View allAll Photos Tagged selenium
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.
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.
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.
Photograph 2011, printed 2013.
Leica M2 / 50mm Voigtländer Nokton f1.5 / Fuji Neopan Acros / replenished Kodak Xtol / 6x8" silver gelatin print on 8x10" Ilford MGIV fiber matte / replenished Ethol LPD / Selenium toner
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.]
Photograph 2012, print 2013.
Another in this series of photos of fascination with ice.
Hasselblad 500C / 80mm T* Planar / 16mm close-up ring / Ilford Delta 3200 / Edwal Developer 12, replenished / 8x8" silver gelatin print on 11x14" Ilford MGIV fibre matte / replenished Ethol LPD / lightly bleached back and toned in Moersch MT3 and Harman Selenium
2012 Frost Variations 08 - 2013 MGIV D3200
Sieh' diesen Mann... Ganz allein
Will keine Hilfe, weil's ihn schmerzt
Zeit zu gehen, Zeit zu hungern
's ist noch Zeit für'n letztes Wort... (Wolfsheim)
Print onto Orwo BN 111 using Moersch Ecomol @ 1+9 (with .5% Restrainer Neutral added)
Toned in Selenium: Moersch MT 1 @ 1+10
Seagull 4A + Fomapan 100 in Rodinal @ 1+50
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)
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD
Lith printed on Orwo BN 111
Selenium toned
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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.
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
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Hasselblad 501 C/M with Kodak Tri-X 400 developed in Pyrocat-HD
Printed on Ektalure (G)
Two trays lith development
Selenium toned
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It was a magical evening on the faraway asteroid of Eldila; the sun was setting bright behind the prismatic cliffs that rise above the always serene Selenial Sea.
He and I, the king of this fairytale world and his queen, were sitting on a purple reef close to the shore; we were looking at each other affectionately, holding hands.
It must have been a romantic scene, but was it?
Created via artificial intelligence (Nightcafe)
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.
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
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.
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.
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 :)
Love this paper, everything about it. This right here was one of my first "trial prints", I'm super pleased. More to follow soon!
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 + 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. Somewhat messy border "fixed" in Affinity Photo 2.
Taken in a valley in Northern Iceland.
Mamiya 645, 80mm lens. APX100 in XTOL.
MGWT in WT, MT3/selenium
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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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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Hasselblad SWC 903 with Kodak Tri-X 400 developed in Pyrocat-HD.
Two trays lith development
Selenium toned
Left:
Printed on Brovira 111
Right:
Printed on Sterling
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Print onto Orwo BN 111 using Moersch Ecomol @ 1+9 (with .5% Restrainer Neutral added)
Toned in Thiourea and Selenium:
1) Moersch MT 3 (Setting A)
2) Moersch MT 1 @ 1+10
Seagull 4A + Fomapan 100 in Rodinal @ 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
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.
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
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
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
Lith Prints, Photoshop borders, described here in due time... remorseblog.blogspot.com/2022/01/printing-holme-fen-risin...
Ilford HP5 D76
Print 14x12 Fomabrom Variant IV (old stock fogged) Multigrade Dev. Bleach to get rid of fog Selenium Tone.
Final print .
first day - test print, pilot print, analyzing.
second day - work on the final print, toning with selenium, drying.
third - sepia toning, final drying.
fourth day - continued drying
fifth day - continued drying.
sixth day - mounting in passepartau.
Ilford multigrade fb classic 5k mat
PQ universal
stop bath water
Alkaline Fixer
Selenium-sepia duotone with dilute bleach bath
Must have been taken some evening on my trip to Berlin in late 2022 :-)
Geotag roughly approximated.
Print onto Agfa Brovira BN 111 using Moersch Ecomol @ 1+9 (with .5% Restrainer Neutral added)
Toned in Selenium: Moersch MT 1 @ 1+10
Zeiss-Ikon Contessa LK + Carl Zeiss Tessar 50/2.8 + Kodak 400TX
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
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.