View allAll Photos Tagged warmtones
*I found a few more photos from the evening I was sprinting down Veterans Bridge ; ) I cropped this one to give the illusion of a panorama - hope you like it!
Hello everyone,
It's an odd caption, but here's why. Even though I took this image on a hot summer day, the combo of yellow and purple reminds me of fall. And here we are, it's almost fall.
Edited with effects in Topaz Studio for Sliders Sunday. HSS!
Thank you so much for taking the time to look and for leaving me a comment, I do love hearing from you!
Have a bright and beautiful day!
©Copyright - Nancy Clark - All Rights Reserved
Original Japanese Oriental Warmtone,
SE5 Lith 6 minutes, followed by Lith G 3 minutes.
Developer settings:
SE5 Lith A+B+D+water 50+50+40+900ml
Lith G: 800ml water + 10 Lith G + 20ml Ammonium chloride 20% + 2ml Lith D + 10ml Lith B
Fomatone 132, Lithprint (Kontakt von einem Kallitypie Drucknegativ) mit speziell für Fomatone Papier abgestimmten Easy Lith FT.
sroll down for English
Fomatone und Foma Retrobrom sind die einzigen Papiere aus aktueller Fertigung mit denen farbig gelithet werden kann. Auch das unter dem Oriental Label vertriebene Warmtone ist schon seit Jahren eine Fomatone Emulsion.
In den letzten Jahren traten beim Lithen von Fomatonepapieren Fehler auf. Die Ursache ist laut Foma eine andere Gelatinequalität ab der Chargen-Nr. 0777. Bei Entwicklungszeiten über 6 Minuten können sowohl größere kreisförmige Flecken (Snowball-Effekt), als auch an Marmoroberfächen erinnernde Strukturen auftauchen.
Für den SE5 Lith-Entwickler habe ich schon mehrfach auf die Möglichkeiten der Vermeidung dieser Fehler hingewiesen. Für den fertig abgestimmten Easy Lith besteht natürlich auch die Möglichkeit, durch Zugabe von Lith D und einen veränderten Workflow, dieses Übel zu verhindern. Für Anwender, die ausschließlich mit Fomatone oder Retrobrom Papieren lithen möchten, kann ich eine Variante des Easy A Konzentrates anbieten, bei welcher die beötigte Menge von Entwicklungsverzögerern schon enthalten ist.
Es mag auf den ersten Blick nicht einleuchtend erscheinen, einerseits kurze Entwicklungszeiten als Problemlösung vorzuschlagen, andererseits eine höhere Dosierung bremsender Substanzen zu verwenden. Zum Verständnis sei nochmals auf den Zusammenhang von hoher Lichtmenge für farbige Resultate und die daraus resultierende Notwendigkeit einer hohen Verdünnung des Entwicklers hingewiesen, um damit bei Zeiten zwischen 8 bis 12 Minuten sowohl farbige Lichter und tiefe Lithschatten zu erreichen. Bis vor einigen Jahren hat der Prozeß so funktioniert. Um die oben genannten Fehler zu vermeiden, sollte die Entwicklung mit den aktuellen Fomatone Chargen jedoch nach etwa 6 Minuten abgeschlossen sein. Sind also farbige Ergebnisse (wie früher) angestrebt, benötigt das Papier eine starke Überbelichtung. Der Entwickler darf aber nicht stark verdünnt werden um eine zu schnelle Entwicklung zu vermeiden. Bei der vorgeschlagenen Mischung von 50ml A + 50ml B auf ca. 900ml Wasser, müßte der Entwicklungsvorgang nach 2-3 Minuten abgebrochen werden, ein echter Litheffekt kann so nicht entstehen. Wenn derart fetten Entwicklern jodoch einen Verzögerer zugesetzt wird, landet man bei gegebener Lichtmenge (für hohe Farbigkeit) bei Entwicklungszeiten zwischen 5 und 6 Minuten. Wird mit einem zweiten Bad gearbeitet, sei es eine reine Alkalilösung, oder ein anderer Entwickler, entstehen keine Fehler, auch wenn die Gesamtentwicklungszeit dann bei 8 Minuten oder länger liegen kann.
Bei den speziell für Fomatone abgestimmten Konzentraten, kann die Arbeitslösung mit etwas weniger B angesetzt werden, wenn ein zweites Bad mit Alkalilösung erforderlich sein sollte. Beispielsweise kann dann mit 5 ml B das zweite Bad mit ca. 500 ml Wasser angesetzt werden.
ENGLISH
Fomatone and Foma Retrobrom are the only papers currently in production that can be used for colourful lith prints. Oriental Warmtone is also a Fomatone emulsion since some years.
In recent years, errors have occurred in the lithing of Foma papers. According to Foma, the cause is a different gelatine quality from batch no. 0777 onwards. With development times of more than 6 minutes, both larger circular spots (snowball effect) and structures reminiscent of marble surfaces can appear.
For the SE5 Lith developer I have already pointed out several times how to avoid these defects. For the ready-tuned Easy Lith there is of course also the possibility to prevent this evil by adding Lith D and a modified workflow. For users who want to lith exclusively with Fomatone or Retrobrom papers, I can offer a variant of the Easy A concentrate, which already contains the necessary amount of development retarders.
At first glance, it may not seem plausible to suggest short development times as a solution to the problem on the one hand and to use a higher dosage of retarding substances on the other. For the sake of understanding, Ie would like to point out the relationship between a high amount of light for coloured results and the resulting necessity of a high dilution of the developer in order to achieve both coloured highlights and deep lith shadows at times between 8 and 12 minutes. Until a few years ago, this is how the process worked. However, to avoid the faults mentioned above, development with the current batches of Fomatone should be completed after about 6 minutes. So if coloured results (as in the past) are desired, the paper needs a strong overexposure. However, the developer must not be heavily diluted to avoid too fast development. With the suggested mixture of 50ml A + 50ml B on approx. 900ml water, the development process would have to be interrupted after 2-3 minutes, a real lith effect cannot be created in this way. If, however, a retarder is added to such fat developers, you will end up with development times of between 5 and 6 minutes for a given amount of light (for high colourfulness). If a second bath is used, be it a pure alkaline solution or another developer, no defects occur, even if the total development time can then be 8 minutes or more.
With the concentrates specially adapted for Fomatone, the working solution can be prepared with slightly less B if a second bath with alkaline solution should be necessary. For example, 5 ml B can be used to prepare the second bath with approx. 500 ml water.
[This is one that needs to be enlarged. If you're looking on your phone sorry.]
Of all the zoo animals few are as popular around the world as the Meerkat (Suricata suricatta). It is actually a mongoose from southern Africa, and it has one of the most highly developed communities among small mammals. Every member has a role to play, and one of the most important is that of the sentry. Its job is to look out for potential danger and warn the community who can then flee to their burrows.
Looking back at this older photo now, I am amazed at the clarity and colour in that original jpeg taken with the Panasonic DMC-FS7. As with all these small sized files, they have not been cropped, but framed in camera.
Hello Everyone!
During a walk, the warm tones of this lily captured my eye. I don't know the official name of the colour; some might say salmon, others coral. I'd be interested to know what you think! For Wannabe Warmer Wednesday, devoted to encouraging the warmth of our spirits that might be flagging (and to warm you up if you live in a cold climate)! Happy WWW!
Thanks a million for stopping by and leaving a comment. I really do love hearing from you! Have a delightful day!
©Copyright - Nancy Clark - All Rights Reserved
Lichtung
am Rohrspitz, Vorarlberg
2022
Olympus XA, Cinestill BwXX, Kodak D-76 (1+1)
Print auf Oriental Warmtone VC (Cybergraphics)
Moersch ECO 4812
Selentonung MT1
Reflection break
Digital image from original print 24x30 cm (1998)
Canon EOS 1
Print auf Ilford MG Warmtone
Selentonung
auf dem Kapuzinerberg, Blick nach Norden
high above Salzburg
on the Kapuzinerberg, view to the north
Mamiya 7II, 4/80 mm, Kodak TMY 400/Tanol
Print auf Oriental Warmtone mit Moersch SE4 neutral
Selentonung MT1, 1+9, 1 min
Passo Gardena
Südtirol/Italien
"Kellerfund" - zuletzt habe ich einige alte Prints gefunden, leider wenig oder gar nicht beschriftet.
"Cellar find" - last I found some old prints, sadly they were poorly lettered or not lettered at all.
Mamiya 7II, unknown baryta paper, probably Ilford MG Warmtone.
A warm lit tunnel near home on the way to Lawson . Open and lit all day , it's an easy path to walk through specially at night .
Silhouette of a photographer at Sculpture by the Sea, Bondi.
Just a fun shot for a rainy Sunday in Sydney.
Have a fun day!
Copyright - All Rights Reserved.
Do not copy, reproduce, download or use in any way without permission
... because Daddy had re-covered our bed the evening before. And Timmy hates fresh bed linen :-)
Happy Caturday 24.9.2022 "Warm tones"
The Macro Monday day theme for 3/14 is “pie”, for mathematically obvious reasons, and this will probably be my posting. These scrabble tiles are 1/2 inch so this square composition is about 2 and 3/4ths or just under 3 inches. Will post the size verification in the first comment box in a little while.
…….💙💛HMM💛💙.
Mittagsruhe in Norcia
Lunchtime rest in Norcia
Umbrien, Italien
Digital image from original print 25x60 cm (2004)
Noblex Pro 6/150 UX
Ilford Delta 400
Print auf Oriental Warmtone
Selentonung
In the drop-forge / old blacksmith shop Hendrichs, Solingen, Germany, there were garage rooms to rent in former times for various handcrafters. Here are the (maybe copper?) fittings of the common "Waschkaue" (washing room). Its part of a museum today.
Alte Armaturen der Waschkaue der Gesenkschmiede Hendrichs in Solingen. In früheren Zeiten konnte man bei Hendrichs diverse Werkstatträume mieten, insbesondere für metallverarbeitende Handwerker. Hier zu sehen sind die Armaturen des gemeinsamen Waschraums. Heute ist dieser Raum Teil des Museums.
There is a long tradition of photographers reaching toward the language of painting — not out of inadequacy, but out of curiosity. Photography captures what is; painting interprets what might be. Somewhere between those two impulses lies a fertile middle ground where images can become more than their origins. This piece lives in that middle ground. The painterly manipulation is not a trick or a shortcut; it is a deliberate choice to explore what happens when a photograph is allowed to dream a little. The textures soften, the colors blend, the background becomes a suggestion rather than a statement. The image begins to feel less like a record and more like a memory. And memory, after all, is rarely sharp. It is atmospheric. It is selective. It is shaped by emotion as much as by fact. By leaning into this painterly aesthetic, the image becomes a meditation on perception itself. What do we remember about a moment? The exact details, or the feeling it left behind? The cardinal becomes a vessel for that question.
(Artist’s statement developed in collaboration with Microsoft Copilot. )