safe haven for tiny formats

[Jay DeFehr]

Here's one on Adox CHS/Efke 25, developed in Obsidian Aqua:

[IMG] Untitled by Jay DeFehr, on Flickr[/IMG]

[Roger Cole]

Here are scans of two prints of the same negative. This is one of my friends, shot available light at his apartment last year. Ricoh XR-7, Tri-X, EI 1600 in Diafine (a little thin - seems today's Tri-X isn't quite as fast with this combo as that of years ago, and I've since started rating it at EI1000 for tungsten light, 1250 for daylight) 50mm Pentax f/1.7 lens, exposure unrecorded but probably around f/2 and 1/30th or so.

Not the sharpest ever whether from focus issues wide open (or nearly so) in low light or camera shake, but I don't think it hurts this much. It captures Allen's personality. I got a pack of the new Arista Silver Artist Series paper, which is apparently Varycon VC emulsion on BFK Rives, 280 gsm, cotton fine art paper. I like it. It will certainly fit only a minority of my images but for some will be really nice.

Here for comparison is the same image on the Freestyle cotton paper and on Ilford MGWT FB. The Arista paper is about 1.5 stops slower than the Ilford. Both of these were printed with a grade 3 MG filter. The Arista is slightly more contrasty. When wet it looked like it was way more contrasty and overly so, but the pretty extreme dry down of the very matte paper moderated that a lot as the darker areas lighten a lot less than the lighter values.

Both of these were developed for three minutes in Ilford WT paper developer, then toned for 50-60 seconds in 1/8th strength Legacy Pro brown toner. MGWT responds extremely strongly to this toner. Drew Wiley recommended 1/4 strength and that works, but even that can be hard to control so I've gone down to 1/8 ounce concentrate per quart of water. Even so, 50 seconds with the MGWT did this. There was no noticeable change on the Arista paper, so I'm going to try it later in my stronger brown toner and also in selenium.

The Arista has a look that's hard to capture in a scan, something like a cross between 85% photograph and 15% charcoal, or perhaps a bit of old newsprint effect, and a wonderful tactile feel in the hand. It's hard to tell the emulsion from the back. Full sheets have just enough curl but once you cut strips it's almost impossible. Someone on APUG said they mark the back with a light pencil mark before cutting strips. I'll have to try that.

Arista:


T. Allen Greenfield 1 by Roger Cole, on Flickr

Ilford MGWT:


T. Allen Greenfield 1 - MGIVWT+Brown Toner by Roger Cole, on Flickr

[austin granger]

Table and Chairs, Portland


Old Volvo, Portland


http://www.flickr.com/photos/austingranger/

[tgtaylor]

Day Room. Detention Barracks USIS Angel Island



Poetry on a Wall. Detention Barracks USIS Angel Island



Taken with a Pentax 67II camera on Acros and printed on Oriental VCRC

Thomas

[Ari]

We found a photobooth in a shopping mall.

[Ramiro Elena]

Nice! Handsome family Ari

[Ari]

Gracias, Ramiro.
I'm very lucky to live with two beautiful women!

[austin granger]

Fence, Portland


http://www.flickr.com/photos/austingranger/

[chy]

How about this - from a triple pinhole camera made from a 4x5 sheet film box. Film is 120, cut from the roll and taped on.

[eddy pula]

chy I dig it, interesting, have you ever thought of doing a slightly more 3 dimensional one, like 8 pinholes projecting onto a 8x10 thats slightly curved, kinda like a spiders compound eye.