The Galata Tower - Istanbul.

VDB on Fabriano Artistico paper, shortly toned in a very diluted Selenium toner.

At the corner of Colorado Boulevard and Orange Grove Boulevard in Pasadena, California, there is a very tall flagpole -- if you have ever watched the Rose Bowl Parade, you have seen it, as this is the corner the units turn to proceed down Colorado during the event. The flagpole commemorates the veterans from Pasadena of World War I. There are large bronze reliefs at its base -- this one shows a nurse bandaging a doughboy's eyes, most likely injuries received from a mustard gas attack. Converted to selenium toned monochrome in Adobe Lightroom.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper

Mini portrait session with Viva in Campbeltown

Negatives: Mamiya 645 Pro with HP5+

Prints: Adox MCC 110 in Moersch ECO with Selenium+Siena toning

Neg: 17-12-6 Print: 17-P-32

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

Scanned print.

Mamiya 645 ProTL with Mamiya-Sekor 45 mm/f2.8N.

Bergger Pancro 400 @ 250, semistand developed in Fomadon R09 1:100, 1 hour.

Printed on Fomatone MG 131 (24x30 cm) and split toned in Moersch MT3 (setting between B and C) and selenium.

Borgvik, Värmland. July 15, 2019.

silver gelatin print

watercolor paper coated with Rollei Black Magic liquid emulsion

sepia & selenium toned

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

untoned Kallitype - Selenium toned

MT7 Iron Blue after Selenium - treatment with very weak Ammonia solution

view large for details

Because iron-based coatings are not very sensitive to room light, one tends to be somewhat careless. Mostly one doesn´t see a resulting fog in the picture itself, but with masked borders any slight pre-exposure becomes visible. A propper clearing is also important, especially when a toning is intended. Do not use a water bath after the developer in order to avoid a forming of insoluble iron hydroxide. Go directly into the acid.

As already mentioned, the whole film was underexposed. After a treatment with copper intensifier the negatives became useable for lith printing, a straight enlargement with normal developers is still impossible.

Do not dispair about thin negatives. Besides the digital rescue route there is a chemical hardliner method of choise, the copying on film in one step with reversal development. What I usually do with enlarged negatives is also possible as a contact. Provided that your original negative shows a minimum of shadow detail, you can spread a much too short range to any desired contrast.

This negative came up to only 0.36 logD after intensifying - measured with a colourblind densitometer. The additional increase of contrast due to the reddish copper is still not enough for a propper silver gelatin print. What we need for an enlargement on silver papers is a contrast between 0.8 and 1.3 logD. Much more would be possible, such as about 2.0 logD for Palladium.

This enlarged print negative (20x20cm) has a contrast of 1.3 logD - perfect for a Kallitype.

Coated on Bergger Cot-320

Masking meterial is a black plastic bag out of a paper box.

Developer: Sodium citrate

Clearing bath: Citric acid 4%

Fixer: ATS (alkaline) 1+20

Voskhod by Lomo

Triplet T-48 2.8/45

yellow filter

lightmeter on board camera (Selenium)

Type D 125 @ 100iso

DD23 double bath Stoeckler

Epson V600

Adox CHS 50 / Efke R50 in Tanol 1+1+100

printnegative on Wephota FO5 by reversal development: SE6 Blue 1+20 - bichromate bleach - Tanol 1+1+100

Kallitype, masked edges

sodium citrate developer

citric acid clearing bath

alkaline fixer

MT1 Selenium Toner 1+250 1 min

A bit better as better contrast and not so dark as the original print. 3 minutes toning

Agfa Portriga Rapid : LD20 : Selenium Toner : Holga 120N : HP5+ : Rodinal

Wasser allein reicht nicht aus, um das unbelichtete Silbersalz völlig zu lösen, eine Behandlung mit Kochsalzlösung auch nicht. Der Selentoner ohne Thiosulfat greift sich auch die kleinsten Silbersalzreste. Es muß also ein sanftes Lösemittel zur Klärung ran, bevor getont wird. Thiocyanat (5%) wirkt, das EDTA/Sulfit-Klärbad für den Platindruck auch. Nun könnte man beides auch in den Toner reinpacken, aber dann würden sich die gelösten Silber- und Eisensalze im Toner anreichern, was seine Lebensdauer enorm verkürzen würde. Es ist jedoch kein zusätzlicher Arbeitsgang erforderlich, denn auf die übliche Entfernung der Eisensalze mit Zitronensäure kann verzichtet werden, das EDTA erledigt das gleich mit.

Water and a sodium chloride solution is not enough to remove the unexposed silver salt.

Potassium thiocyanate works as a weak "fixer", the standard clearing bath (EDTA/sulfit) also.

developer

clearing bath - EDTA/Sulfit works best

thiosulfate-free selenium toner

alkaline fixer

New series: Brenner

All of the photographs in this series were scanned from original hand-printed, selenium-toned prints made with Ilford MG IV fiber-based paper.

Ilford FP4 dev in Rodinal 1+25. Print 12"x16" on Ilford Art 300 dev in Moersch 4812 selenium tone. 1+10 2 min.

Film: Ilford Delta 100;

Paper: Ilford Galerie n.2

Developing solution: Kodak TMax RS;

Selenium Toner.

(This is a 0.6 second single exposure from a tripod.)

More fun with Lightroom. As the title strongly hints, I used the selenium preset for this one.

(Large On Black)

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

Mamiya RZ 67 PRO II - Kodak Tmax 400 developed in Pyrocat-HD. Printed on Sepia VC. Developer Moersch Eco 4812 + Selenium 1-20 + bleach 1-50 + MT3 60-110-850 + Carbon toner 1-10

took this a while back

canon F1n canon fd 135mm 3.5 lens selenium toned scan of print

New series: Cromer

www.kityoung.co.uk/Cromer

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

Dark room print on Fomabrom 111 in Ilford MG developer. Intensive toning (15 min) in Foma Selenium 1+19, although it doesn't show easily in the scan.

Backyard snowboard session

Scan from print:

Paper: Adox MCP312

Developer: Mörsch Eco

Toner: Kodak Rapid Selenium

Film Info:

Film: Ilford Delta 3200

Developer: Ilford DD-X

Lens: Tamron 17-35mm 2,8-4f

Camera: Nikon F6

silver gelatin print

watercolor paper coated with Rollei Black Magic liquid emulsion

sepia & selenium toned

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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD

Printed on Foma 133

Developed in Catechol/Sepia

Toned in Selenium / MT3

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Playing around with tinting black and white photos trying for a dark selenium tone for the water and sky. (-50 cyan +50 blue)

old skool tools

sekonic auto-lumi

sekonic Auto Lumi Light Meter

produced Sekonic

meter type reflective

readout match needle

cell type Selenium

angle of light 65°

ISO range 6 to 12000

f-stop range 1-32

shutter speed range 8s – 1/2000

EV range 2 to 19

weight 2.5oz

Holga 120N, Rollei RXP 400 rated at 640 ASA, efd 2+1+40 15 mins

Rollei Vintage 128 (Fomabrom Variant 123) in SE4 Neutral

Toner

MT3 Vario - bleach 1+50 45 secs, toner 50+180+750ml 30 secs

MT1 Selenium 1+5 2 mins

Near Roksha-Pass

Das letzte dann, irgendwie fad auf die Dauer, das alte Zeug ...

Fortezo in Catechol/Meritol + selenium/Polysulphid/Nelson's gold toner

I completely relied on the selenium meter on the Vitomatic IIa for this shot. Apparently, it is still working accurately enough even for tricky light conditions.

Shot in Ferberpark, Aachen, Germany.

Camera: Voigtländer Vitomatic IIa, ca. 1962

Lens: Ultron 50 mm f/2.0

Kodak Portra 800 colour negative film

Developed and scanned by www.meinfilmlab.de

Fuji GSW690 III, TriX, Rodinal, Ilford Art 300, Catechol/SE6 Blue, Bleach 1+50 30s, MT3a 45s, Selenium 1min, Gold 1 minute.

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

This is a lith printed image at the "other" herring factory near Djupovik. I decided to get some of the "new" fomatone and try to duplicate the old fomatone. I developed in Moresch and did an afterbath of ammonium carbonate (Moersch's omega additive) plus heavy selenium and that is about as close as I got...still missing the very cold shadows I loved. Contrary to what I've heard on the web, though, this stuff does lith....not nearly as convincingly or with as much color, though. Sorry about the lousy scan....my scanner doesn't like Fomatone Velvet paper!

Traditional printing by Morpheuse. TQ

Paper - Ilford MGWTFB

Lith Printing, Selenium toning, Bleached and Redeveloped

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

www.kityoung.co.uk.

Same lake, looking the other way, different treatment... Bolivia is so photogenic!

Reference FIle: FLA-160806-ND800E-516-BW_selenium

Infrared Underwater Photography

©2016 Fernando Lopez Arbarello - All Rights Reserved

ARBARELLO FINE ART

Fine Art Photography by Fernando Lopez Arbarello

www.arbarello.com

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

Olympus Trip 35

Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.

Tomada en la Torre de la Horadada (Alicante) - España.

Sony DSLR-A700

30''

F22

ISO 100

Sigma 10-20mm a 16mm

Cokin ND8 P121S

Manfrotto 055XPROB + 488RC2 + Mando a distancia.

Nik Silver Efex Pro.

silver gelatin print

watercolor paper coated with Rollei Black Magic liquid emulsion

sepia & selenium toned

Holga 120N, Delta 400 rated at 640 ASA in Finol

Adox Vario Classic in VGT (two tray)

MT3 Vario Schwefeltoner (thiourea) followed by MT1 Selenium

Selenium is always 1+20 1 min

different hue is depending on dilution of the bleach, bleaching time and alkalinity of the thiourea toner

MT3 bleach 1+50 1 min, toner setting B reddish brown, medial alkalinity

Nikon F3, 24mm

Ilford Surveillance film, f2 1/2 second

Lith print on Seagull Warmtone grade 3 resin-coated paper, with a secondary bath in omega and then toned in selenium, to get those elusive lavender tones.

While the color version was lightly edited, this version saw just about every inch of my software. Converted in Silver Efex. It still seemed blah so I moved it to Perfect Effects for added curves work then to Topaz BW Effects for some selenium tone. and back to PE 8 for the border.