| Форум фотографов. https://forum.znyata.com/ |
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Бочки для проявки пленкиhttps://forum.znyata.com/viewtopic.php?f=22&t=2685 |
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| SergL [ 07 ноя, 07 17:08 ] | |
двухэтажный найти пожалуй нереально, а маленький на аукционах на тут.бай встречал.... |
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| Insurgent [ 07 ноя, 07 17:13 ] | |
Валерий Лобко писал(а): Не берите маленький, им можно пользоваться пристойно только в темной команте (чтобы вынимать для качественного перемешивания раствора).
Т.е. он для активного проявления совсем нехорош. Для медленного — так сяк. Лучший вариант — двухэтажный, для проявления в боковом положении (если заряжать одну пленку и глубоко в улитку, не две сразу подряд), или для проявления с перекидыванием. А еще можно для двухэтажного соорудить несложную проявочную машину из 2 валиков резиновых, электродвигателя с редуктором и таймера. В детстве я такую видел в нашем фотокружке. Бачок, закрытый герметичной крышкой, лежал на боку, опираясь на 2 валика, один из которых неспешно так крутился, делая паузы через равные промежутки времени. Режимы можно было менять Без всяких микропроцессоров. |
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| Korzunbroz [ 08 ноя, 07 11:04 ] | |
Замечу что в маленький легче заряжать пленку я так и не научился аккуратно необлапав пленку заряжать в большой бачек так что есть смысл сначала попробовать |
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| Валерий Лобко [ 08 ноя, 07 11:45 ] | |
Да, есть такая проблема. Как и проблема, когда заряжается с трудом, зато самопроизвольно выматывается — при вращении улитки — весьма легко. Узкие двухспиральные бачки с проталкиванием пленки легко заряжаются по методике односпиральных — вы заталкиваете в них полукольцо пленки до конца, а потом заряжаете, как в односпиральном бачке — с сильным наклоном пленки. Из-за особенностей конструкции двухспиральных патерсоновских и т.п. бачков (выступы) такой подход обычно в них нереализуем. Так что требуются тренировки, да… |
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| Валерий Лобко [ 17 ноя, 07 12:53 ] | |
Две новости… Вот такая выставка была весной: Abelardo Morell — Camera Obscuras MARCH 3–APRIL 14, 2007 Как видите, располагая затемненной комнатой, а лучше — несколькими, можно попасть в историю: 
http://www.danzigerprojects.com/exhibit ... era-obscu/ |
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| Валерий Лобко [ 17 ноя, 07 13:11 ] | |
Далее, сообщество приглашается подумать, что можно сделать с двумя бутылями проявителя. Один вариант (~5 литров без моей скромной доли) — пленочный одноразовый. Базовая часть должна еще дополняться различными возможными ускорителями (из запасных растворов), включая щелочи. Бура, двууглекислый натрий etc. Второй — для двухрастворного проявления пленки, тот же объем. Тоже одноразовый, рационален, когда нужно проявить партию пленки (от нескольких роликов), не особенно волнуясь о режиме. Он же — для обработки бумаги. В запасных растворах нет добавки метабисульфита (благодаря чему при хранении создается нейтральная газовая «пробка», предложение Виктора Журавкова), поэтому требуется такое дополнение, либо использование герметично закрытых бутылочек для хранения (и проверка активности при длительном хранении). При работе с бумагой желательно использование поташа, не соды. Рабочая температура раствора — 22 градуса (второго раствора в версии с двумя бачками). Не очень критично, если речь идет о вариант -1, +2 градуса. Пробу лучше проводить по засвеченному кусочки пленки, о чем уже был разговор. Т.е. примерно плотность засвеченного кусочка (максимальное почернение) должна соответствовать давней рекомендации — через этот «фильтр» должен читаться контрастный текст (на глянцевой бумаге). При использовании однорастворной версии время стоит выходить на время проявления 15-20 и более минут. Если смягчение велико и заметны барьерные эффекты проявления, уменьшайте интервалы между вращениями. Показано проявление сэндвичей (двух пленок сразу) или использование сэндвича с неперфорированной пленкой, что даст возможность получить большие интервалы между вращениями (переворачиваниями и т.п.). Удачи! |
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| SergL [ 17 ноя, 07 13:41 ] | |
что делать, в работу пускать.... мне было бы интересно поработать с ним, взял бы 0,5-1L в варианте двухрастворного, (в обмен могу гидрохинона отсыпать...  ) , а то, что то не получается со своим вариантом, плотность негативов ну очень низкая получается...
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| Валерий Лобко [ 17 ноя, 07 21:56 ] | |
Не очень понимаю, что такое низкая пллотность негативов… Подбирайте режим. Проявляйте дольше, если одноразовый, увеличивайте концентрацию, подбирая компромисс по смягчению, если двухрастворный… Попутно: A Simple Way to Test for Film Speed and Developing Time, by Steve Simmons, (PDF) July 10, 2006 If you are going to be a black and white photographer,whether your final output is a traditional blackand white print or a digital print, you need to test foryour personal Exposure Index and your personal developing time. You cannot simply follow the manufacturer’sinstructions. Nor can you ask someone else or go online and ask in a discussion forum. There are simply too many variables that are unique to each ofus. You need to do your own testing. When I began my photo career — actually, it was a hobby back then — the zone system was explained primarily in Ansel Adams’ thin books of his first series, The Negative. It was the type of book that made sense when read it. It made sense, that is, untiI tried to put what I thought I understood into practice. Then I was lost. Then, in about 1975, Fred Picker came out withhis book, The Zone VI Workshop. In this book, he explained how to test, in a practical manner that I and many others could actually understand and put into practice. The name of the testing procedure was “minimum time for maximum black.” Here is how the procedure works. http://www.viewcamera.com/pdf/2006/VC_G ... tarted.pdf |
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| Валерий Лобко [ 17 ноя, 07 22:01 ] | |
Файл вот отсюда: View Camera Archives: http://www.viewcamera.com/archives.html где лежат вот акие PDF'ы, напомню: BTZS—Beyond The Zone System (PDF) May 17, 2007 Staining Developers: A Conversation with Some Experts (PDF) October 30, 2006 A Simple Way to Test for Film Speed and Developing Time (PDF) July 10, 2006 CDepth of Field, Depth of Focus, and Film Flatness (PDF) January 9, 2006 Chrysotype Rex and Cyanotype Rex: A Revolution in Iron Based Processes (PDF) November 21, 2005 Legacy: The Continuing Influence of Ansel Adams and Minor White By Eric Biggerstaff (PDF) November 19, 2005 Childhood Memories: Allen Weitz (PDF) November 15, 2005 Cooking with Ilfochrome (PDF) November 15, 2005 Fotoman Panoramic Cameras Affordably Priced 6x12 and 6x17 Camera from China by Kerry Thalmann (PDF) July 6, 2005 Pyro: Some Truthful Information About Health Considerations June 14, 2004 Zoning with the Multi-Tasking Meter (Using the Sekonic L-608 Meter for the Zone System in Black and White) (PDF) June 2, 2004 View Camera Basics: Processing Black and White Film Processing (PDF) 5x7 Cameras: A Summary of Current Offerings (PDF) December 22, 2003 Robert L. Smith: The Call of Ireland Product Review! Review of the New Cooke Soft Focus Lens. Quality 4x5 Cameras Priced Under $1,200. Sheet Film Holder Choices. Focal length comparison chart. Getting Started in Large Format Photography (PDF) |
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| SergL [ 18 ноя, 07 11:18 ] | |
Очередной раз спасибо за весьма полезную и доходчивую статью, прочитал внимательно, понял что с этого и надо было начинать, а не тыкаться то в одну пленку, то в другой проявитель... |
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| Валерий Лобко [ 18 ноя, 07 22:16 ] | |
Ага. Вот что нашлось: 
Hair, 8" x 10" Tintype Вот отсюда: Recent Tintypes photographs by David Prifti Using the traditional wet plate collodion process, I am working in collaboration with the sitter as exposures range from 30 seconds to 2 minutes. It is in that collaboration that I find the power of this process, as if the commitment of time required of the sitter is present in the final image… …About the process: The wet plate process was invented in in 1851, and became the most important photographic process of the 19th century. The photographer must coat and sensitize a plate, then expose it in the camera, and develop the image before the plate dries out. This requires a portable darkroom to be set up wherever the artist is working. By varying the technique, the photographer is able to make Ambrotypes (unique positives on glass), Glass negatives (for traditional or albumen printing) or Tintypes (unique positives on japanned steel). All timing and exposure decisions are made by observation, and all the chemicals and materials are prepared by the artist. http://www.lensculture.com/prifti.html |
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| Валерий Лобко [ 23 ноя, 07 22:11 ] | |
Приятное с полезным: The Online Photographer T.O.P. Ten: Number 3 The Portrait Given the thousands upon thousands of superb portraits that exist—and the hundreds that are arguably no worse than this one—it may seem "U.S.A.-centric" of me to choose Alexander Gardner's portrait of Abraham Lincoln to stand for all portraits. Yet there are good reasons for the choice, I think. Lincoln's is surely one of history's most interesting faces. He may not have been the first great American to have his portrait taken, but he was the first President to leave such an extensive photographic record of himself, the earliest "great man" who was known well through the medium. Mathew Brady, for whom Gardner worked in 1863 when this picture was taken, usually posed Lincoln in 3/4 profile. Gardner's picture, which was one of the main references used by sculptor Daniel Chester French for the Lincoln Memorial statue on the Mall in Washington, D.C., is the only known portrait of Lincoln from straight on, looking at the camera. There's no artifice about it anywhere: it's just a frank, plain picture of a man, forthright and direct.  
The wet-collodion glass-plate negative of this picture is now in the collection of the Indiana Historical Society (although the fact is somewhat "outside" of the traditional Lincoln legend, he spent his formative years in Indiana, from age seven to 21). It's a surprisingly modest little object. 
Там же: Mike's Picks : Essential Photo Books http://theonlinephotographer.blogspot.c ... ber-3.html |
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| Валерий Лобко [ 24 ноя, 07 10:45 ] | |
Gomma Download Gomma Black&White Film Guide The extensive resource list on the current black and white films Push & Pull Processing Brief notes and advices about the push or pull processing techniques Ilford Push processing.pdf Ilford application sheet 
Ilford film processing chart И.т.п.: http://www.gommamag.com/v4/04_downloads.aspx |
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| Korzunbroz [ 26 ноя, 07 13:28 ] | |
Вчера забрал у Валеры две бутыли проявника, 5 литров двухрастворного и 5 литров однорастворного. Кому нужно звоните мне по тел 3423286, Игорь. |
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| Валерий Лобко [ 27 дек, 07 21:42 ] | |
Denis Brihat Life Into Poetry, Silver Into Gold Выставка в Candace Dwan Gallery (11/1 to 12/22/2007). Бром, тонирование, комплексные процессы классического толка. 
Poppy, (Coquelicot) © Denis Brihat, 1999 
Heart of Amaryllis, (Cœur d'amaryllis) © Denis Brihat, 2003 …This exhibition will include a selection of extraordinary photographs from 1977 to 2003. Denis Brihat has long been famous for his intense and sensitive examination of nature, his mixture of lyricism and rigor, implication and application. Brihat began his photographic work with traditional silver gelatin methods but, in 1968, wishing to approach the problem of color and materials as well as the image, he began to explore old photographic processes: toning, exploring different temperatures and concentrations, “sulphurations” and oxidations to achieve expressive colors, and a unique procedure of chemical engraving of the gelatin surface. The color in Brihat’s toned prints is mineral, made of the salts of silver, gold, sodium, iron, and uranium among others, and is achieved solely through classical darkroom processes of light and chemistry. The resulting prints are sumptuous, of remarkable richness, refinement and beauty. The artist is considered a master without equal of these rare printing techniques. But, for Brihat the sole importance of this superb craft is to express his contemplative poetic vision and profound emotional connection to the natural world. The zen-like purity of focus, sense of delicacy and the sublime, resonates throughout the work and harkens to the heart and the contemplative mind. http://www.candacedwan.com/#New_York/Ex ... _Into_Gold |
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| Валерий Лобко [ 27 дек, 07 22:16 ] | |
Cy Decosse: Flowers and Other Sensual Pleasures (2007) Candace Dwan Gallery: DeCosse’s technique also has a mysterious quality to it. He specializes in platinum printing, a venerable technique that imbeds the precious metals of platinum and palladium into the surface of fine art papers, creating images of exceptional depth and richness. He uses a number of cameras, among them a 120-year-old 16 x 20” glass plate portrait camera. He believes that a camera is like an artist’s paintbrush and chooses a certain one depending on the effect he wants to achieve. His 19th century processes ensure works of art that will last for hundreds of years. “An artist can create the gardens of his or her own fancy – from those of the perplexing Earthly Delights of Hieronymous Bosch to the more obvious earthly ones of Manet’s Dejeuner sur herbe. So, too, Cy DeCosse, as dedicated a craftsman as a Bosch or a Manet, creates his paradisal gardens of strange and beautiful flora from light and alchemical combinations of platinum and palladium salts, and from the baroque choreography of his own inspiration. And they are unlike anyone else’s and unlike anything anyone has seen before” – John Wood http://www.candacedwan.com/#Katonah/Exh ... _Pleasures Brenda Edelson — Photograph Image Enlargement 
Queen of the Night Platinum photograph, Image: 23 1/2 in x 18 1/4 in, Paper: 29 in x 24 in Edition of 50 Cy DeCosse studied photography on a Fullbright Fellowship in Florence following his graduation from art school and while beginning his career as an art director. He mastered the technique of platinum printing--a process yielding both incredibly beautiful and long lasting photographic prints. As John Wood has written in "The Garden of Cy DeCoss", both laborious and expensive to produce ,the platinum-palladium process yields remarkable visual clarity and subtleties unavailable through any other means. Cy De Cosse is an alchemist! Now in retirement from his earlier career, he produces images which take your breath away "with the luminosity in the lights and velvet depths to the darks". He has also taught himself both to make lucious, painterly color prints and photogravures. Bravo for his continous evolution---from triumph to triumph!! 21st Journal — Volume 4: Cy DeCosse The Gardens of DeCosse photographs by Cy DeCosse Includes Seven Hand-pulled Photogravures http://www.artbooks.de/photo/21st-vol4-1.html John Stevenson Gallery Cy DeCosse : The Four Seasons 
Pear Triptych II, 2004 (Autumn) Gum dichromate pigments 14 x 14 inches, edition of 15 http://www.johnstevenson-gallery.com/de ... _text.html http://www.johnstevenson-gallery.com/de ... se_tn.html Cy DeCosse : Gioco di Luce / Play of the Light A very special exhibition of 35 images in platinum, from the walls of the famed Accademia Museum in Florence, Italy. 
Clivia, 1999 Handcoated Platinum Metals on Arches Paper, 19 x 19 inches http://www.johnstevenson-gallery.com/decosse_tn.html Авторский сайт 
Sweet Peas http://www.cydecosse.com/Photography.html Processes The Platinum Process http://www.cydecosse.com/Platinum.html The Gum Dichromate Process http://www.cydecosse.com/Dichromate.html |
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| Валерий Лобко [ 27 дек, 07 22:48 ] | |
Sheila Metzner John Stevenson Gallery 
Lotus I, 2005 Fresson Print http://www.johnstevenson-gallery.com/me ... 06_tn.html http://www.johnstevenson-gallery.com/me ... /text.html The Fresson Process Photo Prints Using Carbon, a Unique Technique Offers Artistic Possibilities This photographic printing process using coal makes it possible to obtain paper prints that do not deteriorate in light and which have a very special luminosity and grain. The well-known photographers Batho, Horvat, Tourdjman and Faucon discuss this printing process. Bernard Faucon takes a photograph of one of the Lubéron hills, which then reappears in the Fresson studio. Michel Fresson uses this photograph and the subsequent laboratory work on it to comment on and explain the originality and history of the process which was developed by his grandfather and adapted by his father for color printing. Bernard Plossu, again using the Fresson method, traces a black and white print back in time to the moment that the photograph was taken. The key factors that induce many artists to associate their work with the renown and quality of the Fresson tradition are the technical and artistic possibilities which this process offers. The Grand Perspective by Hunter Drohojowska-Philp 
Sheila Metzner, Calla Lily, 2000 Sheila Metzner has it all. A career in commercial art, a happy marriage, five children, a second career as a fine art photographer with a parallel track as a fashion photographer and still photographer on various films. Her shows in galleries and museums draw positive reviews. And three books of her photographs have been published. The most recent volume, Inherit the Earth from Bullfinch Press, is nearly as big in size as its subject, the monumental wonders of the world from the icebergs of Alaska to the pyramids of Egypt. Metzner, now 61, spent 11 years traveling to remote regions and taking pictures that moved her, from the elephantine trunks of trees in the Costa Rican rain forest to the red rock arches of Moab, Utah. She brought the same grand perspective to each exotic locale, just as she did when she photographed her native New York, restoring lost glamour to the Brooklyn Bridge or Empire State Building. Both bodies of work are on view in Los Angeles this month. The colored landscape prints from Inherit the Earth and her well-known pictures of flowers are at the Stephen Cohen Gallery while the black and white platinum prints of Manhattan are at the Paul Kopeikin Gallery. Both shows run through Jan. 6. In addition, a show called "Inherit the Earth" is at Tibet House in New York, Dec 14, 2000-Feb. 10, 2001. …Whether the subject is a waterfall, an orchid or a child, Metzner's photographs exude a sense of lavishness. In part, this is due to the use of the Fresson technique, a rare, turn-of-the-century carbon process that lends a soft, grainy patina to the colors in her photographs. The Fresson family invented the technique in France in 1895, and its descendents remain the only practitioners. The surfaces and hues created through the process are romantic and unusual, resembling painting, and by using pigments instead of dyes, the prints do not fade with time. After seeing a Fresson photograph in 1979, Metzner wrote a six-page letter to Michel Fresson, grandson of the inventor, pleading with him to print her work. By return post, she received a price list for the services. Next, she flew to Paris to see Fresson, who agreed to work with her on one condition. "He said he wouldn't work with me if I wouldn't send the instructions in French," she says. "So I did it." The Fresson technique accentuates Metzner's prints of landscapes in which color is applied in a monochrome tint over an entire picture. In addition, the technique is especially effective on Metzner's celebrated flowers. In their elegant simplicity and glimmering use of light, her photographs of orchids and tulips are indebted to early 20th century photographers like Edward Steichen and Edward Weston. http://www.artnet.com/magazine/FEATURES ... -19-00.asp |
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| Валерий Лобко [ 28 дек, 07 22:55 ] | |
Edward Dimsdale, Gaze, Winter 1996 Edward Dimsdale Gallery 339 – Fine Art Photography – Philadelphia  
 
Three Pears, Autumn 2003 Leaf, Autumn 2002 Fly/Window, Autumn 2003 Egg, Summer 2002 Toned Silver Gelatin Print from a Paper Negative 7 1/2 x 9 1/2 inches, Edition of 22 |
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| Валерий Лобко [ 01 янв, 08 14:47 ] | |
HE GATES OF DAWN Beth Moon Seen but not Heard And I saw in the turning so clearly a child's Forgotten mornings when he walked with his mother Through the parables Of sun light And the legends of the green chapels And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singing birds. And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. Dylan Thomas 
ON WINGS OF DOVES 
 
LEARNING TO FLY; THREE FIGURES PROCESS I shoot medium format film and do all of my own printing. I sometimes use double exposures and multiple negatives. There are many steps involved with creating the final print and these are as important to me as the capturing of the image. All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper. Since platinum, like gold, is so stable and permanent, the platinum print is the most archival of any image on paper. A platinum print can last for centuries. http://www.bethmoon.com/ 
AVENUE OF THE BAOBABS http://www.bethmoon.com/Silvershotz.html См специально: An excerpt from the diary of Beth Moon : http://www.photowings.org/pages/index.php?pgA146 I am blessed with 3 exceptional children. Born in England, they spent the first few years of their lives in the heart of a sprawling city. Seven years ago, we moved to California. The weather in northern California invites hiking most of the year, except for a few rainy months and even that can be fun to walk in. Getting out in the green fields and walking cures just about anything, it is a good place to talk and share secrets. Only the hills can hear and they are not too concerned. It inspires fun and epic adventure. Sometimes we walk to the rhythm of reciting mathematical times tables, sometimes we talk of daily events, and sometimes we are silent, taking in the scale of the landscape before us. My daughter once told me, "When I am outdoors exploring, I feel alive all through my body." (Click here to listen to an interview with Alexandra and Isabella Moon, the subjects of these images). (Приводятся довольно крупные снимки). |
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| Валерий Лобко [ 02 янв, 08 11:17 ] | |
Andrea Modica, Treadwell, NY, 1993 platinum/palladium contact print, 8 x 10 inches, edition of 20 Andrea Modica   
ART IN REVIEW; Andrea Modica By GRACE GLUECK Published: May 21, 1999 Edwynn Houk Gallery 745 Fifth Avenue, at 57th Street Through June 26 Andrea Modica is best known for her 1996 book, ''Treadwell,'' a photographic essay that evokes rather than documents the life of a child named Barbara in a tatty rural community of upstate New York. In the course of her picture-making, ''Treadwell'' itself dissolved into a fictive world, defined by the child's imagination. In this show, Ms. Modica continues her preoccupation with Barbara -- now slightly older and fatter -- her child's sensibility and her chubby flesh. But here the photographs, joltingly interspersed with images of fetuses in bottles, give a sense of location only rarely; taken with a slow but intense 8x10 view camera, they are dreamily devoted to skin texture, body parts and language, and facial expressions. In one of her more grotesque images (shades of Diane Arbus) titled ''Treadwell, N.Y.,'' Barbara appears as a blurred blob of laughing face and shoulders, her corpulence almost bestial as it is inflected by a more-in-focus adult face (the photographer's?) regarding her. Another ''Treadwell'' photo is more grounded in locale. It shows Barbara as a dejected lump, head bent over as she sits on a weedy lawn in back of a house. Another ''Treadwell'' depicts her from behind and above, sprawled on a bench with her legs spread apart in an awkwardly child-to-pubescent pose. There are a few other subjects in this grouping, among them views taken in Tuscany. They are also in the same deliberately unemphatic mode, almost as if the subjects had drifted into the camera's lens. None of it is up to the Treadwell book. http://www.art2art.org/more_modica.htm Edwynn Houk Gallery, NY : http://www.houkgallery.com/modica-tread ... dica1.html Edelman Gallery, Chicago : http://www.edelmangallery.com/modica.htm G. Gibson Gallery: http://www.ggibsongallery.com/artists/modica/index.html Online review of "Andrea Modica: Treadwell, NY " on exhibit at Paul Kopeikin Gallery by Orville Clarke: http://artscenecal.com/ArticlesFile/Arc ... odica.html Andrea Modica at Sandy Carson gallery, review in ArtForum, April, 2004 by Kyle MacMillan: http://www.findarticles.com/p/articles/mi_m0268 Andrea Modica: "From Treadwell to Fountain" Catherine Edelman Gallery At first glance, these two series of photos (“Treadwell” and “Fountain”) recall the bored, desperate and lonely overtones of rural existence found in Harmony Korine’s 1997 film Gummo. But where that cinematic depiction of a tornado-stricken Ohio town often feels impersonal and contrived, Andrea Modica’s photos bear the mark of an artist who has gained a deep intimacy with her subject matter, giving the work an almost literary air of reciprocity. Over the course of 15 years, Modica became close with an extended family living in Treadwell, a small town in upstate New York, bonding most notably with a girl named Barbara, whom she watched grow from the age of seven. Barbara died from complications of juvenile diabetes at 22, in 2001. The predominantly haunting thing about the photos of Barbara is that they are compositionally consistent enough that a shot of her lounging on a mattress in 1987, one of her hanging upside down in a chair in 1992 and another of her lying almost comatose in the yard in 1998 all look like they were taken the same day. The last photos of Barbara were taken, more or less, on her deathbed. In contrast to the rest, these are close-up shots, blurred to the point where the ill young woman looks like a spectral fetus, adrift in amniotic blackness. http://www.timeout.com/chicago/articles ... rea-modica |
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