View allAll Photos Tagged selenium
Kallitype
Selenium Toned on Arches Platine
Sodium Citrate Developer
8x10 Contact Print from Digital Negative
Original Exposure - 4x5 Ilford Delta 100
Jr is an actor and has done print work as well, his agent called last week as they needed some new images for marketing.
~Adam N.
Model Portfolio Photography - Phoenix, Arizona
*Strobist*
ONE SB800 w diffuser) Off camera (left) on a SC-28 Nikon TTL cord (stretched as far as it could go)
Selenium toned in photoshop
Mamiya RZ 67 Pro II - Kodak Tmax 400 developed in Pyrocat-HD. Printed on Sepia VC. Developer Moersch Eco 4812 + Selenium 1+20 45 sec
Paper: Kodak Azo Grade G Hard, d.w., post card paper, expired Nov. 15, 1915
Developer: Ansco 130 1:1 for 2min
Toner: Ilford Selenium
All I can say is WOW--paper from 1915 that doesn't fog in regular developer! I accuired a sealed package of this paper from ebay. The images you see are 2 frames taken with a Bronica SQ-A. There were actully black paper masks included in the package so I used one to create the curved edge you see in the picture.
I wan't expecting these results; I thought surely I'd have to use lith developer but no. The black were a little weak so I toned in selenium to increase the d-max and give it a purpleish tint.
The Lynx 1000 (right) debuted in 1960 followed two years later by the updated Lynx 5000 (left). Since I own good examples of both cameras, I thought that maybe a quick compare and contrast might be in order. Beyond trim changes, the most obvious difference between these two is replacement of the 1000's selenium meter with a more sensitive CdS cell in the 5000. The CdS cell required both a battery and a meter switch visible on the camera front above the pc flash synch plug.
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.
X-Ray film, Fuji RXU Half speed Blue 8x10
Homebuilt sliding box camera
Comercial Astragon f/6.3
1s @ f/64
Rodinal 1:100, 6min, Patterson Tank
Agyrotype, Selenium toned
Zeiss Ikon
Contina-Matic II - 1958
Pantar 45mm 1:2.8
SLK Spezial shutter 1"-1/300" and B
Selenium meter coupled to the shutter/aperture rings, once established the exposure value the rings auto-lock and move together keeping the correct exposure.
Three filters, red, yellow and green and metal lens hood.
I invite you to visit my camera site at Classic Cameras in english.
Convido-os a visitar o minha página Câmaras & Cia.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Last model of the four Retina Reflex cameras. Sold from 1964 to 1967. Had the shutter speed and f-stops showing in the viewfinder via a window on the camera face. Selenium cell meter from the German company, Gossen, was cross-coupled to a very complex system with the shutter and aperture rings around the base of the lens. As you wind the film advance on the bottom of the camera, you can almost hear a myriad of gears and springs being tensioned. Not a kind instrument for repair - very touchy.
A leaf-shutter reflex (LSR), it only accepted a few lenses made especially for it. An expensive camera back in the day.
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.
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
15x23 cm
Adox MCP 310 (glossy)
developed in Moersch Eco 4812 1+9 with 6ml Finisher Blue for 2 Minutes
Selenium Toning in Moersch MT1 1+15 for 90 seconds
exposed with a Jobo LPL 7450 with a Rodenstock Rodagon 80 f/4 and Heiland Splitgrade unit
Picture taken with a Leica M6TTL and 90mm Summicron on Rollei RPX 100, exposed at ISO 100 and developed in Rodinal 1+50 at 16°C for 25 Minutes
original negative scan: www.flickr.com/photos/jt-c/9324590812/
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
Man Ray
"The Bicycle" 1950
Watercolor, pen and india ink over pencil on paper
30 1/3 x 40 1/3 cm
Tom Wesselmann
"Study for Helen" 1966
Liquitex on paper, 18 x 25 ½ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Converted in DxO Filmpack using the Delta preset and then brought into Perfect Effects 10 for a selenium tone.
Black and White edit of this summit morning image, emphasizing the way it felt. Even though the sun was out, there was ice inside and outside the tent and 23F on my little thermometer in the tent.14,500 feet, the highest tent in the lower 48 states that morning.
Another well-built little scale-focusing 35mm camera from Zeiss. The Contina series ran from about 1951 to 1960 with more than a dozen models/variations. This one has a slower f/3.5 Novar lens, but sports a (still working) uncoupled selenium cell light meter.
Bought this one in a thrift store. It was in amazingly clean and functional condition; a sign that it had not been used much or cared for exceptionally well.
Minolta Hi-Matic AF2; color film
Lith printed on Slavich Unibrom grade 4 paper, toned in selenium 1:4 ratio.
World War II monument in Negotino, Macedonia.
One of my all time favourite subjects for last year's 52-Sheet Project was the Dreadnought Era Battleship USS Texas, now a museum ship. So what better way to revisit a project than to work on making prints from the negatives.
Original Negative
Pacemaker Crown Graphic - Schneider-Kruznack Symmar-S 1:5.6/210 - Kodak Tri-X Pan @ ASA-250
PMK Pyro (1+2+100) 10:30 @ 20C
Paper: Ilford MGIV RC Satin
Exposure: 24" - f/11
Developing: Dektol (1+2) 1:00
Tone: Selenium (1+4) 2:30
Holga 120N, SFX (filter 715) eco film developer
Adox Vario Classic in SE6 Blue
tonings from left to right
#1 MT3 - bleach 1+50 20 secs, toner setting A (bright yellow)
#2 followed by MT1 Selenium 1+10 40 secs
#3 MT3+MT1+MT7 Iron Blue (5+5+12+5+600ml) 1 min
Manufactured by Krasnogorsky Mekhanichesky Zavod (KMZ), Moscow, former USSR
Zorki means Sharp Sight
Model: 1966 type 3b (export type)
All Zorki 11 produced between 1964-67 with quantity of 60.745 units
As to Alexander Komarov
35mm film viewfinder fully automatic camera
Engraving on the top plate: Zorki 11
Lens: Industar-63 45mm f/2.8 filter thread 52mm serial no.N0065149
Aperture: up to f/22setting: Automatic, manual is possible, scale and lever on the lens
Focus range: 1.5-10m +inf
Focusing: manual helicoid; ring, distance scale with symbols and DOF scale on the lens-shutter barrel, w/ handles for easy using
Shutter: Between the lens diaphragm, with adder-mechanism automatically sets diaphragm and exposure time depending on the set film sensitivity and brightness of the object to be photographed; automatic setting lever should always be set against the index A, on the lens, except B mode
Speeds: in automatic mode 1/30 -1/500, in manual mode 1/30, and B
Setting: automatic; B sets with a lever on the lens-shutter barrel
Shutter release: press as far as it goes, on the lens-shutter barrel,
Cocking lever: also winds the film, short stroke, on the bottom pate
Frame counter: auto-reset, additive type, on the bottom plate
Viewfinder: bright frame finder, parallax correction frames
Exposure meter: Selenium cell, auto exposure, around the lens
Exposure setting: fully automatic
Film speed range: 20-320 ASA; setting: ring and small window on the lens
Metering range: 8-18 EV
Re-wind knob: erects via turning the thumb wheel on it, on the bottom plate
Re-wind release: by a knob on the bottom plate
Flash PC socket: on front of the camera, set to X V lever to X on the lens-shutter barrel
Cold-shoe
Self-timer: by X V lever on the lens, set to V after cocking
Back cover: hinged, opens by a latch on the left of the bottom plate
Engraving on the left side: Made in USSR , KMZ logo and serial no.
Tripod socket: 3/8", (there are cameras with ¼" tripod socket also )
Strap lugs: none
Body: metal; Weight: 659g
serial no. 66 08360 (First two digits show the manufacturing year)
Zorki 11 belongs to the Zorki Automat series.Fotoua
There are 4 types and one sub-type of the it. The Zorki 11 is a Zorki 10 without the coupled rangefinder mechanism, but with distance symbols visible in the viewfinder.
It resembles closely to Ricoh Auto 35V/Ricohmatic 35.
More info: in Sovietcams, in The Camera Site, in Camerapedia