View allAll Photos Tagged selenium
Rolleiflex sl 66, Hp5, DDX 1+4
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+9 2min
Sepia toner.
I would like to prepare a photo exhibition.
If you would like to help me with this project, you can write to me.
The silver print is looking for a new home. ;-)
Isolette, Tri-x in Finol.
Fomatone 131 in SE2 Warm
MT1 Selenium toner 1+10 3 minutes for the shadows, MT7 Iron Blue 5+5+10+5+500 ml 30 seconds for the rest.
Recommendation: For safety reasons, this paper (new batch) should be dried before selenium toning to allow the gelatine to harden a little. A hardening bath is a quicker and safer method.
New version.:-)
Rolleiflex sl 66, Hp5, D76 1+1
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+9 2min
Sepia toner.
I would like to prepare a photo exhibition.
If you would like to help me with this project, you can write to me.
The silver print is looking for a new home. ;-)
1st untoned Catechol and Meritol
2nd MT3 Vario (Thiourea) toner
3rd MT3 Vario followed by MT1 Selenium 1+20 2mins
Holga 120N, PXP @ISO400, in efd, Kallitype onto Hahnemühle Platinum Rag, Sodium acetate developer, ATS alkaline fixer, toner experiment with a new Selenium formulation
Holga 120N, Tri-x in efd,
Polychrome prints on a later batch of cd-free Kentona,
on the right somewhat darker and toned:
MT1 Selenium followed by MT3 Vario Toner.
"someone painted the sky"
Rolleiflex sl 66,Kodak Trix 400, Xtol
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
selenium sepia split toning
"river of life"
Rolleiflex sl 66, HP5, D76 1+1
Ilford multigrade fb classic 1k
PQ universal
stop bath water
Alkaline Fixer
Selenium-sepia duotone with dilute bleach bath
Rolleiflex sl66, Trix400,d76
Ilford multigrade fb classic 1k
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+19 2min
Rolleiflex sl 66, Hp5, D76 1+1
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+9 2min
Sepia toner.
I would like to prepare a photo exhibition.
If you would like to help me with this project, you can write to me.
The silver print is looking for a new home. ;-)
Holga 120N, Rollei RPX100 in Tanol (N+2) 15 mins at 20°C,
kallitype onto Hahnemühle Platinum Rag,
experiment with a different Selenium toner setting
Selbst in der Vase noch ein Schmuckstück für Wochen.
Hasselblad 501CM Sonnar 150 with ext. tube,
Kodak T-MAX 100 in Pyro 48.
Forte PW14 in Eco4812 1+15,
MT3 Vario toner: bleach 1+75 1:30 mins, toner setting D,
followed by MT1 Selenium toner 1+20 1 min.
Rolleiflex sl 66,delta 400, D76 1+1
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
Selenium toner 1+18 2min
Sepia toner 2min
Hasselblad 501CM Distagon 50mm yellow filter,
Delta 400 @640 in Finol.
Retrobrom 152 in SE5 Lith 1+9 11 minutes.
Top left untoned,
top right MT1 Selenium toner 1+20 3 mins,
bottom left MT1 followed by MT10 Gold 4 mins,
bottom right MT1 followed by MT7 Iron blue toner 5+5+10+5+500 ml 30 secs + 30 secs Lead acetate 2,5%.
Hasselblad 501CM Distagon 50mm yellow filter,
Delta 400 @640 in Finol.
Forte PW18
Eco 4812
MT1 Selenium 1+7 2 minutes for the shades,
followed by MT7 5+5+10+5+500 ml 1 minute.
Training in the bay at Thessaloniki, Greece. Colour shot converted with PT Photo Editor into B&W - selenium tone.
The loading facilities at Tunstead Works. A selenium toned monochrome image.
The loaded bogie box wagon train was just departing while the train of tankers seemed to be moving in to the loading area.
Holga 120N, Tri-X in Tanol.
Schneelandschaften bei bedecktem Himmel haben einen sehr geringen Kontrast. Eine N+1 Entwicklung wie bei diesem Film ist nicht ausreichend. Der Kontrastumfang des Negativs liegt bei 0,57 logD, grenzwertig selbst bei Filterung mit Gradation 5 auf ein Papier, das diese Gradation tatsächlich hergibt. Also ein weiterer Kandidat für Ecomol.
Snowy landscapes under overcast skies have very low contrast. An N+1 development as used for this film is not sufficient. The contrast range of the negative is 0.57 logD, which is borderline even when filtered with grade 5 onto paper that actually produces this gradation. So this is another candidate for Ecomol.
Ilford MGWT matt in Ecomol 1+6 2 minutes,
MT1 Selenium 1+9 1 minute.
After this developer combination, the mid-tones also increase significantly in density when toned with selenium!
For a combined toning with selenium and iron blue toner, the print must be lighter overall.
MT1 Selenium for the shadows 1+6 1:30 minutes, followed by a watering of at least 20 minutes.
MT7 Iron blue toner 5+5+10+5+500 45 seconds, also the already selenated shadows become cyan.
Lead acetate 2.5% 30 seconds shifts the colour towards blue, the selenium toning in the shades becomes visible again.
Nach dieser Entwicklerkombination legen auch die Mitteltöne deutlich an Dichte zu, wenn mit Selen getont wird!
Für eine kombinierte Tonung mit Selen und Eisenblautoner muß der Print insgesamt heller sein.
MT1 Selen für die Schatten 1+6 1:30 Minuten, gefolgt von einer Wasserung von mindestens 20 Minuten.
MT7 Eisenblautoner 5+5+10+5+500 45 Sekunden, auch die schon selenierten Schatten werden blaugrün.
Bleiacetat 2,5% 30 Sekunden verschiebt die Farbe Richtung Blau, die Selentonung in den Schatten wird wieder erkennbar.
APX100 35mm, Finol.
Kallitype onto COT320,
Rochelle salt developer.
Above untoned,
middle MT16 Kalli-Selenium toner 1+100 3 mins,
below Nelson Gold toner 2 mins at 43°C
Ist eine Selentonung als Vorbereitung für eine weitere Tonung geplant, reicht es nur, sich auf den Augenschein zu verlassen, wenn man das Papier und seine Reaktion auf Selen gut kennt. Es gibt Papiere, wie das Ilford MGIV, bei dem der Tonungsfortgang anhand einer Farbveränderung kaum erkennbar ist, im Gegensatz zum Fomatone beispielsweise. Jeder, der sich mit der Wirkungsweise von Selentonern auskennt, weiß, dass dieser Toner seine Wirkung in den Schatten startet, Beim Fomatone sieht man dies relativ deutlich nach etwa 45 Sekunden bei Verdünnungen zwischen 1+7 und 1+9. Beim Ilford MGIV ist die Wirkung anhand einer Farbveränderung nicht sofort erkennbar. Unser Auge sieht die Veränderung nicht, aber sie ist durchaus vorhanden. Deshalb haben wir den Implus, die Tonungszeit zu verlängern, oder den Toner stärker anzusetzen. Ein Schuss, der nach hinten losgehen kann, denn wir benötigen für einen zweiten Toner ungetontes Silber in den oberen Tonwertbereichen.
Links die ungetonten Prints auf Fomatone 131 (oben) und MG IV (unten).
Rechte Seite, beide Prints getont mit MT1 Selentoner. Oben Fomatone 1:15 Minuten bei Verdünnung 1+7.
Unten MG IV 1+7 50 Sekunden. Eine deutliche Farbveränderung ist hier zunächst nicht erkennbar.
Wieweit der Selentoner über die Schattenpartien hinaus wirksam ist, kann man nur sehen, wenn man den Print bleicht, um die noch nicht voll durchgetonten Bereiche sehen zu können.
Dazu nehmen wir einen starken Bleicher (Kaliumferricyanid/Bromid) in der Verdünnung 1+20.
Beim MG IV (unten rechts) sehen wir, das zuwenig ungetontes Silber übrigbleibt, um einen weiteren Toner wirksam werden zu lassen. Beim getonten, aber nicht gebleichten Print ist das nicht erkennbar.
Das wenige Silberbromid beim MGIV kann zur Stabilisierung des Bildes mit Thioharnstoff (MT3) oder Schwefel (MT2, MT4, MT5) in Schwefelsilber überführt werden. Beim Fomatone ist hingegen sehr viel mehr Silberbromid vorhanden, bei identischer Tonung würde der Print etwas kontrastarm und sehr bunt ausfallen. Verloren ist dieser Print jedoch nicht, denn die gebleichten Partien können mit einem beliebigen Entwickler wieder in den vorherigen Zustand (Silber) zurückgeführt werden.
If selenium toning is planned as preparation for further toning, it is sufficient to rely on visual inspection if you are familiar with the paper and its reaction to selenium. There are papers, such as Ilford IV, where the progress of toning is hardly noticeable by a change in colour, in contrast to Fomatone, for example. Anyone familiar with how selenium toners work knows that this toner starts to take effect in the shadows. With Fomatone, this can be seen relatively clearly after about 45 seconds at dilutions between 1+7 and 1+9. With Ilford MGIV, the effect is not immediately noticeable from a colour change. Our eyes do not see the change, but it is definitely there. This gives us the impulse to extend the toning time or to use a stronger toner. This can backfire, because we need untoned silver in the upper tonal ranges for a second toner.
On the left, the untoned prints on Fomatone 131 (top) and MG IV (bottom).
On the right, both prints toned with MT1 Selenium toner. Top: Fomatone 1:15 minutes at a dilution of 1+7.
Bottom: MGIV 1+7 50 seconds. No colour change is initially visible here.
The extent to which the selenium toner is effective beyond the shadow areas can only be seen by bleaching the print to reveal the areas that have not yet been fully toned.
To do this, we use a strong bleach (potassium ferricyanide/bromide) diluted 1+20.
With MG IV (bottom right), we see that there is not enough untoned silver left to allow another toner to take much effect. This is not noticeable with the toned but not bleached print.
The small amount of silver bromide in MGIV can be converted to sulphur silver using thiourea (MT3) or sulphur (MT2, MT4, MT5). In contrast, the Fomatone contains much more silver bromide; with identical toning, the print would be somewhat low in contrast and very colourful. However, this print is not lost, because the bleached areas can be returned to their previous state (silver) with any developer.
Rolleiflex sl 66, Delta 400, DDX
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
selenium sepia split toning
My very first camera from when I was about 10 years old - Canonet Rangefinder. I haven't used this camera for more than 40 years and It's currently got a very expired film loaded and we will see how it turns out! This photo was taken with a Sigma DP2 Merril rangefinder (which could also almost be called vintage now!).
Holga 120N Delta 400 @ISO 1000
Retrobrom in ECOMOL 1+7 2 minutes.
Left-hand side MT1 Selenium 1+7 one minute.
Right-hand side selenium toned followed by bleach 1+50 two minutes and MT5 Sepia toner 30 seconds.
2013 photograph, printed 2013.
From roaming around northern Michgan at one of Bill Schwab's annual Photostock events. He has sadly, suddenly, and untimely passed away, and I'm remembering how he inspired me to go out with a camera and try to make beautiful things with it, and how grateful I am to have received that gift from him. He inspired and affected so many people, in positive ways, and in some small way I'd like to celebrate it.
Hasselblad 500C / 80mm Planar / Kodak TMax 100 / Rodinal / 8x8" silver gelatin print on 11x14" Ilford MGIV fibre matte / replenished Ethol LPD / Moersch MT3 / Harman Selenium split tone
I appreciate the possibilities of two-tray development with the Polychrome kit. What I have not tried so far is toning such prints with cobalt/iron toner. What I wanted to achieve here were reddish trunks against bluish snow.
Paper Foma Retrobrom SP152 semi-matt.
1st developer SE5 Lith A+B+D+water 40+40+10+900ml 6,5 mins,
2nd developer after a short rinse Siena (Glycin) 30 ml + NH4Cl 10 ml + water 700 ml (no carbonate) 1 min.
The relatively soft gelatine of this paper was made more resistant by hardening for the subsequent tonings for safety reasons.
1st toner MT1 Selenium 1+10 only 1 min, just to affect the deep shadows.
2nd toner Cobalt, Parts 1 - 4 20+15+10+8ml water to 500ml 3 mins,
3rd toner MT7 Iron Blue, parts 1 - 4 4+2+4+3ml to 500ml water 2 mins, followed by Lead acetate toner 2 mins.
Beim Fotografieren mit der Holga aus der Hand, stößt man schon mal an die Grenzen des Machbaren. Erforderlich war die Belichtung auf ISO 1000. Wegen der stark verlängerten Entwicklungszeit sind die Hochlichter etwas dicht geraten. Schattenzeichnung ist zwar vorhanden, doch bei einer Belichtung, die noch Zeichnung in den Lichtern bringt, laufen dann die Schatten zeichnungslos zu. Ein Fall für die Zweischalen-Entwicklung.
Papier Fomabrom Variant 111 Gradationsfilter 4,8 für die Tonwertdifferenzierung im Stamm.
Erstentwickler ECOMOL 1+6 80 Sekunden
Zweitentwickler MERITOL 1+10 40 Sekunden für die Lichterzeichnung.
Links ungetont.
Mitte MT1 Selentoner 1+7 eine Minute, nach Wässerung gebleicht 1+20 30 Sekunden, MT5 Schwefeltoner 1+10 30 Sekunden.
Rechts MT7 Eisenblautoner eine Minute.
When taking photographs with the Holga handheld, you sometimes reach the limits of what is possible. An exposure of ISO 1000 was required. Due to the greatly extended development time, the highlights are somewhat dense. Shadow detail is present, but with an exposure that still brings out detail in the highlights, the shadows become undefined. A case for two-tray development.
Paper: Fomabrom Variant 111 with filter grade 4.8 for tonal differentiation in the trunk.
First developer: ECOMOL 1+6, 80 seconds.
Second developer: MERITOL 1+10, 40 seconds for highlight definition.
Left untoned.
Centre MT1 selenium toner 1+7 one minute, bleached after washing 1+20 30 seconds, MT5 sulphur toner 1+10 30 seconds.
Right MT7 iron blue toner one minute.
Another shot from Garry beach. Selenium toned because the colour original looked a bit flat and uninteresting.
Lithprint su Fomatone MG
1)Lith(SE5 Moersch)20+20+8+1500 H2O
2) 10 Omega+ 10 Catechol+ 1500 H20
3)toned Carbon (Moersch)
4)selenium 20+1000 H20
5)Carbon
6)grazie Antonio :-D
2009 photo, 2012 print.
A memory from many years ago after ending a long relationship.
Like in a dream our lives transformed.
Navigating loneliness was bumpy travel.
Looking out the window, through the drapes, seeing nothing but vague shapes.
Echoing the numbness within.
We parted ways and both did OK, beyond sadness, feeling better.
This picture remains, memories of years gone by.
A reminder.
To be careful with our lives.
Pentax KX / 55mm f2 SMC / Foma Fomapan 400 / Replenished Kodak Xtol / Foma Fomabrom Variant 112 / Replenished Ethol LPD / extremely light bleachback and toning in Moersch MT3 (yellow) and Harman Selenium
2010 Vague Memory of Sadness F400 Foma112
Eos 1n, EF 16-35.
Rollei RPX 100 in Rodinal 1:100.
.
Lithprint on Leonar Leigano with
Moersch Easy Lith . Selenium and gold toning.
Explored - Thank you !
Difficult (read: far too dense) negative... turned out the best it could, I suppose ;-)
Print onto Orwo BN 111 using Moersch Ecomol @ 1+9 (with .5% Restrainer Neutral added)
Toned in Selenium: Moersch MT 1 @ 1+10
Pentacon Six TL + Carl Zeiss Jena DDR MC Flektogon 50mm 1:4 + Agfa Ortho 25 @ 12 (expired '90) in Rodinal @ 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Photograph 2008, printed 2012. Near Harbor Springs, Michigan. One little tree trying to thrive in a forest organised by humans.
From roaming around northern Michgan at one of Bill Schwab's annual Photostock events. He has sadly passed away, and I'm remembering how he inspired me to go out with a camera and try to make beautiful things with it, and how grateful I am to have received that gift from him.
Mamiya 645 1000S / 150mm Sekor / Green filter / Kodak Tri-X 400 / Pyrocat-MC / 13.5x18" silver gelatin print on 16x20" Ilford MGIV fiber glossy / replenished Ethol LPD / partial bleach back / Moersch MT3 / Harman Selenium
Testing toning methods with lith prints on Retrobrom. I must say I do prefer the earlier print over this one.
Lith print onto Foma Retrobrom 151 Sp using Moersch Easy Lith @ 1+10
Toned in Selenium: Moersch MT 1 @ 1+10
Nikon F3 + Nikkor 20mm 1:3.5 (+ 25A filter) + Kodak HIE High Speed Infrared 2481 (dated 1982) in Adox XT-3
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Failed (?) toning procedure: selenium toning went too far, it left next to no silver for the thiourea toner to tone. If anything, there's the slightest hint of "sulphiding" in this print, not quite as intense of an effect as I had hoped for. Still beautiful enough to post on Flickr ;-)
Fomabrom Variant 111 in Moersch Ecomol @ 1+9 (with .5% Restrainer Neutral added)
Toned once in Selenium and twice in Thiourea:
1) Moersch MT 1 @ 1+10
2) Moersch MT 3 (Setting A)
3) Moersch MT 3 (Setting A)
Nikon F3 + Nikkor 20mm 1:3.5 (+ 25A filter) + Kodak HIE High Speed Infrared 2481 (dated 1982) in Adox XT-3
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Dieser Print wurde eigentlich nur gemacht für einen Belichtungszeitvergleich mit dem folgenden Lithprint.
Messwerte: Kontrastumfang 1.22 logD – für das Retrobrom, entwickelt in Ecomol 1+7 war die Belichtungszeit 7,83 Sekunden bei Blende 8.
Nutzen möchte ich diesen Abzug, um eine dezente Tonungsmethode auch mit diesem Papier zu zeigen.
Links Ecomol ungetont
Mitte MT3 Variotoner: Bleicher 1+100 45 Sekunden, Tonermischung mit wenig Alkali für eine schwache Tonung in Richtung gelblich. Thioharnstoff 50 ml + Aktivator (Alkali) 10 ml + 900 ml Wasser. Bei einer höheren Alkalimenge wäre die Farbsättigung erheblich höher, ist aber hier nicht erwünscht, denn diese Tonung dient nur als Grundlage für die folgende Selentonung.
Rechts MT1 Selentoner 1+20 1:30 Minuten. Im Gegensatz zu einer direkten Selentonung, die in den Schatten beginnt, greift der Selentoner jetzt alle Tonwerte gleichzeitig an. Man tont auf Sicht, bis sich die gewünschte Farbintensität einstellt.
This print was actually made solely to compare exposure times with the lith print that follows.
Measurements: Dynamic range 1.22 logD – for the Retrobrom, developed in Ecomol 1+7, the exposure time was 7.83 seconds at f/8.
I would like to use this print to demonstrate a subtle toning method that can also be used with this paper.
Left: Ecomol, untoned
Centre: MT3 Variotoner: Bleach 1+100 for 45 seconds, toner mixture with a small amount of alkali for a faint, yellowish tone. Thiourea 50 ml + activator (alkali) 10 ml + 900 ml water. With a higher amount of alkali, the colour saturation would be considerably higher, but this is not desired here, as this toning serves only as a base for the subsequent selenium toning.
On the right, MT1 selenium toner 1+20 for 1 minute 30 seconds. Unlike direct selenium toning, which begins in the shadows, the selenium toner now affects all tonal values simultaneously. Tone by eye until the desired colour intensity is achieved.