View allAll Photos Tagged selenium
Evan Granite, left, a researcher in the Office of Research and Development at the Department of Energy’s National Energy Laboratory, and Albert Presto, a post-doctoral research associate from Carnegie Mellon University, prepare an experiment at the packed bed reactor, which is used for research into capturing mercury, arsenic and selenium.
Selenium exposure meters manufactured 1960-77 in the Soviet Union. With Mamiyaflex, allows precise but battery-free photography... green photography.
Turrach
Scan from print:
Paper: Adox MCP312
Developer: Mörsch Eco
Toner: Kodak Rapid Selenium
Film Info:
Film: Kodak Trix 400
Developer: Ilford DD-X
Lens: Nikkor 50mm 1.4G
Camera: Nikon F6
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Photographs for "100 Heads," a random street portraiture show featuring seven photographers at MakeShift gallery in Bellingham, WA.
Photographs taken on Mamiya RB67, 180mm lens, Tri-X pulled to 200 developed in Rodinal. Printed on Ilford FB Warmtone MG paper and toned in selenium. 11x14.
Photographs were cropped horizontally due to a light leak across the top of the frame.
Scanned papercopy
Nikon F3
Nikkor 180mm f/2.8 ED Ais
Hp5+
D76 1+1
------------
Kentmere Fineprint 18X24 Glossy
Focomat 1C with Focotar 50mm f/4.5 and Ilford Colorhead
Exposed for 12s at f/8 Grade 2
Developed for 90s in Ilford Mg developer
Toned in Selenium 1+10 for 1.5 min (?)
The scan doesn't do this paper any justice....
Canonet
Tmax 400
Rodinal 1:50
Ilford FB warmtone paper
selenium toned
Warren Patrol wrist-watch selenium exposure meter, 1950, USA. Case is made of some plastic, wrist band is a metal one
Comparison Of Active Ingredients Between Wild Cordyceps And Cordycept Sinensis.
Avatar Represent Sign
- Cordyceps Sinensis : CS
- Wild Cordyceps : WC
Ingredient
D-Mannitol - 6.49% (CS), 5.7% (WC)
Cordicepin - 20.78ug/10ul (CS), 0.608ug/10ul (WC)
Cordyceps Polysaccharide - 24.44±0.34% (WC), 12.15±0.21% (CS)
Crude Oil - 10.56±0.38% (WC), 3.14±0.03% (CS)
TN - 11.38±0.02% (CS), 4.55±0.03% (WC)
Crude Protein - 71.14±0.13% (CS), 28.45±0.02% (WC)
Phosphorus - 12457ug/g (CS), 3671ug/g (WC)
Potassium - 19841ug/g (CS), 3975ug/g (WC)
Zinc - 127.6ug/g (CS), 13.9ug/g (WC)
Selenium - 0.54ug/g (CS), 0.340ug/g (WC)
Iron - 3163ug/g (WC), 829ug/g (CS)
Report from： Medicine Technology Research. Department Of China Jilin University.
Photographs for "100 Heads," a random street portraiture show featuring seven photographers at MakeShift gallery in Bellingham, WA.
Photographs taken on Mamiya RB67, 180mm lens, Tri-X pulled to 200 developed in Rodinal. Printed on Ilford FB Warmtone MG paper and toned in selenium. 11x14.
Photographs were cropped horizontally due to a light leak across the top of the frame.
London Eye. Abstract.
Nellie Vin ©Photography.
Series Winter in London. UK
Limited Edition 200
Selenium Print
A close up a leaf , this time a print on Ilford Warmtone fibre selenium toned. Taken on a Nikon and 55mm macro.
Linhof Kardan Standard / Schneider Symmar convertible 150-260mm / Forte Bromofort
Looking at princelle's book, 'Cameras from the Soviet Union', one notices that the quality and ambition of FED material doesn't stop decreasing over thime. This is a fine example. The FED 50 is an involution of FED 35, a parctically identical model, only that it has a coupled rangefinder and a CdS cell meter instead of the hopelessly outdated selenium meter around the lens. Some like celenium bulbs, though. My wife is one of them; in fact the camera is hers.
The prior generation of this camera, the half frame Mikron, was indeed closely 'inspired' in the simpler models of Olympus PEN snapshot cameras, and also used a barrel selenium meter.
Hey, it is an automatic camera... with single program curve :) Wich means that it can only shoot in a very limited number of diaphragm/speed combinations, which I find fairly odd.
The previous models of this generation fo cameras, the 35 and the 35a, had a coupled rangefinder, a feature that the 50 lost. What the 50 kept was the dark green tinted finder, pretty useless in my opinion, as it doesn't need to offer any contrast with a rangefinder image.
This is how the glorious history of the camera makers from Kharkhov ends
The mixed toning didn't work so well... The warm tone paper just goes red all over very quickly. Selenium alone works well but doesn't give me the full red I wanted.
www.portraittipsandtechniques.com
Canon 5D 24mm F1.4L
Lumydine portable flash_30" softbox
Nik Silver Efex Pro
Taken with a Taron Eyemax camera in week 351 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
The film is expired (2011) Ilford HP5 plus, developed in Rodinal 1:50 for 11 mins at 20 degrees.
Weston had once offered one of the more trusted, independent indexes of film sensitivity. This was a definite influence on the "ASA" scale which superseded it. So their meters were indeed a bit of an industry standard, as well as being nicely finished and pleasant to hold.
Rangefinder Kiev 4 (KNEB subtype 2a)
sn# 5922914 with Jupiter-8M (ЮПИТЕР-8M) f/2 50mm sn #5930926
manufactured in 1959 by the Arsenal factory in Kiev (Ukraine)
The selenium light meter still works and is quite accurate!
Contax copy, made in 1959
Subtype 2a rarity: 3 out of 5
© Dirk HR Spennemann 2011, All Rights Reserved
From Flickr Group's "Roll in a Day" project, for August 18th, 2012
1971 Minolta Hi-Matic E 35mm Rangefinder
40mm f1.7 Rokkor Fixed Lens
Manual Rangefinder Focused
Fully Auto Exposure
Kodak Portra 160asa C-41 Film
Home developed using Tetenal Press Kit chemistry
@ normal times and temps.
Negatives scanned on Epson V-600 flatbed
Edited with Adobe Photoshop Elements 9 for Mac
and Silver Efex Pro2
While I was on Tim Rudman's recent lith printing workshop, I was reminded how cemeteries can yield some striking images that suit lith printing very well. This prompted a return to an old 35mm negative, which I don't think has turned out too bad as a print.
Lith print on Foma Nature II, developed in warm Fotospeed LD20 + old brown. Selenium toned (1+14)
Pentax MX, Ilford HP5+, ID-11
Some spider had a somewhat enchanting webbing and collection of pearls.
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One very labyrinthine spiderweb on a plain field had some nice dew drops stuck to it. Gave the shot a cyanotypish tone to simplify the image and give it a more "like the movie TRON" kind of feeling... because I was listening to the movie soundtrack (Daft Punk) at the time of post process! :D
Left is selenium tray; right is untoned print. It's a 1+8 dilution and I typically tone photos for 5 minutes. The photo is from 2011, taken with a Minolta XD-11 and a 135mm f/2 Soligor lens on Tri-X film developed in Eco Pro.
Photographed on the Solent at the Lepe Country Park in Hampshire. This has been given the appearance of selenium toning in Lightroom - so much easier and less poisonous than doing it in the old days!
Hand coloring an old mill: selenium - page 2
Copy your original to a name that designates it as a work file. If your original is color already, convert it to Grayscale in the Alt-Image, Mode pull-down or desaturate the image in the Hue/Saturation palette, Ctrl-U. When it is a grayscale, convert it back to RGB in the Alt-Image, Mode pull-down so we can add our own color.
Save all your work as a native Photoshop .PDF file to preserve all the layers. You can reedit layers and other effects later.
We created a warm tone by using the color Balance dialog, Ctrl-B. We simply adjusted the Midtone Red Level to 15 because we intend to work with colors on an overhead layer. Our color simulates an old time selenium color which was a hard reddish black tone. You may prefer to create your old photo with a sepia tone which is a representative yellowish brown depending on the toning or the desaturation and fading of old age. Artists who retouched studio portraits with oils started with a slightly light selenium toned print which more easily supported application of skin colors.
Your background print needs to allow the colors to show so if you think it's too dark, lighten the photo layer. Adjust the Opacity slider in the Layers dialog lower; this allows the colors to show better. Because this operation can be adjusted when you are done, you can tweak the relationship between the photo and the coloring later.
Instead of working on our original layer, we want the opportunity to do simple erasures to clean up any over-done coloring. Create a new layer by clicking on the New Page icon at the bottom of the Layers dialog. We'll use that blank layer for adding the color. We'll smudge "oil colors" on this new layer. If you want, you could add a new layer for each color you want to use and not screw up other previously finished colors.