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IN ENGLISH BELOW THE LINE
La Rolleiflex és sense dubte una de les cà meres més iconiques i importants de la historia, aixà com una de les de temps en producció, des de finals dels anys 20 fins ben entrat el s. XXI. I dins d'aquestes es pot considerar el model 3.5 F com potser el millor de tots. És la meva segona Rolleiflex, i val a dir que la vaig obtenir força bé de preu!
La Rolleiflex 3.5 F fou produida entre 1965 i 1971, però aquesta és la variant K4F1, amb el que podem concretar que es va fabricar després del 1966. L'objectiu és un Carl Zeiss Planar f3.5 de 75mm montat en un obturador Synchro Compur. Aquest model de la Rolleiflex compta amb fotometre de seleni, que en aquest cas encara sembla funcionar raonablement bé.
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The Rolleiflex is undoubtedly one of the most iconic and important cameras in history, as well as one of the longest times in production, since the end of the 20's until well into the XXI Century. And within these cameras it can be considered that the model 3.5 F perhaps is the best of all. It's my second Rolleiflex, and it's worth saying that I got it pretty cheap!
The Rolleiflex 3.5 F was produced between 1965 and 1971, but this is the K4F1 variant, with which we can specify that it was manufactured after 1966. The objective is a Carl Zeiss Planar f3.5 75mm mounted on a Synchro Compur shutter . This model of Rolleiflex has a selenium coupled lightmeter, which in this case still seems to work reasonably well.
www.rolleiclub.com/thedarkroom/?p=3248
www.chromacomaphoto.com/blog/2018/5/25/rolleiflex-35f-may...
www.stevehuffphoto.com/2014/01/31/friday-film-the-rolleif...
camera-wiki.org/wiki/Rolleiflex_3.5_series#Rolleiflex_3.5...
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
October, 1992
Leica M4-2, 50mm Summicron f/2
Kodak Ektar 25
Lith print Feb 4, 2017 on Fomatone 132 in Moersch SE5 30+30+10/1000ml
Selenium toned
Hasselblad 503cw, Planar 2.8/80, 2min. exposure, Ilford Pan F Plus 50 on MG ART 300 paper, Selenium toning.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
The leaflet that came with the Zeiss orange filter said that a factor of 5 (ca. 2.5 EV) should be taken into account, which is what I did despite initial doubts. It looks to me as if this was right after all. The photo was shot using the selenium meter on the camera. This is only the second roll I ever shot with the Contaflex IV and the third I ever shot with any Contaflex. So I qualify as a bona fide novice and I was a bit worried that advanced stuff such as B&W photography with filters might still be over my head.
I have created a new Flickr group dedicated exclusively to the Zeiss Ikon Contaflex line ---> click here
Zeiss Ikon Contaflex IV with Tessar 50mm f/2.8 with original orange filter (5x)
Kodak TMAX 400 B&W negative film
Developed and scanned by www.meinfilmlab.de
All of the photographs in this series were scanned from original hand-printed, selenium-toned prints made with Ilford MG Classic fiber-based paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
October, 1992
Leica M4-2, 50mm Summicron f/2
Kodak Ektar 25
Lith print Feb 4, 2017 on Fomatone 132 in Moersch SE5 30+30+10/1000ml
Selenium toned
This is a selfportrait of me playing the piano.
I printed this on Adox MCC 110 Fibre-Base (Baryt) paper and toned in Selenium toner.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Holga 120N, Efke IR820, Filter 715, eco film developer 2+1+40 20°C 11 mins
enlarged negative 22x22 cm / 8,5x8,5 inch
on Wephota F05 by reversal development in SE6 Blue 1+20 and potassium dichromate bleach
Vandyke on Fabriano Artistico rough
fixed in MT1 Selenium toner 1+200
MT7 Iron Blue toner 5+5+15+5+1000ml 2 mins
The Topcon Wink Mirror E is a 35mm fixed-lens, leaf-shutter SLR camera with selenium meter Match-needle metering visible in view-finder, Seikosha-SLV shutter speeds 1-500+B, with UV Topcor F2/48mm lens, Camera accepts Topcor wide-angle tele conversion 3.7cm I : 4 lenses. Made in Japan by Tokyo Kogaku Circa 1962
Rollei 35 with Ilford Delta 3200 developed in Ilfotec DD-X.
Printed on Kodak Ektalure (G)
Lith development:
SE5 / D / E
Selenium 1+4 20s + Viradon (shortly)
Delta 3200 @ 3200 in Rodinol 1+25 11 min.
Fomatone 131 in Moersch SE5 easylith. 25+25+950 7min
selenium 2.min.
New series: Thicket
All of the photographs in this series were scanned from original hand-printed, selenium-toned prints made with Ilford MG IV fiber-based paper.
Scan from darkroom print, 15 x 15 cm.
From an old forrest, worthy of preservation.
Hasselblad 501 and 150 mm. Red filter.
Ilford Delta 400 at box speed in DDX for 8 min.
Ilford WT in Ilford WT developer + selenium 1:5
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Hasselblad 500 C/M with Kodak 100 TMX developed in Pyrocat-HD.
Printed on Foma Neobrom 1111 (same paper different tones)
Lith development in Champion Novolith
Selenium toned
New series: Cromer
Part of a new series I've been working on this summer.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
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
The Galata Tower - Istanbul.
VDB on Fabriano Artistico paper, shortly toned in a very diluted Selenium toner.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
(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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
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
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
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
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From tonight at Green Lake, Orchard Park, NY. I saw this scene many times in the past and either did not have the camera with me, or the weather was not right, or … bottom line, I never took the photo before.
Yesterday, I showed up to photograph this flooded walkway across but it turned out I underestimated the distance and my 24 - 85mm just was not enough to get the head on view. I could have done it under an angle from the banks along but I wanted this view that I kept seeing from the road.
It was also very windy. Windy was good, it created ripples on the water and long exposures had a nice effect but it was so windy I could not keep the camera steady even when I weighed the tripod down. All photos were soft and given the need for a significant crop the softness showed a lot.
So back I went today in between downpours and storms with my 80 - 400 mm. There was almost no wind today making long exposures less effective. Even the little bit of a breeze gave me some trouble to keep the camera steady enough for this 90s exposure at 270 mm. It is the photo I had in mind though, so another one off the list.
Basic processing in Capture NX2 and B&W conversion in Silver Efex Pro 2, including a hint of selenium toning.