View allAll Photos Tagged selenium
Keeps reminding me of Kraftwerk's Expo 2000 theme... ;)
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 + Ilford FP4+ in Adox XT-3
View The Portugal 2025 Gallery over on my homepage
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan. Somewhat messy print borders fixed in Affinity Photo 2.
I've been wanting to print this negative ever since I first started my darkroom efforts.
It was taken two years ago on ancient Kodak Tri-X I was given for free. Storage conditions and everything unknown. I decided to play around with it in my neighborhood, guessing exposure and trying to see if I can get something nice out of it still.
I had it lab developed, introducing another unknown variable into the mix.
The film was heavily fogged: increased base fog plus irregular fogging here and there. I didn't bother using the densitometer on this one but be sure that the Δ logD between shadows and highlights minus b+f is very high. Shadow densities are super low, the highlights are virtually blown out with very little detail.
All in all, the print proved a bit tricky to realize, especially with the varying fog in mind. Precise burning was needed to eliminate it.
A brief and sharp toning in selenium increased Dmax and colored the image reddish-brown. I toned into the mid-values, then stopped. Fomatone loves selenium, all this happened quite fast.
Afterwards, I decided to cool the selenium off a little by using gold toner over it. Once more, I kept the toning short.
The resulting print exhibits a color tone that's almost the same as the rusty metal fence's photographed here. It is hard to reproduce accurately. This is what the print looks like under scanner light. Mind you, under softer, indirect illumination, it does seem a bit colder. The highlights are clear, the shadows as dense and dark as ink. Truly brilliant to the eye, I wish you all could see it in person!
Print onto Fomatone MG Classic 131 with Moersch Eco 4812 @ 1+14
Toned in Selenium and Gold:
1) Moersch MT 1 @ 1+10
2) Moersch MT 10 @ stock
Nikon F3 + Nikkor 50mm 1:1.8 + Kodak Tri-X 400 (lab developed, expired in the '90s, I'd guess)
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
TriX in SLD
Polychromeprint onto BEH 122a (extra hart chamois velvet) + selenium gold (for overtoning the yellowish surface of this paper)
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. ;-)
Became surprised how this paper behaved in selenium toner.
A beautiful sepia tone after one minute.
.
Leica M6 & Summicron 50+Y.
Ilford HP5 developed in HC110h.
Print on old Ilfobrom in Moersch SE6 Blue. Hard to get blackness in the roof with this paper so I put it in a tray with Selenium to get som punch, but I got some very lovely varm tone.
Taken on a one-night cruise ship between Helsinki and Stockholm last summer (geotag obviously approximated ;))
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.
Beavertail State Park, Jamestown, Rhode Island
The plan was to catch a sunset at Beavertail State Park after work. There wasn't an interesting cloud in the sky, but I stuck around to look for a composition for next time, and noticed some nice highlights reflecting off the rocks, some bits of snow left over from an early April storm, and the west side of Beavertail Light. With an eye towards B&W I threw on the gold-n-blue polarizer for contrast and pop, a grad ND to knock down the sky, and a standard ND to calm the waters. (The color version with the gold-n-blue filter was ghastly.) This was my first deep dive into Silver Efex Pro. That's some powerful stuff. "Selenium" refers to the tone used in SEP.
I'm pretty happy with the Nik Collection. It's relatively straightforward, and I find a little fiddling goes a long way. It's also now free; I was shocked and pleasantly surprised when I noticed an unsolicited refund on my credit card last week!
Filters: gold-n-blue polarizer, 2-stop soft-edge GND, 6-stop ND
Holga 120N, Delta 400 @ISO 640 in Finol.
Select VC in SE2 Warm.
Left Selenium toned (MT1 1+10 1 minute.
Right MT4 Siena (polysulfide) toner 1+20 1 minute and Sodium sulfite (10%) stop bath 2 minutes.
Flower.
Another flower from the accidental photo shoot in the garden centre on the phone. It’s a bright yellow flower. Honest :)
The crop is everything in the composition I think. But, knowing me, you will guess that I took it originally slap-bang in the middle of the frame. How the two halves of my brain struggled with placing the flower off centre in the processing... cold sweat and shaking ensued.
So this was about one-quarter of the frame of the phone’s jpeg (not very good quality but good enough for a grainy treatment like this). Better to have used a raw image from the phone but I didn’t know about that then….
For the Thursday Monochrome group.
Thank you for taking the time to look. I hope you enjoy the image :) Happy Monochrome Thursday!
[Handheld in daylight on a breezy day.
From the Jpeg in Affinity first used curves to increase the colour contrast, and get the luminance range across the image.
Inpainted to get rid of the spots and blemishes on the flower petals that are inevitable with outdoor plants.
Converted with Nik Silver Efex trying to get an even balance of tones with not too dark a flower centre and a little texture on the petals. Darkened borders to give a box vignette and draw us into the image. My favourite Selenium toning and we were done.]
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. ;-)
Photograph 2009, print 2009
Hasselblad 500C / 80mm T* Planar / Kodak Tri-X 400 / Kodak HC-110 / 6x6" silver gelatin print on 8x10" Ilford MGIV fiber matte / replenished Ethol LPD / light bleach back and redevelopment in Moersch MT3 and Harman Selenium
2009 Black Beach 04 2009 MGIV
An older negative printed only now. Certainly something for the lith grain fetishist ;)
I much prefer this lith print over my original upload which was simply a direct negative scan. This print has such a heavy, dramatic look to it and fits the subject much better, I believe.
Fomaspeed Variant 313 in Moersch Easy Lith 1+10
Briefly toned in selenium: Moersch MT 1 1+10
Nikon F3 + Sigma 24mm f2.8 Super Wide II + Kodak T400CN
C-41 processing by an external lab
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Rolleiflex sl 66,delta 400, D76 1+1
Ilford multigrade fb classic 5k
Ilford Multigrade develop
24x30cm/ 20x20
stop bath water
Alkaline Fixer
Split toning selenium sepia
Photgraph 2013, printed 2016.
Previously uploaded as neg scan.
Leica M2 / 35mm Voigtländer Nokton / Ilford FP4+ / replenished Kodak Xtol / 6x8" print on 8x10" Ilford MGIV fiber matte / replenished Ethol LPD / Moersch MT3 / Harman Selenium
Taken in a valley in Northern Iceland.
Mamiya 645, 80mm lens. APX100 in XTOL.
MGWT in WT, MT3/selenium
In August I was wandering around St John’s College in Cambridge (you will perhaps recall the chapel and the stained glass window wobblies). And there I was, clicking away with the camera…
The college is one of the richest in the University (and, by implication, one of the richest in the world). The buildings are grand and imposing.
But the place was a disappointment to me. The green spaces were just grass and there seemed to be no love of flowers or soft aesthetics. All power and intimidation and little heart or soul. Or perhaps it was just me .
This was one of the several cloistered walkways I came across. All very photogenic in a cliched sort of way.
To make this image different I lowered the viewpoint and took it off-centre. Then, in Silver Efex (that tool of wonder), I created a dark and moody version to add atmosphere. The day was really bright and hot so it didn’t really look like that. The image was lightly selenium toned to give it a subtle coldness to match my mood.
I’ll post the in-camera version in the first comment so that you can see how I played.
Thank you for taking the time to look. I hope you enjoy the image. Happy Monochrome Thursday :)
Photograph 2013, printed 2013.
Hasselblad 500CM / 80mm Planar / Ilford Delta 400 / Rodinal 1+25 / 8x8" silver gelatin print on 11x14" Ilford MGIV fiber matte / replenished Ethol LPD / Moersch MT3 / Harman Selenium
Richmond Park, which is located in south-west London in the borough of Richmond Upon Thames, is perhaps best known for the hundreds of red and fallow deer freely roaming its 2,360 acres. Its wildlife and nature reserves have been a source of interest for photographers over the years, and the park's vast open spaces have inspired many landscape artists over the years, as well as serving as a site for numerous films and television series.
I first began visiting the location on a regular basis in the summer, scouting at sunrise for spots that I thought would make captivating images. As summer gradually turned to autumn and the scenery's colours began to change, there was a steady increase in the amount of fog and mist forming each morning. This added a mystique to the entire landscape, but the scene at the centre of the park became truly magical. A trench had been dug in the early 17th century to drain the area, creating the Pen Ponds, where streams now flow from higher ground and where a selenium-based prototype weapon that could be used against German Zeppelins was tested during the first world war.
This two-minute exposure of the larger of the two ponds was taken on a calm, crisp and chilly autumn morning. My aim was to capture the surreal layer of fog covering the water, but also the soft pink tones in the sky, reflected in the pond shortly before the sun emerged on the horizon. The final image was edited from a single exposure, so in comparison with the architectural images I work on, which often require multiple exposures and Pen Tool selections in Photoshop, it was a very straightforward image to process.
The highlights, shadows and contrast were corrected using Curves and Levels adjustments, and Colour Balance adjustments with Apply Image layer masks used to target the brighter and darker portions of the image, bringing out the colder tones along the trees and water at the same time as the warmer tones in the sky. I then emphasised the intensity of the fog by adding a low-opacity Colour Lookup, setting this to Bleach Bypass and the Screen blend mode, and applying a reflective Gradient Mask across the centre of the frame. Using Silver Efex Pro set to the Luminosity blend mode, I increased the structure in the foreground trees and amplified the Whites across the image. Then, using Colour Efex Pro, I applied a gentle amount of Tonal Contrast to the shadows and a Pro Contrast adjustment to the overall image, excluding the sky where I wanted to retain the soft texture and gradual shift in colour. The final adjustments were made using luminosity masks, which I used to target and tone down the highlights and to apply a small amount of vibrance in the sky, as well as enhancing the natural vignette along the edges of the water.
Throughout post-processing, it was important to me to retain the clean, natural and low-contrast finish to what struck me as a beautifully minimalist scene. On this foggy morning, when the only sound came from the occasional bird or deer in the distance, the scene seemed worlds apart from the everyday stampede of Central London.
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Darkroom print of 6x6 fomapan 400 negative on Agfa Brovira grade 2 matt, using Compard warm tone developer. Toned in selenium and just a touch of sepia.
View The Portugal 2025 Gallery over on my homepage
This is an older print of mine, I made it roundabout half a year ago. It's been up on Flickr for that long as well. However, I decided to revisit this print and give it a new "finishing touch" by toning it in thiourea and selenium. This was my first time using thiourea (or any form of indirect toning, for that matter!) and I'm super happy about how it turned out.
The print was a bit difficult to scan, there's lots of fine color variation. Matter of fact, it's a bit hard to see in this scan, but there is a discernible tone split in the image!
Print onto Fomatone MG Classic 131 with Rollei RPN Eco 1+9
Toned in thiourea and selenium:
1) Moersch MT 3 @ Setting A
2) Moersch MT 1 @ 1+10
Nikon F3 + Nikkor 20mm 1:3.5 + Ilford HP5+ in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Part 6 of the series on long exposures simply called Exposed
Just a series on long exposure daytime shots.
Shot from the South Pier in IJmuiden, you can see two other piers in the distance.
Technical info:
10 stops ND filter
f/22
ISO100
1min10s exposure (70s)
Software:
Lightroom 2.0
PS CS3 - Silver Efex Pro - Red Filter - Selenium toning
Explore #250 April 15 2009
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Best viewed a little smaller/from a few meters away :)
Had big fun making this print and absolutely none trying to get a good scan of it – please excuse all the debris and weird light reflections here and there...
I remember that it was quite adventurous getting this photo: I had no tripod or anything with me and only EI 80 film available. There wasn't anything to lean the camera against either. It's almost a miracle that this shot actually turned out sharp!
This is yet another case where the chemical toning gets really close to the real life actual color of the sujet – love it!!
I kept the bleaching for the thiourea toning short, the same goes for the selenium toning afterwards. I'm pretty surprised the print became this colorful!
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.
Last year I took this B&W HDR nightshot of a frozen lake and put it up on Flickr but I never was really satisfied with the final result. So I decided to process it again. I think I'm satisfied now.
f/7.0
ISO 400
Multiple exposures: 6, 20 & 30s.
PS CS3
Photomatix
Silver efex Pro - Selenium tone
Note: Yes, this time you're right: this is an HDR shot
Ilford HP5 D76
Print 14x12 Fomabrom Variant IV (old stock fogged) Multigrade Dev. Bleach to get rid of fog Selenium Tone.
Lith Prints, Photoshop borders, described here in due time... remorseblog.blogspot.com/2022/01/printing-holme-fen-risin...
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD
Printed on Foma 542 II
Developed in Catechol/Sepia
Toned in Selenium / MT3
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The last low key church interior photo for now, I promise!! ;)
I took this one during my first (and to date only) visit to Sweden last summer. We were there only for a few hours, then we had to get going back to Helsinki again, we didn't get to see so much of Stockholm.
Normally, I have a fairly good recollection of where exactly I took which photos, even months after the fact and even when I'm unfamiliar with the region. Whenever I can't figure it out anymore, I try and see if I have any phone photos from the same place as they're geotagged.
With this one, I was all out of luck: I had no idea what the church is called, where exactly it is located and I had 0 photos of Stockholm on my phone (can you believe it?! ;))
Some "Google Maps forensics" and virtually wandering on the map starting at the Stockholm Palace eventually made me find it again.
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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
One of my first ever analog photos! Jokingly, I bought the last single use camera they had at some souvenir store on my visit to Bavaria back in 2015. The cashier told me something like "oh but this is still film, you know, no one buys that anymore". I didn't care much, bought it, shot with it, then mostly forgot about it. I had it lying undeveloped in some closet for a few years until I actually had it developed by a local drug store chain. And so, my analog journey started.
It was only recently that I came across the negatives from this camera again while looking through old photos. This one was a stand-out shot to me, it just worked. Originally, it was a color photo but I had the idea of trying it as a lith print in b/w – and so I did.
This was by far the longest photo paper exposure I've had to date. The negative was pretty dense thanks to heavy fog plus it had the brown/orange color masking too.
I've made three different lith prints – including this one. Still have a hard time deciding which is the best but this one hits my original vision the closest, I think.
With its super fuzzy and unsharp look, I kind of wish I had kept the camera itself... makes for very interesting, artsy shots!
Lith print onto Agfa Multicontrast Premium MCP 312 RC with Moersch Easy Lith 1+10
Briefly toned in selenium: Moersch MT 1 1+50
Unknown single use camera + unknown plastic lens + unknown C-41 film (how helpful ;))
C-41 lab development
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Ilford HP5+ in Ilfotech DDX
91/2x12 Print on Ilford RCV dev in Moersch 4812 Selenium tone.
Meopta Opemus 7 Schneider Companion S 50mm f2.8.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper