Film photography and darkroom practices

Category: The film process (Page 2 of 3)

Pinhole and Pyrocat HD

Pinhole photography inevitably requires long exposures. So one of the features of many pinhole images is the high contrast caused by the long exposures. I am investigating the use of Pyro developers with their compensating behaviour to reduce the overall contrast, particularly in the skies. I also want to incorporate some edge effects. Pinhole images are usually quite soft and this is not always something that I want. In the images below, the mud flats are better with some edge acutance.

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My first Bromoil experience

Bromoil was made for us neo-pictorialists. The long attention to a single image perhaps stretching to several days; the impressionistic rendering of a scene; the knowledge that what you do is connected to the many pioneers of photography such as Alfonso Louis Poitevan, John Pouncey and G. H. Rawlins to mention only a few; these reasons are sufficient to want to keep this old photographic process alive.

But it’s not easy … Continuing the spirit of this web-site, I share my mistakes.

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From Film to Digital then back to Film

A journey of cameras

I’m not interested in keeping up with camera gear nor am I interested in ‘retail therapy’ but over the years I have acquired several camera systems for one reason or another. Recently I found myself reflecting on the reasons for buying each one. The progression tells a story – one towards increasing simplicity of technology and increasing pictorialism of outcome.

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Grrr! Tide marks using C-41 Process

This site is partly about sharing frustrations in learning film photography. A difficulty I am having at the moment is the appearance of tide-marks on my negatives after processing with Tetenal C-41 kit using a Jobo.

The tide marks are very evident in the photograph below. Shame, as I quite like the picture. I can clean the negative, but of course it’s better to avoid the problem in the first place.

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Adox Silvermax with Rodinal 1:50

A diary note: Some say that you should stick to one film/developer combination for a few years to get to know their intricacies. I’m not in that camp, as I like to play. Most of the time I use Ilford FP4, HP5 or XP2 Super. I’m not too fussy because most of the work in rendering a nice picture is done in the darkroom. What motivates me most when taking a photograph is to position the exposure so that I end up with a range of printing options.

Today I looked at Silvermax with Rodinal diluted at 1:50 at 20C.

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