Бочки для проявки пленки

Краявид – учебная фотостудия, лаборатория задействована под учебные задачи. Практики работы во внеурочное время нет. Отчасти потому что внеурочного времени практически нет, занятия идут с 9 до 21 часа.
В «Школе фотографии» мы планируем вводить практику аренды лаборатории, т.е. использования темной комнаты не только для учебных целей. Но эта возможность появится через полгода.
Что можно предложить сейчас - Мастер-класс. Его организация реальна. При условии набора группы 5-8 человек можно провести его в ближайшие месяцы. В мастер-класс можно также включить возможность для каждого участника напечатать «пару-тройку» своих работ.

ну, подождем мастер класса....

.

А вы не ждите, а просто приходите. а то обещенного три года ждут у Колесникова занятия проходят в среду субботу с 9-12 потом с 15-18 и с 18-21. Еще у Матусевича многие изъявили печататься.

Приходите, главный пропуск — это желание.

ага..., спасибо постараюсь...

.

Я вот все вспоминаю ни с чем не сравнимый запах венгерских (Forte) бумаг…

Да, какие-то доступные иногда Kodak и Ilford тоже весьма своеобразны были в этом отношении, но все же Forte — это нечто.

Это из раскопок по поводу Ленерта:

t was in 1995 that Concordia University's Chris Langtvet turned up at Lehnert & Landrock's doorstep. Soon enough, serious attempts at reproducing the glass plate negatives themselves began in earnest, so that the work of the masters could become available for the next generation of users. Producing contact prints from old large-format negatives using 19th-century technology is no easy feat in a world that has gone digital. Top-quality silver gelatin photographic paper (Forte PW14) has to be imported from Hungary. And to stand the test of time, the final product must be toned in selenium, which gives it a warm, rich look in addition to extending its archival life. Currently Langtvet is training an eager apprentice in the old techniques. Everything must be done as it was 70 years ago.

http://forum.znyata.com/viewtopic.php?p=14117#14117

Что касается текущей ситуации, то вот тут обсуждалась в январе проблема закрытия производства:

Fortepan Shutdown -or- Not... : http://photo.net/bboard/q-and-a-fetch-msg?msg_id=00JgoU

Сама история производства:

Forte Photochemical Co., Ltd.

The Company Forte had its origins in 1922, when the London based Kodak company estabilished a subdiary for the prodcution of black and white photographic paper in Vác, Hungary.

Recognizing the amateur and professional photographers' demand for full range service, Forte has never stopped developing new products and has continually expanded its product line.
The great variety of the products manufactured by Forte reflects convincingly this endeavour of the company.

Some 3 million sqm of black and white photopaper and nearly 1 million sqm of black and white photofilm is manufactured yearly.

Special products such as X-ray diagnostic and graphic arts materials, as well as colour film and paper are produced in the frame of international cooperation mainly based on confection from jumbo rolls.

The number of different black and white enlarging papers is over 60 including the variable constant brown tone paper, which is unique on the photo market.

Black and white photfilms are manufactured sheet, 35mm and roll formats in the speed range of 100-400 ASA.
Processing chemistry developed by Forte CO. LTD makes for optimal processing, although standard formulations by other manufacturers can also be processed in Forte formulations with good results.

The cold tone papers manufactured by Forte - Bromofort product family - readily accept toning.

The brown tone papers - Fortezo product family - are designed to give superb rendering of warm brown tone.
With these features Forte provide the photographers with a very effective tool to produce prints of special effects. Such prints are becoming more and more popular with photographers.

.

Удачно попал на 4444, это такая отметка посещений была на входе.

Пару ссылок по этому поводу.

Такая вот шпаргалка на Redferns Music Picture Gallery, с вниманием к архивному аспекту хранения снимков.

What type of print? — Colour prints

C-type prints are produced by projecting light through a negative and on to paper that has been coated with layers of light sensitive emulsion that responds to the colour information in the negative. After some initial development, colour compounds called dye couplers are added to form additional hues that complete the colour image. If looked after, and kept out of direct sunlight a C-type print can last between 50 and 75 years.

Lambda/ lightjet prints are C-type printed from a digital image file rather than a negative. this could originate from a digital camera or a scanned negative, transparency or print. The lambda machine (or the comparative Lightjet machine) uses sophisticated laser technology to project the light and colour information from the digital file onto the paper coated with colour sensitive emulsion. As with a traditionally printed C-type a Lambda or lightjet print should last for up to 75 years, if looked after correctly.

Inkjet/Giclee prints are also produced from a digital image file. A computer driven printer sprays ink in fine detail onto paper to create the image from a file. Although inkjet prints can be produced quickly and cheaply in the home or office, a fine art print produced on this medium should use archival paper of a fine quality, and inks dedicated to the paper type used. Enabling better control in the 'digital darkroom' and a greater spectrum of colour reproduction, inkjet's are an increasingly popular fine art medium and have a life expectancy of 70 - 120 years.

What type of print? — B&W prints

Gelatin Silver prints have been the most popular form of black and white print since the 1880's. The paper used is coated with a thin layer of gelatin containing photosensitive particles called silver halides. When light is shone through the negative onto the paper, the silver halides react to the varied concentration and brilliance of the light to recreate the shades of black and white that make up the image. A silver print should last, under the right conditions, for up to 100 years. Gelatin Silver prints usually come in two forms, resin coated paper is coated to prevent it from absorbing the chemicals, it allows for faster developing and drying times, they are also more robust. Fiber base papers don't have the absorption barrier of resin-coated papers and require greater attention during processing but do yield a higher level of detail and have a superior surface quality to them.

Platinum prints use platinum instead of silver salts. Platinum is reduced from light sensitive iron salts to form an image as platinum particles become embedded in the paper. Platinum prints show an extensive range of subtle tonal variations and fine grain. They also have a significantly longer life than silver prints of up to 500 years.
Palladium is often used as an alternative to platinum, giving similar results.

Сами выставки — вот здесь:

http://gallery2.redferns.com/gallery_te ... itions.htm

Текущая выставка —

SOULS WE MISS:
MARC BOLAN photographed by KEITH MORRIS

http://gallery2.redferns.com/gallery_te ... r_page.htm



*

Alternative Photography Processes, Polaroid Transfer, Calotype, Platinum Print, Palladium Print and more

Список под всякую рекламу с небольшим резюме на каждую ссылку.

Выборочно проверял. Прилично более сотни ссылок, есть явный случайные, но к, счастью, абсолютно вменяемые наименования, это раз, случайно открытые открывались и соответствовали. Так что есть смысл погулять.

http://www.photolinks.com/Alternative_P ... tml?page=1

*

Вместо заключения:

The Russian revolution and World War I caused the cost of platinum to rise so Eastman Kodak halted production of platinum paper in 1916.

Platinum printing became popular again in the 1960s and 1970s, as paper manufacturers begin discontinuing or lowering the silver content of some of the better silver papers.

Photographers, looking for a paper with a long tonal scale, turned to the platinum print as an alternative to the silver papers.

.

Актуально:

HOW TO PRINT ON 100-YEAR OLD PAPER
The Azo and Amidol Story

Michael A. Smith

Introduction:

Today, almost no one prints on Azo, the last of the silver chloride contact printing papers, and the finest paper on which to print black and white negatives. Most of those using large-format negatives and making contact prints are printing on enlarging paper, or, dissatisfied with their silver prints, are making platinum prints. When asked if they have had any experience with Azo, most photographers answer that they can’t get good prints with it or that it is not being made any more. Surprise—although most camera stores do not stock it, Azo is still being manufactured. Azo is the longest continuously manufactured photographic paper ever made. It was first introduced by Photo Materials Company in Rochester back in 1898. In July of that year Kodak bought out Photo Materials, and has been producing Azo ever since. This article will describe this unique paper and explain how you can make beautiful prints with it.

My own early experiences with Azo:

In 1966, when I first began to make photographs using a 35mm camera, the camera store I dealt with told me that if I was going to make contact sheets as well as enlargements I would need contact printing paper. They sold me a 100-sheet box of Azo.

The quality of those first contact sheets was far better than my enlargements—the blacks were richer and there was a glow to those small prints that I just couldn’t get in the enlargements. At that time, and for many years after, I assumed the inferior quality of the enlargements was due to the enlarging process. It was not until later—after I had spent eight years making contact prints on chloro-bromide or bromide enlarging papers and still could not achieve the quality of those Azo contact sheets—that I came to realize that the problem was due to the enlarging paper itself.
…

I strongly recommend that anyone making contact prints give Azo a try. Not only will your prints be richer and more glowing, but you will find the printing process to be significantly faster and easier; you will be more pleased with your prints and you will have more time to make new negatives.

© Michael A. Smith 1996

http://www.michaelandpaula.com/mp/azoamidol.html

Статьи:

A Photographic Odyssey
Article about Michael and Paula from Black and White Magazine in the January/February 2004 issue.

Letter to a Young Photographer
by Michael A. Smith. Originally published in Calumet Newsletter #6, 1997. Reprinted in LensWork Quarterly, Issue #24, 1999.

On Teaching Photography
by Michael A. Smith. Originally published in Exposure, the Journal of the Society for Photographic Education, February 1976.

Intentions & Techniques
by Michael A. Smith. Originally published by Lehigh University, 1987, in the catalogue for the fourth Intentions and Techniques exhibition.

How to Print on 100-Year Old Paper- The Azo and Amidol Story
by Michael A. Smith. Originally published in View Camera Magazine, July/August, 1996.

Azo Update 2000
by Michael A. Smith. 1999. This is an expanded version of the article that was orginally published in View Camera Magazine, March/ April 2000.

On Printing-And Why There is No Such Thing as a Difficult Negative to Print
by Michael A. Smith. This is an expanded version of the article that was orginally published in View Camera Magazine, May/June, 1998.

Developing by Inspection
by Michael A. Smith. Originally published in View Camera Magazine, May/June, 1999

Advances in Archival Mounting and Storage
by Michael A. Smith. Originally published in View Camera Magazine, November/Devember, 2000.

Developers, An Introduction
by Michael A. Smith

http://www.michaelandpaula.com/mp/writings_topost.html

.

Вообще напрасно я всю статью не скопировал, очень уж приятные имеются там замечания, особенно реплика по поводу «неповерхностного» характера изображения:

The Platinum (Platinotype) Process

Many regard the platinum print as the most beautiful of all photographic processes. It is certainly one of the most permanent; the relatively inert platinum can be considered as permanent as the paper in which it rests. A platinum print on good archival paper can last from 500-1000 years.

The platinum process, like several other photographic printing processes, has its roots in a discovery by Sir John Herschel that certain ferric substances, such as ferric oxalate, became ferrous when exposed to light and, in a suitable solvent, can reduce metallic salts to a metallic state. Only a clearing bath is necessary to remove the remaining ferric salts. Image coloration depends on the metals used, the developer, the temperature of the developer, and to some extent, the color of the paper. The print process using platinum was invented in 1873 by William Willis.

Platinum images consist of finely-divided metal particles that rest among the paper's fibers rather than on the surface. This intimate relationship of image and paper produces a rich, almost velvety appearance.

Platinum prints are contact prints; the final image is the same size as the negative. The characteristic luminous image of a pure platinum print is made entirely from neutral browns to black, depending on the developer used.

http://www.adamjahiel.com/platinum_process.html

.

Попутно: сам сайт (впервые вижу) имеет по два снимка. Для Mac и PC, под давнее различие гаммы. См., к примеру, первую же галерею:

"The Last Cowboy," Gallery 1, Art Photography of Adam Jahiel

http://www.adamjahiel.com/LastCowboy_gall1.html

.



В новостях на http://www.pinhole.ru/

Новое пополнение раздела видео: фотограф Lionel Turban показывает один из первых способов получения изображения "Мокрый коллодий", а именно его разновидность "Амбротипию"; про полив коллодия рассказывает в другом видео Will Dunniway.

.

Дзен и выкройка для пинхола плюс все остальное, 11 страниц:



.

И еще, про бережное отношение к фотографии:

В самом начале эпохи "фотографии", во времена, когда она была подобна алхимии, когда фотографировать было довольно опасно, когда использовали ртуть, эфир, цианистый калий, во времена Дагерра, Арчера и Талбота, когда фотографии делали на посеребренных, стеклянных и железных пластинах, когда каждая из них была в единственном экземпляре, когда каждую приготавливали по 10-20 минут — тогда каждую Фотографию помещали в специальный футляр…

.

.

вот развели в невинной теме про бочки для проявления

.

Т-с-с!..

Это не просто так.

Это специальная маскировка.

Точно выяснено, что все сделано ради того, чтобы на седьмой странице дать секретную информацию про серебро и зашифровать одну тайную ссылку среди якобы полезных там же.

.

и все полезли на седьмую страницу...

http://forum.znyata.com/viewtopic.php?t ... c&start=90

.

.

КАТЬ ЭТО ОНИ ПЕРЕД ВАМИ ЗНАНИЯМИ ХВАСТАЮТСЯ )))

ВРОДЕ кто круче пленку в бачке проявит

.

.

ну да, у кого бачек побольше....

Поделитесь бачком лишним.... А

Вот какая занятная ситуация... Все есть: пленка, проявитель фиксаж... а бачка нет.

И понимаю же, что этого добра невостребованного годами вал.. А найти не могу. Кто спалил, кто продал, кто поломал.. Как в том анекдоте..

Кажется по теме..

...

есть на 330 мл могу поделиться (забирать или в сухарево или в районе богдановича-олешева)....

Спасибо SergL.

В районе богдановича-олешева вполне устроит. Когда можно подъехать?

Был сегодня на Вилии Фабричная – 22 (ОДО "Славяне")
тел 298-32-70
Взял прайс, может кому понадобится:

ХИМИКАТЫ:

Проявитель СТ-1 для ф/б 500 мл –-- 2563
СТ – 2 для ф/п 500 мл –- 3187
Фиксаж БКФ 500 мл –------------- 4020

ФОТОПЛЕНКИ:

ФН-64 35мм; ФН-100 35мм Fortepan – 2925
Кино-пленка А-2Ш – 1метр – 2137 бобины 50м и более..

Есть еще фотобумага УН-160
Славич-принт
Фотоджет (если надо дам цену)

...


Картинка из свежего русского ZOOMа:

«Марк Остерман

Марк Остерман начал изучать исторические фотопроцессы, учась в Художественном институте Канзас-Сити в 1970-х. Как историк по процессам продвинутой программы фотографического архива в Международном музее фотографии и плёнки — Доме Джорджа Истмэна, — Остерман преподаёт техническую эволюцию фотографии от гелиографий Ньепса до желатиновых эмульсий, воссоздавая каждый из этих процессов.

Остерман в 1995—2002 годах был соиздателем и редактором «Коллодионного журнала» (The Collodion Journal). Недавно он стал редактором и основным автором раздела, посвящённого XIX веку, в новом, четвёртом выпуске энциклопедии Focal Encyclopedia of Photography...»

http://www.zoom-russia.ru/article288.htm

Там — небольшая галерея таких снимков.

...



Там же — подборка снимков, Алексей Титаренко:

«...Во всех этих сериях, как правило, город лишь угадывается, он где-то на заднем плане… и не имеет принципиального значения. Моей настоящей целью, задачей была передача той эмоциональной и духовной атмосферы, которая была характерна для того времени, или моего эмоционального и духовного настроения, если речь идёт о цикле «Чёрная и белая магия Санкт-Петербурга». То есть тема этих трёх циклов скорее судьба России, драматические перемены 1990-х годов».