21. november 2011

Foggy walking Sunday......with unexpected IR ^^

Finally got the chance to take a trip, to try out a new 120 film on Sunday.
I've been dying to try it out, but weather and time hasn't been on my side, the sun also sets very early this time of year, so if you're not out at noon, you may as well just forget about it.

Here are some photos, taken with Rollei retro 80s, a vintage looking b&w film with some unique properties: It's sensitivity extends into the near infrared spectrum (up to 750nm), meaning you can use if for infrared photography when you use opaque filters like Hoya R72 and others.

Some even report IR-effects with yellow and red filters, but "pure" woods effect is usually only possible with opaque filters.

Very little grain, good resolution and excellent tonality in this film, cannot wait to try it out for people as well.

Anyway, weather is weather, cannot do much about the fog, so one may as well work with it, instead of trying to wait it out. =)

- So I decided to take a trip to Lillestrøm (more specific to Nitelva) to make some moody fog-shots. :)

All photos are taken with the Mamiya RZ67 pro II, then developed in Tetenal Ultrafin 1+20 for 11 minutes @ 20 degrees, 5 minute pre-soak.

I think the photos came out alright, very tranquil mood. The Sunday walk was a relaxing bonus anyway, nothing like getting out in fresh air, instead of being a lazy, weekend, couch-potato. ^^

Resting place
Tiny island
Swan-lake :P
The bend
River shoreline
River shoreline 20 second infrared shot (Hoya R72)

The wet-prints have another character, but I cannot post any scans from those yet, as they are still drying.
The toning in the above photos, simulate gold-toning (which I have done with my actual prints), contrary to what one may believe, gold toning gives b&w prints a cold blue hue and is used for archival, as well as artistic purposes. See: Wikipedia on print toning

Funny that the last shot showed any IR-effect at all, because it was pretty late in the afternoon, it's late autumn/beginning of winter and the fog was thick as heck.

Just goes to show; it pays to experiment a little. ^^

7. november 2011

Caffenol silverprint


Just got an enlarger (for photo, not that other thing :P).

So, now I can make my own prints, finally the last 50% of real photography can start.

I was out shooting in Frognerparken here in Oslo on Saturday, foggy and rainy, but made for an interesting session with my Mamiya.

Looked like people were amazed that there are photographers still using cameras bigger than their Ixus, because people gave me looooooooooong looks as I hovered above the massive Mamiya on the tripod, checking focus, reading the distance scale and measuring light with my light meter.

Yes, that's someone photographing, now move along :)

Anyway, I got a little hint on Apug that you can not only use caffenol to develop film, you can also use it to develop the paper as well (in the darkroom.......for those too young to remember that a lot of photographers used to do their own b&w film and print-processing at home ^^)

The print took "forever" to form, about 10 minutes or so....normally it takes 1-2 minutes in conventional developers.

Check it out (click the photo for bigger version):

Caffenol silverprint (Paper is "Work by Tetenal grade 3", developer is Caffenol-c-h)
This is a straight scan from my print, the print is about A4, the toning is from the coffee, cool huh?
On first glance, it looks kind of foggy, but it was a foggy day, so.....I may try it in another caffenol configuration to see if it gets a little more clear, although I doubt it due to the nature of the light and the natural haze in the scene.

It took a little too long to form in the tray (paper almost fell apart), so next time I'll probably use straight Caffenol-c-l or Caffenol-c-m anyway, no Potassiom bromide in the mix, to see if it develops faster.

If you're really hardcore, I suppose you can soup a film in Caffenol, pour the developer back into a bottle and use the same soup to develop a print from your coffee developed film later

(I'm not doing that yet, because I am currently testing out 1-2 developers for films that I have to get to know their quirks a little)

Too many variables will make the path of consistency difficult :)

Damn this is so much fun! =D

4. november 2011

Another medium format pick-up

A little update on my medium format adventure.

This time, I've gotten hold of a Mamiya RZ67 pro II.
I got it for a very nice price as well, with two lenses, one 50mm and one 110mm. (in 35mm terms, this is comparable to a 24mm lens and a 55mm lens)

Compared to the Hasselblad 503CW, the Mamiya RZ67 is one massive bugger and I loooooove it =D
The Mamiya shoots in 6*7 format, so the negatives are a little bigger than the Hassy negs. Still, it's almost square, the huge mirror and view-finder are something to behold as well.

Because the negs are bigger than the Hasselblad, you only get 10 frames per film, compared to 12 with the Hasselblad.

Check this photo as a reference on how bulky and big that camera is (external link):

I also got a nice carrying bag with the camera, a small Seconic l-208 incident/reflected light meter and a remote shutter release, oh an also some film! (Tri-x 320 and Velvia 50), basically all I needed to just go out and shoot, which I did. =D (after spending two days browsing the user manual and checking out youtube)

First trip, I loaded the camera with some (verified to be good) film: Fuji Acros 100 ISO, which I later developed in Rodinal 1:50.
I got to test both lenses with this film and I am very impressed with the image quality.

Here are some samples from my trip, it was mostly for shooting up a roll, test the camera and meter the light correctly and off course, to check the results. Aesthetics was somewhat downplayed, sorry for boring subjects. ^^

Restored old farm, tourist spot mainly, Fuji Acros 100 in Rodinal 1:50, Mamiya 110mm lens
Field, Fuji Acros 100 in Rodinal 1:50, Mamiya 50mm, 3-stop ND-grad, 2-stop polarizer
Hooorzzzie, Fuji Acros 100 in Rodinal 1:50, Mamiya 110mm lens

The second outing was last Sunday, I drove like crazy to reach the islands of Hvaler before the sun went down.

The camera was loaded with Kodak Tri-X 320 the former day, so once I reached the island area, I fired off 10 frames of that first (I wanted to develop and check that particular film, as I've heard so much about it from the older guys).

After that, I loaded the camera with one of the (expired) Velvia 50 rolls I got with the camera.

Metering was difficult, because I was short on time and I also used a combination of a 2-stop polarizer and 3 stops of grad-filters. Moving from ISO 320 down to ISO 50, while trying to calculate everything in your head AND having the wind blowing and sun disappearing, made for some funny math out there I can tell you :P

I kind of knew that the Velvias would be underexposed, because I almost guestimated the exposure-time, but I forgot to take Reciprocity failure factor into account, which, for Velvia means that when you are looking at measured exposure around 15 seconds, you almost need to double that to get the correct exposure for the film.

A table showing measured vs correct values can be seen here:

Ah....well, I'll get it right the next time around, cheesy sunsets happens every single day, luckily :)

First a Tri-X 320 shot with the 50mm lens:

Sea-scape, Kodak Tri-x in Tetenal Ultrafin 1:20 for 4 minutes, Mamiya 50mm lens, 3 stop ND-grad, 2 stop Polarizer
After changing film in the film back, I fired of a shot with the camera in just about the same position, too bad it was under-exposed though and the grad-filters were too low, I think it was like a 5 second exposure :)
Sea-scape II, Fuji Velvia 50 ASA, Mamiya 50mm lens, 3 stop ND-grad, 2 stop Polarizer
This last shot came out the way I wanted it to, I like the coolish magenta cast.
Sea-scape III, Fuji Velvia 50 ASA, Mamiya 50mm lens, 3 stop ND-grad, 2 stop Polarizer, 25 second exposure

All in all, I really like the Mamiya camera, this will definately be my landscape mainstay, while the Hasselblad will serve more for model-photography, a little landscape and this and that.
- Both cameras will see action in the studio and I am looking forward trying them out in that context.

Funny thing about the RZ67 is that, to get mirror lockup with bulb exposure, you need TWO remote triggers, one to flip up the massive mirror and another to fire the shutter on the lens, looks kinda funny.

Oh, the Velvia shots are developed at Labdoka in Oslo, I urge anyone with the need to develop 120 film to visit this guy, prices are reasonable and delivery is fast.
He sells films, developers, fixers and stuff too and he is also a nice and helpful guy, so you can ask and get tips and pointers for films and equipment etc, reccomended. =)

Time to finish work soon, so I can play some more with my new toys this weekend \o/