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02-22-2012, 09:30 AM   #6721
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QuoteOriginally posted by womble Quote
Victoria Monument, London. FED2, Industar 26m lens, Kodak BW400CN film. (This is a different version to the one posted on the BW film image thread).



K.
Very nice! You do have a good copy of the I-26!


Steve

02-23-2012, 04:28 PM   #6722
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Another test image, this is a classic Platinum/Palladium combination. I'm not a fan of this particular paper, it is just as heavy as the other paper I tried but it doesn't absorb the emulsion well enough. Also it has way too much surface texture for my taste. This image is an enlargement from a 67 negative, I'm wary of enlarging rollfilm negatives with my Ultraviolet enlarger due to the relative thinness of the polyester film base, most polymers are attacked by UV-A light* and can discolour and deteriorate rapidly under prolonged exposure to it. Fortunately this image is from a roll of 120 film which tend to have a thicker base than 220 films do.


Pentax 67II with a Pentax M* 67 300mm f/4 ED [IF]+ 56mm extension tube - 1/60th @ f/8 ISO 100 - Kodak T-Max 100- paper exposure - 3m 22s


* The Platinum Emulsion I use is exclusively sensitive to UV Light, it makes it easier to apply the emulsion under tungsten light because you can actually see what you are doing. The only drawback is that the concentrated UV-A light my 8X10 enlarger produces is a bit dangerous. Exposure time are typically around 5~10 mins depending on the negative, and whether i'm producing a contact print or an enlargement - and the film format is also a factor, with smaller formats the enlarging head can be closer to the paper - so the exposure times tend to be shorter.

Last edited by Digitalis; 02-27-2012 at 02:51 AM.
02-23-2012, 06:57 PM   #6723
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QuoteOriginally posted by Mr. B Quote
Mr. B, your bridge is wonderful!

QuoteOriginally posted by John Poirier Quote
@Mr. b- I really like your bridge shot.

As there has been a discussion about scanning snow scenes on another thread, thought I'd post this one. This is an old scan from the mid-90s. The original neg is buried for the moment, but it was probably 200 ISO of some sort. Most likely shot with a Super Program, probably with an off-brand 18-28 I had for a while.
Someday, I hope to have an image that could compare to yours. Beautiful!

QuoteOriginally posted by fearview Quote
thanks .. heres another

-------------

Pentax LX + smc Pentax-M 1:4/20 + Kodak Elitechrome 100
--

.
Fantastic contrast! Love the beach scenes!

QuoteOriginally posted by Nesster Quote
I have three Pentaxes at Eric's so I'm getting excited... Meanwhile, I'm stuck using these old vintage cameras... a 1938 Zeiss Ikon Super Ikonta 6x6 in this case... I'd cleaned out some fungus from the lens but didn't quite manage to get the bits lined up, so the focus is closer than what the rangefinder shows. Here's a couple of samples... Fujicolor Reala 100.
I'm really liking your cupcake shot.

QuoteOriginally posted by octavmandru Quote
Here is my contribution.
The following are taken in Gijon, Spain in the beginning of this year. Rainy weather has some good and some bad sides to it. ...
Love them all, but I like the first shot the best - the elderly woman walking down the empty street. The colors atract me.

QuoteOriginally posted by womble Quote
Victoria Monument, London. FED2, Industar 26m lens, Kodak BW400CN film. (This is a different version to the one posted on the BW film image thread).
K.
This is striking. The top of the status just jumps out at me.

And finally, @Digitalis, I'll be honest, I have no clue about how you do what you do, but it is impressive. Tip of the hat to you.
02-23-2012, 07:05 PM   #6724
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These are the results of being stuck near home for too long...

Where's the boat? K2, K24/2.8, Fujicolor 200


Log Man, K1000, m35/2.8, FujiColor 200


Thick Skinned, K2, K24/2.8, FujiColor 200


02-24-2012, 12:53 AM   #6725
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QuoteOriginally posted by womble Quote
Victoria Monument,
Nicely caught light. The bicycle rider adds value.

QuoteOriginally posted by John Poirier Quote
This is an old scan from the mid-90s.
Love it. you used an ND most likely, isn't it? How did you set the exposure?

QuoteOriginally posted by fearview Quote
thanks .. heres another
Pentax LX + smc Pentax-M 1:4/20 + Kodak Elitechrome 100
Striking blues, fear. Didn't realize Elitechrome pumps it up so much.

QuoteOriginally posted by Nesster Quote
I have three Pentaxes at Eric's so I'm getting excited... Meanwhile, I'm stuck using these old vintage cameras... a 1938 Zeiss Ikon Super Ikonta 6x6 in this case... I'd cleaned out some fungus from the lens but didn't quite manage to get the bits lined up, so the focus is closer than what the rangefinder shows. Here's a couple of samples... Fujicolor Reala 100.
Nesster, you are the head tinkerer here. The feel must be absolutely special with those old photographic machines

QuoteOriginally posted by Digitalis Quote
Another test image, this is a classic Platinum/Palladium combination.

Pentax 67II with a Pentax M* 67 300mm f/4 ED [IF]+ 56mm extension tube - 1/60th @ f/8 ISO 100 - Kodak T-Max 100 paper exposure - 3m 22s
A nice vintage feel.
As I understand, photography is what you do for a living. Am I right?

QuoteOriginally posted by hollywoodfred Quote
These are the results of being stuck near home for too long...
How do you like the Fuji? In my area it became extinct for a while. Only Kodak Gold 200, and used to hate it. For a while I avoided buying it (this is how I ended up buying the Ultramax 400 for an astronomical price), but I think they upgraded the formula or it was a really badly stored stock, because I started to like it recently. Either that, or my standards changed.
Now I am able to find again the Fuji C200. I bought the last 3 rolls from my go-to salesman, and asked for more.
02-24-2012, 01:29 AM   #6726
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QuoteOriginally posted by Digitalis Quote
Another test image, this is a classic Platinum/Palladium combination. I'm not a fan of this particular paper, it is just as heavy as the other paper I tried but it doesn't absorb the emulsion well enough. Also it has way too much surface texture for my taste. This image is an enlargement from a 67 negative, I'm wary of enlarging rollfilm negatives with my Ultraviolet enlarger due to the relative thinness of the polyester film base, most polymers are attacked by UV-A light* and can discolour and deteriorate rapidly under prolonged exposure to it. Fortunately this image is from a roll of 120 film which tend to have a thicker base than 220 films do.


Pentax 67II with a Pentax M* 67 300mm f/4 ED [IF]+ 56mm extension tube - 1/60th @ f/8 ISO 100 - Kodak T-Max 100 paper exposure - 3m 22s


* The Platinum Emulsion I use is exclusively sensitive to UV Light, it makes it easier to apply the emulsion under tungsten light because you can actually see what you are doing. The only drawback is that the concentrated UV-A light my 8X10 enlarger produces is a bit dangerous. Exposure time are typically around 5~10 mins depending on the negative, and whether i'm producing a contact print or an enlargement - and the film format is also a factor, with smaller formats the enlarging head can be closer to the paper - so the exposure times tend to be shorter.
I guess it depends on the size of the prints you are making but I'd scan the neg, print it onto a clear sheet and then make the final print as a contact sheet. I was reading about someone who makes palladium prints very recently and that is the method he uses. It would cut out the risk of damaging your negs. I have been tempted to have a go at making palladium prints and I'd have to use this method as I do not have an enlarger.

Just a suggestion!

K.
02-24-2012, 01:37 AM   #6727
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QuoteOriginally posted by hollywoodfred Quote
finally, @Digitalis, I'll be honest, I have no clue about how you do what you do, but it is impressive. Tip of the hat to you.
thank you. What I am showing here are a few test images as I get my platinum printing projects done. I am the only person on this site who is currently working with platinum printing methods. At the moment i'm almost ready to get things started for an exhibition this year.

QuoteOriginally posted by octavmandru Quote
A nice vintage feel. As I understand, photography is what you do for a living. Am I right?
thanks, I learnt platinum printing from my grandfather, who has his own method. I sell platinum prints to galleries and collectors for several thousand dollars apiece - the reason the cost is so high is because of the expense of the materials and the degree of mastery it requires from the practitioner of the technique. But the prints will last forever - providing they are stored and displayed correctly.

QuoteOriginally posted by womble Quote
I guess it depends on the size of the prints you are making but I'd scan the neg, print it onto a clear sheet and then make the final print as a contact sheet. I was reading about someone who makes palladium prints very recently and that is the method he uses. It would cut out the risk of damaging your negs. I have been tempted to have a go at making palladium prints and I'd have to use this method as I do not have an enlarger.
I have come across this method, and personally I find that an original B&W negative contains significantly more tonal information than any inkjet printer can convey on transparent film. What I usually do is limit the print runs from particular negatives, because if I print too many copies the negative is literally going to disintegrate from all the exposure to UV light - and that is the only situation where I do limited print runs.

Last edited by Digitalis; 02-24-2012 at 02:01 AM.
02-24-2012, 01:39 AM   #6728
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QuoteOriginally posted by Digitalis Quote
thank you. What I am showing here are a few test images as I get my platinum printing projects done. I am the only person on this site who is currently working with platinum printing methods. At the moment i'm almost ready to get things started for an exhibition this year.



thanks, I learnt platinum printing from my grandfather, who has his own method. I sell platinum prints to galleries and collectors for several thousand dollars apiece - the reason the cost is so high is because of the expense of the materials and the degree of mastery it requires from the practitioner of the technique. But the prints will last forever - providing they are stored and displayed correctly.
Oops. I appear to be teaching grandmother to suck eggs... ignore me.

I must admit that the palatinum prints I have seen in galleries are often stunning. It is clearly a super method if, as you say, extremely expensive.

K.

02-24-2012, 04:43 AM   #6729
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QuoteOriginally posted by octavmandru Quote
...
How do you like the Fuji? In my area it became extinct for a while. Only Kodak Gold 200, and used to hate it. For a while I avoided buying it (this is how I ended up buying the Ultramax 400 for an astronomical price), but I think they upgraded the formula or it was a really badly stored stock, because I started to like it recently. Either that, or my standards changed.
Now I am able to find again the Fuji C200. I bought the last 3 rolls from my go-to salesman, and asked for more.
Only within the past year have I returned to photography, after a long absense and just a brief introduction. I haven't used another film brand recently, so I don't really have a basis for comparison. Locally, I haven't seen any Kodak on the store shelves. But Fuji 200, 400, and 800 speeds are available at the local Wal-Mart, and I've been testing the cameras and developing my skills with those.

When I get the exposure and focus correct, I'm satisfied with the colors produced by each of those film speeds. To my eye, there isn't a noticeable difference between the 200 and 400. And when the subject is right, I like the grain in the 800. I also have some Velvia 50 and Ektar 100 I'm hoping to use in the not-to-distant future. I'm curious if I will be able to notice a difference in the results.

In the past I always preferred shooting with the fastest film I could find, 100 then. But there's not always enough light for that, and the 200 doesn't help much in this regard. I've been leaning to the 400 as my usual speed, and I'll use 100 or 800 as my mood and the light dictate.
02-25-2012, 02:21 AM   #6730
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Pentax LX + smc Pentax-M 1:4/20 + Kodak Elitechrome 100

--


@octavmandru

a bit too blue. result from combination of dont know how to use a scanner and bad pc monitor.

.

Last edited by fearview; 02-25-2012 at 02:34 AM.
02-25-2012, 08:40 AM   #6731
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QuoteOriginally posted by fearview Quote

Pentax LX + smc Pentax-M 1:4/20 + Kodak Elitechrome 100

--

.
Very nice colours!

Phil.
02-25-2012, 11:34 AM   #6732
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QuoteOriginally posted by fearview Quote

Pentax LX + smc Pentax-M 1:4/20 + Kodak Elitechrome 100

--


@octavmandru

a bit too blue. result from combination of dont know how to use a scanner and bad pc monitor.

.
...too small hood?

Love the colors and the jewel nature of the water.


Steve
02-25-2012, 12:41 PM   #6733
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Fearview, i envy the boat on the picture

***

One of my last roll

Pentax MZ-5n + Pentax DA(L) 35/2.4 @f11 or 16 + Fuji Superia 200. Scanned Canoscan 9000F, no change done.
02-25-2012, 02:03 PM   #6734
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That has on other worldly quality to it. Very cool =o]
02-25-2012, 08:56 PM - 1 Like   #6735
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with all the fun I have been having with my platinum printing I thought I would also do a Cyanotype:


Cygnet - Pentax 645NII with FA 400mm f/5.6ED - Kodak T-Max 400 - Cyanotype toned in black coffee for a few minutes
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