safe haven for tiny formats

[tuco]

You can be a couch potato and still take pictures.

Fuji GSW690II, Delta 100

Jonathan

Nice, Jonathan.

[jcoldslabs]

Nice, Jonathan.

Thanks, although it does take photographic laziness to new heights. I keep wondering what kind of photographic success I might have if I left the house now and again. Those shots taken in the parking lot of the shopping carts and such? That supermarket is half a block from the house, so they don't really count!

And I agree with Austin about your recent posts: nice balance of contrast without blow-outs. Very crisp imagery. Are you testing out a whole new development scheme or just refining your technique to suit the SBR?

Jonathan

[Maris Rusis]

Snow Gums, Charlotte Pass

Gelatin-silver photograph on Fomabrom Variant III FB VC, image area 21.3cmX16.5cm, from a 67 format Ilford SFX negative exposed in a Mamiya RB67 single lens reflex camera fitted with a 50mmf4.5 lens and an IR680 filter.
Titled and signed recto, stamped verso.

[jcoldslabs]

Maris,

You frequently mention that your prints are "stamped verso." May I ask what you stamp on the backs of your prints? A logo? Personal info? Just curious.

Jonathan

[Leigh]

That's a great shot, Maris. Great example of effective mid-tone usage.

- Leigh

[Nathan Potter]

Maris, you've posted a lot of really fine work here that keeps me inspired - all much appreciated. The image here of the "Snow Gums" gives a hint of some extraordinary tonal values that must be present in the actual print. Do you have any recollection of the film developer that was used? I assume the image here is a scanned print.

Nate Potter, Austin TX.

[Kav]

Abandoned boat:

Nikon F5 85mm f1.4

Training flight:

Nikon F4 24-50mm f3.5-4.5

Both shot with Kodak Ektar

[Maris Rusis]

Maris,

You frequently mention that your prints are "stamped verso." May I ask what you stamp on the backs of your prints? A logo? Personal info? Just curious.

Jonathan

I have a unique custom made rubber stamp that uses grey archival ink to deposit an information panel on the back of the photograph. It asserts that I'm the maker of the photograph and hold copyright. There are spaces for me to write in with fine pigment ink details like negative ID, which photographic paper, camera, lens, and film. This information correlates with my cataloging system. The front of the photograph bears a title under the left edge of the image and a signature under the right edge. Anything extra would be rather gauche, I think.

[msk2193]

A foggy, wintery day in Yosemite.

[Maris Rusis]

Maris, you've posted a lot of really fine work here that keeps me inspired - all much appreciated. The image here of the "Snow Gums" gives a hint of some extraordinary tonal values that must be present in the actual print. Do you have any recollection of the film developer that was used? I assume the image here is a scanned print.

Nate Potter, Austin TX.

My records indicate the development was 7 minutes at 20 Celcius using NEW Xtol run as a replenished system. I say new Xtol because the batch was a new mix that had not fully "seasoned". I ran a control strip to discover the extra activity and to allow for it. All the pictures I post are scans, on my $49 MEDION flat bed scanner, of the actual gelatin-silver photographs. Scanner calibration is confirmed by my holding the photograph next to the monitor screen. If they look similar I'm happy...not very scientific.