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01-11-2012, 03:17 PM   #301
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With my recent acquisition of an MX (and today I added an MZ-30), I've ordered some Ilford B&W film. So I'll be watching this thread from now on .

01-12-2012, 02:48 AM   #302
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QuoteOriginally posted by stevebrot Quote
My experience is that it depends on the light. Acros has a fairly high sensitivity to blue light and is a little weak on the red end. On a recent roll, those frames taken in strong, full-spectrum light have great snap and tonality (nice combination). Those taken in the deep shade on the same day are a little dull looking. This is not unusual (duh), but I think it is particularly true for Acros.

A yellow filter as a routine might be a good idea.


Steve
A really good observation Steve - thanks for that!
01-12-2012, 06:02 AM   #303
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Pentax 645 Fuji Acros 100, developed with HC-110; print scanned
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01-12-2012, 06:27 AM   #304
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Shelter von Ineound auf Flickr


Olympus XA
Rollei Retro 100
Rodinal 1+100 stand development 1h
Lith Printed on Adox MCC 20x30 cm
Moersch SE5 1+1+20


01-12-2012, 11:53 AM   #305
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Horse

This is the first BW photo I ever took with my (at that time) brand new Honeywell Pentax Spotmatic Camera. This was taken in the fall, 1970.
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01-12-2012, 02:17 PM - 1 Like   #306
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The former Discoteca Fun Club, Isaccea, Romania.
Pentax LX, K17mm fisheye, Rollei Retro 80S film.



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01-14-2012, 01:55 PM   #307
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QuoteOriginally posted by womble Quote
The former Discoteca Fun Club, Isaccea, Romania.
Pentax LX, K17mm fisheye, Rollei Retro 80S film.

K.
Well chosen subject for a fisheye lens
01-14-2012, 03:04 PM   #308
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An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative.

The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too.

The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems.

Does anybody else have any experience with that they could share?




Selenium Intensification - removes pyro stain on the negative too.



500C/M, 50mm, Green Filter, 400TMY, PMK, Pentax Spotmeter

No Intensification



500C/M, 50mm, 400TMY, PMK, Pentax Spotmeter


What it looks like in color



X100



Last edited by tuco; 01-14-2012 at 04:48 PM.
01-14-2012, 08:52 PM   #309
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QuoteOriginally posted by tuco Quote
An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative.

The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too.

The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems.

Does anybody else have any experience with that they could share?
In Photoshop use of curves combined with the highlight/shadow function provides a lot of control. I agree with you that this largely nullifies differences between films in terms of tonal rendiltion.

When I started doing digital imaging in the ealry 1990s I was in the middle of a 15-year run of using a densitometer and plotting film response curves on a weekly basis, so it didn't take long for me to realize that very interesting things could be done with curves in Photoshop.

A key discovery was the use of S-shaped curves similar to film response curves with a distinct toe, straight line, and shoulder. This allows you to produce well-separated mid tones while retaining shadow and highlight detail. Use of the shadow/highlight function after application of an S curve fine-tunes things.


John
01-15-2012, 12:29 AM   #310
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QuoteOriginally posted by John Poirier Quote
A key discovery was the use of S-shaped curves similar to film response curves with a distinct toe, straight line, and shoulder. This allows you to produce well-separated mid tones while retaining shadow and highlight detail. Use of the shadow/highlight function after application of an S curve fine-tunes things.
Indeed...My standard workflow in Lightroom for RAW dSLR images also includes a modified S-curve with additional steps as needed to adjust shadow detail and provide a little head-room for "scintillation" in the highlights. Scans seem to be less resistant to artifact than RAW from the K10D and are more difficult to work with, but I have found that with proper scanning technique I can work both ends to accomplish the same thing.


Steve
01-15-2012, 03:19 AM   #311
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QuoteOriginally posted by tuco Quote
An experiment in post processing the negative as well as in the image editor. I picked this mostly middle grayish scene to try out intensifying a negative.

The first shot I took a page from the book, The Negative, and tried intensifying the negative using a 1+2 dilution of Kodak's Rapid Selenium Toner for 5 min after developing the film and drying it. It is suppose to help expand tones similar to a N+ 1 process. The second shot is without the intensifying. I often use a green filter on scenes like these too.

The executive summery is it doesn't look much different after post processing to taste in an image editor to me. You can really adjust the curve in an image editor to the point that subtle nuances between films and processes can be largely nullified, it seems.

Does anybody else have any experience with that they could share?




Selenium Intensification - removes pyro stain on the negative too.



500C/M, 50mm, Green Filter, 400TMY, PMK, Pentax Spotmeter

No Intensification



500C/M, 50mm, 400TMY, PMK, Pentax Spotmeter


What it looks like in color



X100
The color one looks bad, the B&w one looks fantastic
01-15-2012, 10:02 AM   #312
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QuoteOriginally posted by Macario Quote
The color one looks bad, the B&w one looks fantastic
...yeah, selenium is sort of hard on color negs

Steve
01-15-2012, 10:50 AM - 1 Like   #313
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i've posted this on another thread, but i loved them, so here are my B&W shots


SuperA / Kiron 28/2 @16 or 11. / Tmax 100 6yrs expired, dev. in Kodak Xtol process.


SuperA / DAL 18-55 AL @f8 or 11 / Tmax 100 6yrs expired, dev. in Kodak Xtol process.
01-18-2012, 06:23 PM - 1 Like   #314
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Top of an old printing press.
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01-19-2012, 04:13 AM   #315
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QuoteOriginally posted by Kaufeetime Quote
Top of an old printing press.
outstanding shot!
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