MT4 Siena (Polysulfide/Selenium)
all these toners work with and without prior bleach
Erlkönig (#17)
top left VGT developer - top right bleach 1+100 1 min, MT5 1+10 2 mins
bottom left bleach 1+100 1 min, MT2 1+10 2 mins - bottom right MT4 1+40 40 secs
Mamiya RZ67 Pro II with Kodak Tri-x 400 developed in Pyrocat-HD.
Printed on Ilford Art 300
Developed in Moersch SE1 Sepia
Toned in MT5 Sepia 1+40 3min
Bleach 1+100 1min
MT4 1+40 Siena 2,5min
Kodak Selenium 1+10 45s
though it must merely be thick enough to become unreal and half a second will do.
RPX400 in RPXD
Agfa MCC in Catechol/Se6 + bleach/polysulphide/ironblue
Hasselblad 500 C/M with Kodak Tri-X 400 developed in Pyrocat-HD.
Printed on Fomabrom Variant IV 123
Developed in Moersch SE1 Sepia
Kodak Selenium 1+30 1,5min
MT5 Sepia 1+40 3min
Bleach 1+100 30s
MT5 Sepia 1+40 2,5min
Bleach 1+100 50s
MT3 50:70:500 30s
MT7 10:10:22:10:1000
identical developer and toner as previously described, but different results of course
left: bleach 1+50 40 secs, MT5 Sepia 1+10 50 secs
middle: MT5 Sepia 1+10 4 mins
right: MT5 Sepia 1+10 4 mins, bleach 1+50 1 min, MT5 30 secs
Paper: Kodak Portralure G 1976 (warmtone enlarging paper similar to Ektalure G)
Developer: Ansco 108 1:0 for 2 min (high contrast developer)
Toner: Moersch MT5 (Polysulfide) followed by Ilford Selenium
This is a new interpretation of this rose picture I took in 2007. The negative was underexposed and quite thin so I mixed up some Ansco 108, a high contrast developer. Portralue's contrast supposedly is grade 1-3 with the use of filters (I haven't tried this).
I have started using Moersch's MT4 polysulfide toner for the first time. It's replacing Agfa's Virdon that I briefly experimented with (and later gave up on:). The saturation becomes much greater when followed by a strong selenium bath and becomes warmer.
Rollfilm 6x8 Tmax 400(neu)320 ASA in Finol 1+1+100 entwickelt, vergrößert auf Adox Variotone Premium im Zweibad SE 20c Cachechol 1+7/ ECO 1+20, und abschließende Selen MT1/Sepia MT5.
Maybe the best b&w mf lens ever on one of the crappiest cameras ever: Linhof 220 with the Technikar 3.5/95. 2 days with me and back to service ...
2tray Lithprint on BH112 (Se5 + Catechol/Amonnium Chloride) + selenium/polysulphide
Power by the Selkirk engine house including Norfolk Southern SD38AC #4139, CSX AC4400CW #105, Canadian National GP40-2LW #9431, CSX B40-7 #5547, SD40-2 #8850 and MT-5 #1003 in 1999. - from my slide
Toyo View 810M / Apo-Sironar 5.6/210
Polapan 55 / 4x5in.
Gelatin Silver Print 26x21cm
Ilford MG Art 300 / SE30 Meritol
bleach / MT5 Sepia / MT1 Selenium
How do we reflect to this world? thinking about it everyone.
"So let your light shine before people that they may see the good you do and praise your Father in heaven(Mt5:16)
today(02/09/11) early morning at Sydney Opera House, Australia
Toyo View 810M / Apo-Sironar 5.6/210
Polapan 55 / 4x5in.
Gelatin Silver Print 57x46cm
Agfa MCC 111 / SE1 Sepia
MT2 Carbon 1+75, 5:00
bleach 1+100, 30s / MT5 Sepia 1+100, 90s
MT1 Selenium 1+25, 60s
Entrance into an old vulcano 20 miles south of Cologne/Germany
(looks as if taken with a fish-eye lens, but it isn't - all naturally grown)
Canon EOS 3 / Yashica 2.8 28 mm @ f16
red filter (to get the fallen leaves lighter), exp. 2 seconds
Ilford PanF+ @ ISO 32
dev. in 510-Pyro (N)
Adox MCC 112 / Splitgrade
dev. in Moersch Catechol 1+5 / Rollei RPN 1+12
Bleaching for the highlighs and sulphur re-toning them thereafter with Moersch MT5 1+20
Hasselblad 501C / Sonnar 4/150mm
HP5 / RLS
Bergger CM (new) SE2 Warm
bleach / MT5 Polysulfid / MT1 Selenium / MT4 Polysulfid
Holga 120N, Delta 400 rated at 640 ASA in Finol,
Adox Variotone in VGT two tray
MT1 Selenium 1+20 1 min
MT5 Sepia 1+10 3 mins - bleach 1+200 1 min - Sepia 1+10 again 30 secs
Hasselblad 500C/M, Planar CF80/2.8, Delta 400 in Tanol Speed, Printed on Kentmere Fineprint VC and developed in Multigrade, bleached and toned in MT5 Sepia
This scene cryed for a blue filter in order to pronaunce the tree stumps.
Pan F @ISO 32 in 510-Pyro
Adox MCC 112 (I really like this matt FB paper!)
Printed Grad. 5
Dev. in Moersch Catechol/Rollei RPN
bleached for the highlights and re-toned with Moersch MT5 sulphur toner