October 2009 Portraits

[Jim Fitzgerald]

I guess I'll call this a portrait. The image is shot on green sensitive x-ray film at ISO 100 and I had to use my 12" Gerogon @ F-11. I wanted to use my 14" Commercial Ektar but forgot to bring it. Shot outside at Matt Blaze's. Thanks Matt. BTW, This is a carbon transfer print. Trying to refine the carbon process for portraits/ nudes. I like the tonal possibilities available but need to work more on getting good clear skin tones.

Jim

[Vaughn]

Nice direction to take, Jim.

Excellent start!

Vaughn

[Jim Fitzgerald]

Nice direction to take, Jim.

Excellent start!

Vaughn

Vaughn, thanks. Just in the experimental stages right now. I need to refine image tonality and paper texture but this is a beginning. It was also nice to shoot some different subject matter for my carbon work.

Jim

[benrains]

I guess I'll call this a portrait. The image is shot on green sensitive x-ray film at ISO 100 and I had to use my 12" Gerogon @ F-11. I wanted to use my 14" Commercial Ektar but forgot to bring it. Shot outside at Matt Blaze's. Thanks Matt. BTW, This is a carbon transfer print. Trying to refine the carbon process for portraits/ nudes. I like the tonal possibilities available but need to work more on getting good clear skin tones.

As for the skin tones, you might want to consider using a panchromatic film, possibly even in combination with a yellow or orange filter. Green and blue sensitive orthochromatic films would have to be just about the worst for portrait photography unless you're after a result that resembles vintage 19th century work, or are deliberately trying to make someone's complexion look darker or more rugged.

[Jim Fitzgerald]

As for the skin tones, you might want to consider using a panchromatic film, possibly even in combination with a yellow or orange filter. Green and blue sensitive orthochromatic films would have to be just about the worst for portrait photography unless you're after a result that resembles vintage 19th century work, or are deliberately trying to make someone's complexion look darker or more rugged.

Well, like I said this was an experiment. The problem is not with the tonality of the film but rather in clearing the image after transfer to the final support. Clear tones are always a concern to a carbon printer and it can be difficult to get them just right. I do like a 19th century look as carbon is a 19th century process. More to come on this later.

Jim

[BrianShaw]

Technical Details:

Cambo 4x5; Kodak Commercial Ektar, 12 inch
Tripod: Bogen 3051 with 3047 head
Film holder: Riteway
Film: Ilford FP-4;
Exposure: f/6.3 @ 1/5
D&P by The Darkroom Lab, Northridge CA

Model: Mini Me; 11-teen tween; single fun-loving Scorpio
Wardrobe: Jeans by Levi; shirt from the Hane's three-in-a-pack collection

Special thanks to Bob Zeichner for the inspiration!

[Jay Decker]

first sheet of 8x10 film...

[Frank Petronio]

Under a bridge...

[Jiri Vasina]

This was shot in September, but I only developed it and finished it recently:

There (I want to touch)

Chamonix 5×8″, Schneider-Kreuznach Xenar 210mm, Metz 45CT-4, 13×18cm, Fomapan 100, Rodinal.

Strapped in the child seat it's the only place he'll be in one spot long enough for me to compose and execute a shot with my Chamonix... I have made two at the time, this one is better...

Jiri

[EdWorkman]

Jiri
Hey, he was just a baby, seems like just last week!
I like it a lot