View allAll Photos Tagged selenium
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. ;-)
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. ;-)
The snowy body of an old farm truck sitting right next to an old church-turned-museum.
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.
Photograph 2012, printed 2012
The Foshay Tower was once the tallest building in the Midwest, today dwarfed by the buildings surrounding it. It is still a bit of an architectural icon, and a beautiful part of the urban landscape.
Leica M2 / 50mm Summitar / Foma Fomapan 400 / replenished Kodak Xtol / 6x8" silver gelatin print on 8x10 Foma Fomabrom Variant 112 / replenished Ethol LPD / lightly toned in Moersch MT3 and Harman Selenium
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
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.
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.]
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.
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.
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.
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
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.
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
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 :)
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.
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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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
Ilford HP5 D76
Print 14x12 Fomabrom Variant IV (old stock fogged) Multigrade Dev. Bleach to get rid of fog Selenium Tone.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
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
HP5 D76
Print on old well expired Foma Variant IV 123. Dev in multigrade. Very fogged paper, highlights grey. Bleached to retrieve them (maybe started to go a bit far at the top) then selenium tone.
Lith Prints, Photoshop borders, described here in due time... remorseblog.blogspot.com/2022/01/printing-holme-fen-risin...
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.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper
Hasselblad 501CM, Planar 100 with extension tube, yellow filter.
Delta 400 in Pyro 48.
Paper Select Ivory (PW17)
Developer Meritol 1+10 3 minutes.
Right toned version:
Mt1 Selenium Toner 1+10 1 minute for the shades and MT7 Iron Blue Toner for midrange and lights 5+5+10+5+500 ml 40 seconds, followed by Lead acetate 2,5% sol. 20 seconds.