View allAll Photos Tagged warmtones
Originally intended to appease the Athenians that were spreading their influence, the Elymians never completed this temple, once relations with the Athenians improved.
Taken with my Anba Ikeda 4x5 with the f7.7/203 Ektar lens.
used auld fliters ensign grad blue + warmtone u.v. edit in LRcc basic this is a black and white jpeg I copyed the colour and past onto the black and white to get this nice toned effect
A view from Borgarnes in Iceland.
Taken on FP4+ and developed in Pyrocat HD. Printed on MGWT and developed in Ilford WT.
Mamiya RZ67II, 180mm Lens, Fuji Acros in Rodinal
Paper: Kentmere FP Warmtone Fiber, Fotospeed Lith LD20
Digital Photograph of Print
Tower Folding by Sears, Roebuck & Co.
Tower Lens
1/50, B
120
2 1/4 x 3 1/4
Acros 100
D-76 1:2 12.5 Min. 68 F.
Scanned from print developed in Legacy Pro Liquid Paper Developer 1:14
Ilford MG RC Warmtone
SEE THE CAMERA AT THE LINK BELOW:
www.flickr.com/photos/vikingphotos/15460555687/in/album-7...
changing from Donovan to Caravan
Holga 120N
Delta 400 in efd (N+2)
Kentmere Fineprint VC Warmtone
SE15 Polychrome (two tray Lith & Siena developer)
MT4 Siena (poysulfide toner) 1+50 20 secs
MT10 Gold toner 3 mins
Holga 120N, Plus-x @250ASA in efd
warmtone development
Overexposure and highly diluted developer causes warm tones.
Best suitable papers for this treatment are chloride- or chlorobromide emulsions without incorporated accelerators (phenidones) as some Foma or Forte papers, or this new one.
Of course the formulation of the developer is important, but some well known (old recipes) warmtone developers doesn´t match as expected with modern papers.
Best choice are hydroquinon or catechol, or glycine developers with low content of accelerators ("superadditive substances" - e.g. Metol , Phenidone), less sulfite and much bromide. Anyway the use of a common developer is possible when it is highly diluted, but with higher dilution the shades are muddy. Two tray development with lith developer solves this problem.
Erlkönig (#23)
1st developer lith (SE5 1+10) 5-6 minutes, followed by SE2 Warm 1+80 2 minutes
used auld fliters ensign grad blue + warmtone u.v. edit in LRcc basic this is a black and white jpeg I copyed the colour and past onto the black and white to get this nice toned effect
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the light shifted, warming his face, and his eyes looked out with a quiet resolve. here, the artist is a man—human, reflective, steady. the colors around him muted, drawing you to the tones of his skin, the ink of his craft, and the calm in his gaze. kratos tattoo palma holds this moment like a still heartbeat.
Mamiya 7ii, Mamiya 43mm f/4.5L, Orange filter, Shanghai GP3. XTOL 1:1 - negative printed on FB Warmtome paper and Selenium toned - this is all detail for my geeksome pleasure and you may forget it entirely.
Firstly, the darkroom is going very well. It is an immensely peaceful activity, very difficult and very time consuming. I revel in it. Please find a scan of a print which doesn't do justice to what is probably a middling sort of print. I am still coming to terms with photographs being physical objects. I've just made the step up to fibre based paper. The photograph becomes a weighty thing.
The tone seems impossible to get right with a scan though.
Secondly, oh dear, what were Yahoo thinking. You think they might have asked a few people. I ask you - how are you supposed to present your sets to people. They aren't going to go looking are they? And the black/white thing is quite visually jarring - the lightbox was fine before when you wanted to do that sort of thing. Tsk. I will be paying 50 bucks a year to get stats? Faaack. Anyway, I won't be going anywhere else but with my beloved Google Reader kicked into touch, it is difficult not to feel like the star's tennis balls innit.
An empty building coverd (I mean COVERED) with vines over most of its exterior. Shot in digital infrared and warm-toned.
Hasselblad 500cm 80er Planar Efke IR 820 Xtol ; Adox Fineprint Variotone in Moersch Warmtone Selentoner
Ach das Kippt nicht, das wächst so...und zwar in Lipova an der Mures in Rümänien
A hand cradles a richly hued maple leaf as sunlight flares through its intricate veins, casting dynamic shadows against a textured pavement backdrop.
Film Neopan 400 in Tanol
Paper: Ilford Warmtone FB
Lith developing SE5
Goldtoning for 2 min.
See this one - such a nice pair: www.flickr.com/photos/gelelie/6892067015/in/photostream/
Wasdale Head, Cumbria. .
Photograph made with Bronica ETRSi + 40mm lens using Ilford FP4+. Film developed in Rodinal (1+1+100) for 60 minutes @20c (stand development). Warmtone added in Lightroom.
A recent darkroom print of Sandycove Dublin, negative is from the Holga tripod mounted with a long exposure last November. The print was made on Ilford Multigrade Warmtone Fibre with Ilford Warmtone developer a combination I'm going to stick with, I really like this mix it also works well with the new Ilford Art 300. For Holga negatives I generally print with a combination of Grade 4 and 2.
EOS3 + EF24-70 | Kodak TX400 in XTOL | Ilford Multigrade Warmtone in Moersch ECO.
Scan vom print auf Epson11000XL bei www.meinfilmlab.de
Rollei 400 infrared film. Hoya R72 filter. Taken on a vintage 1956, Zeiss Ikon Super Ikonta IV camera. Darkroom print 8"x10", Ilford warm tone paper.
too long, too hot, too little contact with plant and paper surface
the emulsion melted and stuck on the glass and no amount of soaking got it off. so it tore.
this is after fixing.
Ilford MG RC warmtone paper. Shells from my collection which I started since I was a little girl. Exposed under the Philippine sun last 2013 vacation. :0