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I took a street walk with Nikon FE #NikonFE #24mm #ilford #film #tetanal #ultrafin #HP5Plus #negatives #ipadlightbox
Au parc de St Cloud, tant que les feuilles sont encore minuscules, la chaude lumière d'un dimanche matin vient agrémenter la balade dans les allées.
Nikon FA
kodak ektar 100 - that "cold" blue rendition in the shadows is "weird" as I am much more used to the warm tones of fuji films. --> basically, i should have overexposed :)
nikkor AI 85mm f/2 lens
processed and scanned at Nation Photo, Paris
March 2014
Camera: Nikon Nikonos-V
Lens: W-Nikkor 35mm f/2.5 Prime
Film: Fujifilm Fujicolor C200
Develop and Scan: West End Cameras
The red Ken Swan Chica built and owned by Dick Wormsbecher of Longview; the other skiff looks like it may be a Ken Swan design too. Depoe Bay Wooden Boat Show, April, 1998
Source: livinghistories.newcastle.edu.au/nodes/view/32969
Thomas James Rodoni was born in 1882 at Hotham East, Victoria, to Swiss and Irish parents. While living in Sydney in August 1914 as a man of 31, Rodoni joined the first Australian Imperial Force that would engage in the Great War: the Australian Naval & Military Expeditionary Force.
A week after enlisting, Rodoni’s company embarked on the HMAS Berrima and sailed to German New Guinea among a fleet with orders to seize two wireless stations and to disable the German colonies there.
Rodoni’s unofficial photographs – many of them “candid” shots, captured in the moment – are a rare glimpse of this pivotal moment in Australia’s history. He has documented the energetic atmosphere of prewar Sydney and its surrounds, from civilian and military marches to battleships docked in Sydney Harbour, with accompanying crowds of people brought together for these special events. His camera voyaged with him on the expedition to the Pacific region, taking images both from the ship’s deck and then again on dry land after disembarking.
Rodoni was stationed in New Guinea for five months with the AN&MEF after the successful capture of territory from the German forces. His striking images are testament to his ease with the camera, and the ease of his fellow servicemen around this avid amateur photographer. He used his camera to record daily events and significant moments in the expedition, and made several group portraits of the officers and soldiers in his company. Yet his images also suggest a genuine curiosity for the foreign people and places where he was stationed, and a love of the photographic medium in which he practiced during this early period of the war.
After leaving New Guinea with the AN&MEF and returning home to Australia in January 1915, Rodoni left the force to work in a Small Arms Factory manufacturing munitions for the war. He soon married and settled in Newcastle with his wife, Catherine Annie Wilson, and had four children: Thomas, Mary, Jim and William (Bill).
The wider collection of glass plate negatives – over 600 in total and with many views of Newcastle and its surrounds is an incredible legacy to Thomas Rodoni and his family.
Rodoni died in 1956 as a result of a car accident in Waratah, Newcastle.
The original negatives are held in Cultural Collections at the Auchmuty Library, University of Newcastle (Australia).
You are welcome to use the images for study and personal research purposes. Please acknowledge as Courtesy of the Rodoni Archive, University of Newcastle (Australia)" For commercial requests you must obtain permission by contacting Cultural Collections.
If you are the subject of the images, or know the subject of the images, and have cultural or other reservations about the images being displayed on this website and would like to discuss this with us please contact Cultural Collections.
If you have any further information on the photographs, please leave a comment.
These images are provided free of charge to the global community thanks to the generosity of the Bill Rodoni & Family and the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: dl.dropboxusercontent.com/u/21528529/veradeaconform.jpg
July 10th - 16th, 2017. Iwamizawa, Hokkaido.
Canon AV-1, FD 135mm F2.5, negative for recording ISO 100 from Fujifilm, exposed as ISO 400, developed with C-41 based reversal process by Michitaro Kohno as below, scanned at 7200DPI with Plustek OptikFilm 8100 + VueScan, edited with GIMP.
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Expose as ISO 400.
1st Dev.: Papitol ( B&W paper developer ) 37Deg.C for 7 minutes and 15 seconds. KSCN added ( 0.2-0.3g / 500ml ).
Rinse.
Reexposure
2nd Dev: C41 about 37 Deg.C for about 7 minutes.
Rinse.
Bleach.
Rinse.
Fix.
Rinse and wash
Dry
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The method is open to all. Any questions are very much welcome.
Shot with a Pentax Espio 738 compact 35mm film.
Re-edited 19/3/2013 for sharpening and noise reduction.
Not sure why this negative was labeled the “Telephone Girls” but it works for me.
Image derived from the original acetate negative.
www.flickr.com/photos/14588353@N07/2842024454/in/set-7215...
Click on the above link to see the original sketch.
Ilford XP2plus (C41) in Caffenol-C-M
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This was my first try with Caffenol. The BW C41 was at hand, and I was too curious to wait for different film. I am pretty pleased with the results.
Needed two tries to fix, because the solution of Ammonia and iodized salt did not seem to work (at all), a solution of "LegacyPro Black & White Powder Hardening Fixer" did the job.
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15 minutes / 10 agitations/min
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Scanned with a rig I threw together: Nikon D70/50mm/1.8 and a 20mm macro extension tube.
Digitised image from the Town Hall Photographer's Collection - GB127.M850
The Town Hall Photographer’s Collection is a large photographic collection held in Manchester City Council’s Central Library archives, ranging in date from 1956 to 2007.
The collection consists of tens of thousands of images, covering the varied areas of work of Manchester Corporation and latterly, Manchester City Council.
The photographs were taken by staff photographers, who were tasked to document the work of Corporation/Council departments and, in doing so, captured many aspects of Manchester life and history, including significant changes to the Manchester landscape.
The collection includes many different formats from glass negatives, to slides, prints, CDs and even a couple of cine films.
What is especially exciting is that the majority of these images have never before been available in a digital format and therefore have only ever been seen by a handful of people.
A team of dedicated Staff and Volunteers are currently working on the systematic digitisation of the negatives held within the collection.
This album represents the result of their work to date.
The negative space left behind after laser cutting the slices of the cute cthulhu figurine.
More details on making 3D models from laser cut slices: www.nycresistor.com/2012/02/27/laser-slicing/