View allAll Photos Tagged selenium
Bei dem Fomatone ist die Wirkung des Selentoners deutlich zu erkennen, wenn es sich (wie hier) um einen fetten Ansatz handelt. Eine derart starke Tonung macht natürlich nur Sinn, wenn sich die Schatten farblich deutlich vom Rest der Tonwertskala absetzen sollen. Bei anderen Papieren, insbesonders bei Bromsilberemulsionen, ist eine so starke (farbliche) Reaktion nicht zu erwarten. Der Grund für die Wahl dieses starken Ansatz war die ursprüngliche Absicht, die Schatten rötlich zu tonen und anschließend eine Blautonung für den Rest des Bildes vorzunehmen, wobei ich nicht erwartet hatte, dass die Mitten und Lichter schon dermaßen kühler erscheinen würden als beim ungetonten Vergleichsprint.
Fomatone 131 in Ecomol,
MT1 Selentoner 1+7 eine Minute.
With Fomatone, the effect of the selenium toner is clearly visible when (as here) a heavy solution is used. Such strong toning only makes sense, of course, if the shadows are to stand out clearly from the rest of the tonal scale in terms of colour. With other papers, especially bromide silver emulsions, such a strong (colour) reaction is not to be expected. The reason for choosing this strong approach was the original intention to tone the shadows reddish and then apply a blue tone with MT7 Iron toner to the rest of the image, whereby I did not expect the midtones and highlights to appear so much cooler than in the untoned comparison print.
Holga, HP5 in Finol.
Printed onto Fomatone 131.
SE6 Blue 1+10 3 minutes.
For the last batches of Fomatone, I recommend hardening the gelatine before Selenium toning.
Hardener 1+5 1 minute after fixing (or instead the usual stop bath) washing time at least 7-10 minutes to remove the acid of the hardener.
Das im SE6 Blue entwickelte Silberbild setzt dem Selentoner einen stärkeren Widerstand entgegen, es dauert etwas länger, bis die Schatten einen rötlichen Farbton annehmen. Die Lichter werden noch später angegriffen als üblicherweise, was genutzt werden kann wenn eine Zweifarbigkeit erwünscht ist. Voraussetzung für einen Farbsplitt zwischen Schatten und Lichtern (ohne viel Aufwand) ist die Verwendung eines Warmtonpapiers (wie Forte oder Fomatone).
Mit Bromsilberpapieren sind ähnliche Ergebnisse nur mit einem erheblich höheren Aufwand möglich (tonen - bleichen - rückentwickeln).
Wie beim vorherigen Bild ist ein fetter Toner (MT1 1+10) vorteilhaft, denn es soll ja einen relativ schnellen Farbumschlag in den Schatten geben. Während der ersten Minute scheint relativ wenig zu passieren, der kritische Punkt wird nach zwei bis zweieinhalb Minuten erreicht. Bevor auch die Mitteltöne rötlich werden, muss die Tonung rasch unterbrochen werden.
The silver image developed in SE6 Blue offers greater resistance to selenium toner, so it takes a little longer for the shadows to take on a reddish hue. The highlights are affected even later than usual, which can be used to advantage if a two-tone effect is desired. The prerequisite for colour separation between shadows and highlights (without much effort) is the use of warmtone papers (such as Forte or Fomatone).
With bromide silver papers, similar results are only possible with considerably more effort (toning – bleaching – re-developing).
As with the previous image, a rich toner (MT1 1+10) is advantageous, as the aim is to achieve a relatively rapid colour change in the shadows. During the first minute, relatively little seems to happen, but the critical point is reached after two to two and a half minutes. Before the mid-tones also turn reddish, the toning must be stopped quickly.
Photograph 2013, print 2013
From a quiet walk along the Mississippi River in 2013.
Hasselblad 500C / 80mm T* Planar / replenished Xtol / 8x8" silver gelatin print on 11x14" Ilford MGWT semimatte fibre / replenished Ethol LPD / lightly toned in Moersch MT3 and Harman Selenium
2013 Across Foggy Waters 2013 MGWT
Selenium toned van Dyke
Whitehouse Beacon II camera with flipped lens
46mm Ilford HP5+ (127 format)
Olema, California
Print onto Fomabrom Variant 111 using Moersch Eco 4812 @ 1+14
Toned in Thiourea and Selenium:
1) Moersch MT 3 (Setting A)
2) Moersch MT 1 @ 1+10
Nikon F3 + Nikkor 20mm 1:3.5 + AgfaPhoto APX 100 @ EI 80 in Rodinal @ 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Retrobrom 152
SE5 Lith 50+50+25+1000 ml 10:30 mins
I don’t find the green shades to be a problem; if they are undesirable, a brief selenium tone will help.
Please note that the gelatine can swell significantly during longer development times. If the white edges show a grey fog after the selenium toning, the gelatine should be hardened before.
Hardener 1+5 one minute. Rinse 5 minutes to neutralise the acid of the hardener. MT1 Selenium 1+20 90 seconds.
2004 photograph, 2012 print.
Early morning visit to the mighty Mississippi River.
Rolleiflex / Tessar 3.5 / Kodak TMax 400 / Rodinal 1+50 / 5x5" silver gelatin print on 8x10" Ilford MGIV fibre matte / replenished Ethol LPD / slight bleach back and toning with Moersch MT3 and Harman Selenium.
MS River 2004 TMY Rod - 2012 MGIV LPD
Rolleiflex sl 66, Delta 400, DDX 1+4
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+9 2min.
From my first test film with the Seagull 4A TLR.
I used this negative to try out a few new-to-me papers. None of them responded satisfactory so I ended up going with Fomaspeed again because I know what it looks like ;)
I recently ordered some new chemistry I'm excited to try out, I just thought that this negative wasn't so well suited for that. Matter of fact, I think this negative might work really well as a "boring regular" print on contrasty paper. I might have a try at that too.
Fomaspeed Variant 313 in Moersch Easy Lith 1+10
Briefly toned in selenium: Moersch MT 1 1+10
Seagull 4A + Ilford HP5+ (expired '09; EI 200 untested)
Rodinal 1+50; 11:00 @ 20 °C (untested)
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
2005 photograph, 2007 print.
Sometimes simple things are best.
Pentax KX / 50mm f1.4 SMC / Ilford SFX / Red filter / Agfa Rodinal / 5x5" silver gelatin print on 8x10 Ilford MGIV fibre matte / Agfa Neutol / Kodak Rapid Selenium Toner
2007 Rose SFX 01 2007 MGIV
Hasselblad 501CM, Planar 100 with extension tube, yellow filter, Plus-x @250 ASA in efd,
vanDyke on Hahnemühle Platinum Rag,
MT10 Gold toner 1:30 mins for the lights,
followed by MT17 Selenium toner for Kallitypes 1 min.
Canon EOS 30
EF 50mm f/1.8
Kodak Tri-X (@200)
Kodak HC-110 B (@800)
Fomabrom variant 112
Ilford Multigrade dev.
Adox Selenium toner
Rolleiflex sl 66, Delta 400, DDX
Ilford multigrade fb classic 1k 24x30cm/ 20x20cm
PQ universal
stop bath water
Alkaline Fixer
Selenium toner 1+19 2min
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. ;-)
2010 photograph, 2013 print
In sombre light, most of the view was toned down, but there were two bright spots.
Pentax KX / 50mm SMC f1.4 / Kodak TMax 400 / Agfa Rodinal / 6x8" silver gelatin print on 8x10" Ilford MGWT semimatte fibre / replenished Ethol LPD / light toning in Moersch MT3 and Harman Selenium
2010 Sweden Beach 01 MGWT 2013
Hasselblad 501cm Planar 80mm,
Delta 3200 @ISO1000.
Lithprint 25x25cm on Select VC (PW14)
1st tray: SE5 Lith A,b,d,water 60+60+60+2000ml 8 minutes,
2nd tray: water 1600ml + Pyrocatechol and Lith B each 40ml + NH4Cl 20% 10ml 2:30 minutes.
MT1 Selenium toner 1+10 2:30 minutes.
Isolette, Plus-x in efd,
print negative onto Arista Litho by reversal development,
Kallitype onto Bergger Cot-320
developer sodium acetate
clearing bath citric acid
ATS fixer
MT14 Selenium Toner 1+100 2 minutes, followed by
MT7 Iron Blue Toner 2+2+4+2+600ml 1 minute
Fomatone 532-II in Lith and Pyrocatechol.
Left MT1 Selenium toner 1+20 3 minutes.
Right MT1 Selenium followed by MT10 Gold (11th print in 450ml) 4 minutes.
Lately, I've been enjoying burning through my little stash of Fortezo. "Stash", perhaps that's a bit of an overstatement: really, it is just one envelope of 10 sheets, 24x30 cm.
Before I got my hands on it, this envelope had never been opened, it was factory-sealed new-old-stock. The packaging looked like it came off the assembly line only yesterday. To my surprise, however, I found that most of its sheets have some form of irregular splotches here and there, on front and back alike. Absolutely no idea where they came from, I had never seen anything like this ever before.
Nevertheless, it makes for a lovely lith paper :-)
Lith Print onto Forte FN14 Fortezo Museum using Moersch Easy Lith @ 1+20
Toned in Selenium: Moersch MT 1 @ 1+10
Holga 120FN + Kodak T-MAX 400 in Rodinal @ 1+50
View The Portugal 2025 Gallery over on my homepage
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Tried some Fomaspeed Variant 313 with lith developer yesterday evening. The results really excited me: a nice slight sepia tone, lots of heavy grain and strong blacks. The paper has a nice finish too. It's fairly cheap and looks great in regular developer as well. Over all, very happy with it!
Fomaspeed Variant 313 with Moersch Easy Lith 1+20
Selenium toned in Moersch MT 1 1+20
10s @ f22
Intrepid 4x5 Mk5 + Schneider-Kreuznach Super Angulon 90mm f8 + Fomapan 100
Adox Rodinal (1+25; 4:00) at 20 °C
Expiry date: 2023-06
Exposure index: 64
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Efke IR820 rated at 6 ASA, Finol 1+1+100
Kallitype on Hahnemühle Platinum Rag, sodium acetate developer.
Bleached on the left and redeveloped with SE6 Blue. This produces larger silver crystals, which has the advantage of not having to fear the fading that usually occurs when toning with selenium (made for silver gelatine). The hue is cooler than before.
Middle: MT1 Selenium toner 1+30 45 seconds.
Right: If a cooler shade is desired, it can be toned again in Iron Blue Toner (5+5+10+5+400ml one minute). Because of the combination with selenium, the resulting colour is initially on the greenish side. A post-treatment with lead acetate (2.5% solution 20 seconds) shifts the colour to a cooler blue.
Kallitype toned in Selenium. Original image made with Intrepid MKII 8x10 with Intrepid MK2 8x10 with Fujinon f/6.7 W 250 and Fomapan 100 (ASA 50) developed in Rodinal 1:50.
Digital negative made with Pictorico Transparency Film printed on Epson R3000. Contact printed on Hahnemuhle Platinum Rag under Edwards Engineering 18x20 UV lightbox for four minutes.
Fomatone 131
From left to right:
Developer SE1 Sepia - untoned.
Prior to Selenium toning I strongly recommend hardening the gelatine of the last batches of this paper. Hardener 1+5 1 minute, followed by running water about 10 minutes.
MT1 Selenium 1+10 2:30 minutes and on the right hand side completely toned up to the highlights in 4 minutes.
Rolleiflex sl 66, delta 400, 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. ;-)
2009 photograph, 2009 print.
Pinhole photograph of the ore docks in Agate Bay, Two Harbors, Minnesota.
Zero Image 2000 Pinhole / Kodak Tri-X 400 / Agfa Rodinal 1+100 semistand / 6x6" silver gelatin print on 8x10" Ilford MGIV fibre matte / replenished Ethol LPD / mini bleach back and redevelopment in Moersch MT3 and Harman Selenium
2009 Two Harbors 2009 MGIV
Taken in the earliest morning hours in freezing cold January: I came there before sunrise and waited for the first rays of light. Back then, I kinda regretted not having taken color film with me, it was tremendously beautiful!
With all the snow and cold about, my shoes were wet from the inside, my mustache literally had ice in it and my face was red as a tomato.
I only had my small little Olympus P'n'S camera with me then. The issue with those all-automatic cameras is that they "never know what you want": in this case meaning that the camera massively underexposed the film thanks to the high reflectance of snow. I overdeveloped the film a little in order to compensate but the negatives still came out incredibly flat. They just barely fit a #5 gradation!!! That's... well... thank god for vario papers ;)
Fomabrom Variant has been pretty much my de facto paper of choice as of lately and I was super happy to find out how nicely it tones in selenium alone. I gave it a few minutes in 1+10 strength Se toner and the shadows all the way into the lower mid tones got a nice, subtle color shift into purple-ish hues. Of course, that's not exactly a new discovery, but then again, I don't think I've ever seen another paper on which it looked this noticeably beautiful!
Print onto Fomabrom Variant 111 using Moersch Eco 4812 @ 1+14
Toned in Selenium: Moersch MT1 @ 1+10
Olympus µ [mju:]-I + AgfaPhoto APX 100 in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
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. ;-)
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.
This negative felt hard to get right. Matter of fact, I still am unsure whether I've gotten it right this time around. Either way, rest assured, I've spent quite a few sheets of paper on this negative...
Geotag approximated: "Vale dos Lagos"
Print onto Fomatone MG Classic 131 using Moersch Eco 4812 @ 1+14
Toned in Selenium and Thiourea:
1) Moersch MT 1 @ 1+10
2) Moersch MT 3 (Setting A)
(There wasn't much silver left available for the thiourea toner; really, it just tinted the highlights a little, which was important)
Nikon F3 + Nikkor 20mm 1:3.5 + Ilford FP4+ in Adox XT-3
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Photograph 2004, Print 2014
To get up in the morning before dawn, with enough time to set up the tripod and camera to wait for that golden moment just before sunrise... It's hard to beat. Long exposure to add a bit of effect to the fog as it floats.
Rolleiflex / Tessar 3.5 / Kodak TMax 400 (TMY) / Agfa Rodinal 1+50 / 6x6" silver gelatin print on 8x10" Ilford MGIV fibre matte / Ethol LPD replenished / super minimal bleachback and toning in Moersch MT3 and Harman Selenium to add just a hint of warmth.
2004 MS River 2014 MGIV
Selenium toned Kallitype on HPR.
The print negative was made from a scanned Lumen Print.
In order to be able to use the normal selenium toner without the disadvantage of fading, the Kallitype (developed in sodium acetate) was first bleached and re-developed with SE6 Blue.
After that MT1 Selenium toner 1+25 30 seconds.
2006 photograph, 2014 print
The Experimental Aircraft Association in Oshkosh, Wisconsin. They open to the public and display a number of historic aircraft during a week in the summer, and it's a very fun event. I don't remember what type of aircraft this was, but I seem to recall it had a 7 cylinder radial engine.
Holga 120N "Plastic Fantastic" / Kodak Tri-X / Pyrocat-HD / 8x8" silver gelatin print on 11x14" Ilford MGIV fiber glossy / replenished Ethol LPD / lightly toned in Moersch MT3 and Harman Selenium
2009 photograph, 2012 print.
Walks along the beach on the West Coast is something that is difficult to get tired of. Especially in the late afternoon, when the sun is starting to set.
Zero Image 2000 6x6 pinhole camera / Kodak TMax 100 / Replenished Edwal 12 / 6x6" silver gelatin print on 8x10" Ilford MGWT fibre glossy / Replenished Ethol LPD / Moersch MT3 / Harman Selenium
2009 Ocean Side 01
Quite hard to print properly, this one.
Lith Print onto Classic Arts PW (= Forte PW15 Polywarmtone) using Moersch Easy Lith @ 1+20
Toned in Selenium: Moersch MT 1 @ 1+10
Mamiya RB 67 Pro S + Sekor 50mm 1:4.5 (w/ Hoya R72 IR filter) + Rollei Infrared 400 (expired 2010!) in Rodinal @ 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan
2013 photograph, 2013 print
Pinhole photo along the ocean.
Zero Image 2000 / Kodak TMax 400 / Rodinal 1+50 / 6x6" silver gelatin print on 8x10" Ilford MGWT fibre semimatte / Ethol LPD replenished / slight bleachback and redevelopment in Moersch MT3 and Harman Selenium
2013 Jonstorp Beach Pin 02
or more heartless with an oak.
Trix in SLD
Polychromeprint onto BEH 122a (extra hart chamois velvet) + selenium, longer gold toning (winter is slower)
Holga 120N, Tri-X in Tanol,
Fotokemika Varycon in ECOMOL 1+6 followed by MT1 Selenium toner 1+7 1 minute.
Printed onto Agfa Brovira BN 111 in two baths:
1) Moersch Ecomol @ 1+9 (with .5% Restrainer Neutral added)
2) Moersch Eco 4812 @ 1+14
Toned in Selenium: Moersch MT 1 @ 1+10
Nikon F3 + Nikkor 20mm 1:3.5 + Ilford FP4+ in Adox XT-3
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Fomatone 132
Lith&Catechol
MT1 Selenium toner 1+20 45 seconds
Schleiervermeidung bei Zweibad-Lith
Die beiden speziellen Entwicklerkonzentrate (Siena und Catechol) für farbigere Bildtöne nach Lith sind angesäuert um sie für Jahre haltbar zu machen. Sie benötigen also wie der Lithentwickler ein Alkali, um sie zu aktivieren, wobei dann noch keine sonderlich farbige Entwicklung stattfindet. Erst der Zusatz von Ammoniumchlorid verursacht eine höhere Farbigkeit als die, die schon im Lithentwickler entsteht. Bei der Mischung der drei Komponenten sollte ein pH-Wert zwischen 9.5 und 10 erreicht werden. Bei einer gegebenen Menge von Entwicklerkonzentrat (z.B. Pyrocatechol 20ml auf 800-1000ml Wasser) werden etwa 10-15ml Lith B zur Aktivierung benötigt. Wird auch Ammoniumchlorid zugesetzt, sollte die Menge zunächst nur bei etwa 10ml (oder weniger) liegen wobei der Bedarf an Alkali dann auf 20-30ml steigt. Das Mischungsverhältnis und die Verdünnung mit Wasser ist für jedes Papier leicht durch eigene Versuche zu ermitteln. Bei einem ersten Versuch sollte besonderes Augenmerk auf einen eventuell vorhandenen Schleier beim unbelichteten Bildrand gerichtet werden. Ein leichter Schleier mag tolerabel sein, oder wird nicht unbedingt sofort erkannt. Ist jedoch eine Selen-, Gold- oder Schwefeltonung vorgesehen, kann es zu einer bösen Überraschung kommen, denn diese Toner verstärken gnadenlos jeden noch so schwachen Schleier. Bei einer zu hohen Menge von Ammoniumchlorid und Alkali nimmt der weiße Bildrand eine schwach gelbliche Farbe an. Sollte dies der Fall sein, ist ein Zusatz von Antischleiermittel erforderlich. Von Lith D (1+4 verdünnt) werden dann 0,5 ml bis 3 ml pro Liter Entwickler benötigt um den Schleier zu unterdrücken.
Preventing fogging with two-bath lith process
The two special developer concentrates (Siena and Catechol) for more colourful image tones after lith development are acidified to make them last for years. Like the lith developer, they require an alkali to activate them, although no particularly colourful development takes place at this stage. Only the addition of ammonium chloride causes a higher colour intensity than that already produced in the lith developer. When mixing the three components, a pH value between 9.5 and 10 should be achieved. For a given amount of developer concentrate (e.g. 20 ml of pyrocatechol in 800-1000 ml of water), approximately 10-15 ml of Lith B is required for activation. If ammonium chloride is also added, the amount should initially be only about 10 ml (or less), in which case the alkali requirement increases to 20-30 ml. The mixing ratio and dilution with water can be easily determined for each paper by conducting your own tests. During the first test, particular attention should be paid to any fogging that may be present at the unexposed edge of the image. A slight fogging may be tolerable or may not be immediately noticeable. However, if selenium, gold or sulphur toning is planned, this can lead to an unpleasant surprise, as these toners mercilessly intensify even the slightest fogging. If the amount of ammonium chloride and alkali is too high, the white image edge takes on a faint yellowish colour. If this is the case, an anti-fogging agent must be added. Lith D (diluted 1+4) is then required in quantities of 0.5 ml to 3 ml per litre of developer to eliminate the fogging.
I'll stand in front of you
I'll take the force of the blow
Protection – Massive Attack
Lith Print onto Classic Arts PW (= Forte PW15 Polywarmtone) using Moersch Easy Lith @ 1+20
Toned in Selenium: Moersch MT 1 @ 1+10
Holga 120FN + Fomapan 100 in Rodinal @ 1+50
View The Portugal 2025 Gallery over on my homepage
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Photograph 2004, print 2012.
Early morning adventures along Mississippi River. Rise with the sun and make some time in the morning. It took me a few attempts to get a photo of this boulder that I was happy with.
Rolleiflex / Tessar 3.5 / Kodak TMax 400 / Agfa Rodinal / 5x5" silver gelatin print on 8x10" Ilford MGIV fibre matte / replenished Ethol LPD / lightly toned in Moersch MT3 and Harman Selenium
2004 MS River Rock TMY Rod - 2012 MGIV LPD
Photograph 2004, print 2014.
Once in a while small things seem perfectly placed in our realities. I felt compelled to stop.
Rolleiflex / Tessar 3.5 / Kodak TMax 400 / Agfa Rodinal / 5x5" silver gelatin print on 8x10" Ilford MGIV fibre matte / replenished Ethol LPD / careful bleach and toning with Moersch MT3 and Harman Selenium
2004 MS River 2B 2014 MGIV