Show us yer film shots then!

tKsQ0i.jpg


WOKl3P.jpg


The Var, 1979.

Pentax ES/Ilford HP5
 
PeterSpencer said:
What sort of exposure time are we talking about for the Minster pictures?
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The measured exposure (at ISO400) was generally around 90 - 120 seconds @f161. Adding a reciprocity adjustment resulted in actual exposures in the order of 6-10 minutes.

The first shot was meant to be 15 minutes but I had to go and cut it short at 10 minutes.
 
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I was using 400 ISO Fomapan in a churchyard yesterday, in my RSS 6x17, and the exposure indicated 7 seconds after measuring for an exposure of 1/60 @ f22 and reciprocity failure. The pinhole is about f230. The conditions were very bright, the exposure for 400 ASA being 1/250 @ f16. I expect your shots were taken in less sunny conditions, the reciprocity failure correction soon kicks in.
 
PeterSpencer said:
I was using 400 ISO Fomapan in a churchyard yesterday, in my RSS 6x17, and the exposure indicated 7 seconds after measuring for an exposure of 1/60 @ f22 and reciprocity failure. The pinhole is about f230. The conditions were very bright, the exposure for 400 ASA being 1/250 @ f16. I expect your shots were taken in less sunny conditions, the reciprocity failure correction soon kicks in.
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I took one shot outside in the churchyard in bright sunshine and used a four-stop ND filter to produce a 4-second exposure. Without the ND filter the exposure would have been about 1/4 second which would be too difficult to do accurately
 
A wet print portrait of a local young man.

I actually took an exposure of both him and his mother but for more than one reason , a retake is necessary of her.

Edited to add details:

Intrepid 45
Fomapan 400 @ 400
HC-110 B solution 6 mins 20C

MGIV FB 10x8
Ilford chemistry

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8DA2EBC4-435B-4500-9B27-25FB0435D1CF.jpeg
 
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Testing paper negatives by Kevin Allan, on Flickr

This was shot on Ilford MGIV RC paper, exposed at EI6. The paper was preflashed for 4 seconds, using the enlarger at max height, f22 on the enlarger lens, and a 4-stop neutral density filter held under the lens. Without the ND filter, the required exposure time would have been too short to time with the enlarger timer.
 
Kevin Allan said:
This image has the polished feel of an ad in a glossy magazine.
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Mr Badger said:
I think that's probably the worst insult you could give to Nige's photography! Don't you think he's suffered enough with that broken ankle? ;)

Joking aside, I know what you mean, and I'm sure he won't be offended either. :)
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I see what you mean. I think it might be the warm tones from the Colorplus that give it that feel. Just needs some overlaid text somewhere to sell whatever it might be selling. :)
 
FishyFish said:
I see what you mean. I think it might be the warm tones from the Colorplus that give it that feel. Just needs some overlaid text somewhere to sell whatever it might be selling. :)
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I think it's got something of the look of one of Stephen Shore's Kodachrome USA street scenes - apart from the grain, which makes it abundantly clear it's not Kodachrome. I think it's that 'look' that's done it.
 
Two more LF paper negatives taken today with Jessops VC lustre paper. I was given this paper about 15 years ago and it was probably quite old then. Nice to use some free materials in these inflationary times.


After the fire by Kevin Allan, on Flickr


nobbly trunk by Kevin Allan, on Flickr
 
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Kevin Allan said:
Two more LF paper negatives taken today with Jessops VC lustre paper. I was given this paper about 15 years ago and it was probably quite old then. Nice to use some free materials in these inflationary times.


After the fire by Kevin Allan, on Flickr


nobbly trunk by Kevin Allan, on Flickr
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You've made a fine job of controlling the contrast on these Kevin,and I'm wondering if the older paper might be a better bet for that? I tried paper negs a year or so back, but went with new MG V which was fiercely contrasty. I've got some old paper out in the garage, so maybe I'll try that one of those days.
 
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Mr Badger said:
I think it's got something of the look of one of Stephen Shore's Kodachrome USA street scenes - apart from the grain, which makes it abundantly clear it's not Kodachrome. I think it's that 'look' that's done it.
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Thanks. I like Stephen Shore’s work and have a few of his books, so maybe some of it has rubbed off. :)
 
Peter B said:
You've made a fine job of controlling the contrast on these Kevin,and I'm wondering if the older paper might be a better bet for that? I tried paper negs a year or so back, but went with new MG V which was fiercely contrasty. I've got some old paper out in the garage, so maybe I'll try that one of those days.
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I pre-flashed the paper before loading the film holders, to help reduce contrast and increase paper speed. Old age may also play a part. The shots with Jessops paper actually seemed to have low contrast, before posprocessing. I will try some without ore-flash on the next session
 
Another 'Coach Trip' with East London Travel Company from Brentwood to Dunwich and Southwold -- we had a great Fish'n'Chip Lunch at Dunwich-- HUGE Portions !
i show a couple of B&W of DUNWICH when is famous for being inundated by The Sea in Middle Ages -- legend has it that in bad Weather you can hear the Church Bell ringing under the waves ! I took a load of PROVIA 100F BUT i have not got that film trannies back yet Here is outdated FP4+ in a TRIAL of FX-37 diluted 1+9 and good results!
1978 Hasselblad 500C/M + 80mm f2.8 CT Planar T* RED filter
SUFFOLK Dunwich and Southwold 01.jpg
YELLOW FILTER
SUFFOLK Dunwich and Southwold 02.jpg
 
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