Rhein bei Oberwinter
Rhine landscape "Sander style", Kodak TMax 100, Rodinal, Fujinon 180/5.6
Rhein bei Oberwinter
Rhine landscape "Sander style", Kodak TMax 100, Rodinal, Fujinon 180/5.6
May I ask where this was taken, Dirk? The composition and the rendering of the sky remind me of some of the mid-19th century romantic landscape painting of the Swiss landscape.
Here's one from early April, from the Swiss Aletsch area;
Finsteraarhorn and the Fieschergletscher
Sinar F, Schneider 180mm, Fuji Acros / Xtol 1:1
Orange or red filter plus good choice of film and developer plus excellent control of exposure and development plus excellent scanning and/or printing techniques. Everything put together there is a very long and straight gamma curve minimizing compression all the way from Z III to Z VIII or IX. Printed on fixed grade 3 paper is my guess... or post processing is very good.
c&c always welcome!
"The world just does not fit conveniently into the format of a 35mm camera." (W. Eugene Smith)
http://peter-yeti.jimdo.com
c&c always welcome!
"The world just does not fit conveniently into the format of a 35mm camera." (W. Eugene Smith)
http://peter-yeti.jimdo.com
This one is not much about the landscape, but I could not decide on a better category for it.
Shot with Chamonix 5×8" large format camera and Schneider-Kreuznach Xenar 210mm f:4,5 lens on 13×18cm sheet of Fomapan 100. Developed in R09 (Rodinal). Full frame.
Jiri Vasina
www.vasina.net
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My books @ Blurb (only heavily outdated "Serene Landscape").
Hi Stone and Old-N-Feeble; thanks for the kind words. Normally I use the Zone system pretty much as Adams recommends, but the key thing for me is not to compress the tonal curve too much, otherwise everything seems (to me) to head towards a muddy grey middle ground. In high contrast situations like this scene, where there is full sun on snow, I’m probably putting ‘N’ a maximum of 1 1/3 stops below Zone IX. Development is normal, and I’m therefore relying on the film to handle the shadows. This is almost the reverse of the normal advice of ‘expose for the shadows and develop for the highlights’, but it seems to work well with both Fuji Acros and Ilford Delta 100, perhaps because they do offer a longer curve. I’m rating these films at either EI64 or EI80, depending on the contrast in the scene, and varying the development time a little as well, depending on the EI.
I used Ilford Delta 100 & PMK Pyro for several years – I think the pyro stain also helps contain the highlights within a full tonal curve – but I can’t find supplies of this developer in Europe any longer (neither Silverprint nor Lotus carry it). I began to try Acros with Xtol 1:1, and have been really impressed so far. Any experience and guidance on either Acros or Xtol would be appreciated!
Thanks Peter. This is over on the other side of the Bernese Oberland, from Eggishorn in the Aletsch area. I think there is a fairly challenging ski-trek to bring you over the back of the Bernese Oberland (either down from the Jungfraujoch towards Aletsch, past the Konkordiahütte, or in the opposite direction), but you need experience of cross-country skiing on glaciers for that.
Hi, thanks for looking and commenting.
I was wrong with Oberwinter (GPS in my 5x7 can be unrealiable ) - actually it was taken at the small harbour of Brohl-Lützing. It was a very misty day, not uncommon in the valleys of the Rhine. The light can be spectacular in those cases.
Hi Peter, a few people, like yourself, will be familiar, that's all that matters. Many thanks for the comment, much appreciated!
Dirk
Sinar F - Rodenstock Grandagon N 90 6.8 - Kodak Tmax 400 - Kodak HC-110 dil E. (1+47) - Yellow Filter
Tino's Island view from Palmaria Island
"5 Terre" Natural Reserve
Liguria - Italy
Isola del Tino by Matteo Lazzerini, on Flickr
Matteo
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