Harman Direct Positive Images

[JoeV]

I thought I'd start a new thread specifically for images exposed on the new Harman Direct Positive paper. Efke's positive paper images also welcome, of course.

I've been working with the 4x5 fiber-based version of Harman's Direct Positive paper for a few months, and also have several packs of the 8x10 that I need to work with.

Today's still-lifes were exposed under the indirect north-facing light of my back porch, using a WWII-era Anniversary Speed Graphic and 127mm Ektar lens. The first two images are with the lens wide open at f/4.7, while the last image is stopped down to f/16. With bellows extension the working apertures were f/7.5 and f/26 respectively.

I give this paper a slight preflash prior to exposure, and rate the paper at a working exposure index of 1.6. Metering was reflective using a Gossen Luna Pro F.

The paper was developed in Ilford PQ liquid diluted 1+15.

Scans of the direct prints were done in color mode to retain some of the emulsion's tone.

~Joe

Bowl (2 second exposure):
http://farm7.static.flickr.com/6202/6114593234_3322cdc3c3_b.jpg

Robot Rider (3 second exposure):
http://farm7.static.flickr.com/6079/6114593384_344985630b_b.jpg

Gourd Birds (15 second exposure):
http://farm7.static.flickr.com/6193/6114593580_0d59b1ab4c_b.jpg

[JoeV]

Last week I captured onto Harman Direct Positive FB paper several images of this Lasko fan, which I purchased at a thrift shop, to decorate my newly refurnished office.

4x5 Speed Graphic, 150mm binocular lens (from a 7x50 binocular) stopped down to 20mm aperture. Lighting was from the right side of the subject (the left side in the reversed direct positive image) through an afternoon-lit window. Preflashed, as is my usual procedure. Scanned in color mode to retain the paper's tone.

~Joe

http://farm7.static.flickr.com/6191/6096821064_951a6e73c1_b.jpg

http://farm7.static.flickr.com/6063/6096820870_449e79ced4_b.jpg

[JoeV]

Portrait under indirect north light. Harman Direct Positive FB paper in 4x5 Speed Graphic, 127mm Ektar lens. 6 second exposure. She did a great job of not moving or blinking. Scanned in B/W mode, otherwise in color the paper scans with a bit of a greenish tone.

~Joe

http://farm7.static.flickr.com/6079/6091658448_135399a13a_b.jpg

[Maris Rusis]

http://farm6.static.flickr.com/5280/5910612888_551d2c5513_b.jpg
Old-time Photographer

Gelatin-silver photograph on Harman Direct Positive Paper 8x10 exposed in a Tachihara 810HD triple extension field view camer fitted with a Fujinon-W 300mm f5.6 lens.

The Harman Direct positive Paper was pre-flashed to reduce contrast and then given a camera exposure of 3 seconds at f5.6. Development was in Dektol 1+2, fix was in Hypam 1+4, and a 30 minute archival wash followed. Lighting was from a skylight in a traditionally arranged photographic studio without electricity. This photograph like all direct positive reflective images (Daguerreotypes, Ambrotypes, Tintypes for example) is mirror reversed with respect to the subject.

[Tom J McDonald]

Great stuff here guys.
Maris, do you have a picture of this studio?

[jonreid]

Maris,
Did you buy the direct positive paper in Australia?

Jon

[Maris Rusis]

Great stuff here guys.
Maris, do you have a picture of this studio?
No good pictures of the studio but lots within it. The studio I had built as part of my house. The idea was to use natural light instead of flash or tunsten, just like the 19th century all over again. Unfortunately I ran out of money and had to settle for a lower ceiling height which makes heads brighter than feet. A 1 stop soft edge ND grad filter takes care of the inequality and the studio works a treat.

[Maris Rusis]

Maris,
Did you buy the direct positive paper in Australia?

Jon

The paper came from Harman direct after a bit of argy-bargy. Harman originally quoted their domestic UK price which I challenged as too high. Their international price is a lot lower because it does not include VAT.

The Direct Positive Paper RC44M 8x10, pk of 100 at GBP 86.21 landed in my hands at AUD$136.21 all up. Transit time was about 2 weeks.

DPP is a high contrast short scale material intolerant of exposure and processing error. My first 50 sheets went on testing and calibrating. Expensive but interesting.

[CCB]

Joe, Where are you buying your paper? Chris

[JoeV]

Joe, Where are you buying your paper? Chris

I purchase mine from Freestyle Photo. The first batch of 4x5's was on backorder for several months, earlier this spring, but a later order, with both 4x5 and 8x10, shipped much quicker. I think as more and more people start to use this paper the shipping will be more consistent. Best to stock up, when you do order.

~Joe

[gevalia]

Joe / Maris,

I've used the Efke paper in the past and still have a few packs. About the Harmon paper:

1. Is there a notch? Efke paper does not have a notch.
2. Can you tell 1 side from another (tactil) while loading in a DD?
3. I shoot 4x5 and the Efke paper size was always a little too big and I have always had a lot of difficulty loading it into DD's. Does the Harmon actually for DD's?

Regards,
Ron

[Richard Rankin]

Joe / Maris,

I've used the Efke paper in the past and still have a few packs. About the Harmon paper:

1. Is there a notch? Efke paper does not have a notch.
2. Can you tell 1 side from another (tactil) while loading in a DD?
3. I shoot 4x5 and the Efke paper size was always a little too big and I have always had a lot of difficulty loading it into DD's. Does the Harmon actually for DD's?

Regards,
Ron

I have some of the RC paper. No notch, easily fits into all my holders, and the paper has a slight curve towards the emulsion side, so it is pretty easy to tell which side is which. There is also a different feel that is difficult to describe, but definitely discernible.

I actually thought I had gotten it backwards when my paper came out all white, but it turned out my developer had died...

Richard

[JoeV]

As Richard indicated, the FB paper I work with curls toward the emulsion side. When purchased through Freestyle's website, they specifically state that the 4x5 size will fit 4x5 sheet film holders, and I've had no problems.

With the Efke "4x5" paper, I've found that there were two sizes being sold, one was a true 4x5 size that was too large to comfortably fit inside film holders (which you must have had) and the other is sized to fit inside film holders. Freestyle used to market both sizes of Efke, and you had to read carefully to figure out which to get.

~Joe

[Roger Cole]

Joe / Maris,

I've used the Efke paper in the past and still have a few packs. About the Harmon paper:

1. Is there a notch? Efke paper does not have a notch.
2. Can you tell 1 side from another (tactil) while loading in a DD?
3. I shoot 4x5 and the Efke paper size was always a little too big and I have always had a lot of difficulty loading it into DD's. Does the Harmon actually for DD's?

Regards,
Ron

Aside but - scratching my head trying to figure out what variant of "film holder" has initials "DD." Can't figure it out - what's a DD?

[Asher Kelman]

The paper came from Harman direct after a bit of argy-bargy. Harman originally quoted their domestic UK price which I challenged as too high. Their international price is a lot lower because it does not include VAT.

The Direct Positive Paper RC44M 8x10, pk of 100 at GBP 86.21 landed in my hands at AUD$136.21 all up. Transit time was about 2 weeks.

DPP is a high contrast short scale material intolerant of exposure and processing error. My first 50 sheets went on testing and calibrating. Expensive but interesting.

Maris and Joey

Glad to have you guys here as the leaders!

I'm about to order Harman and also Ilfochrome papers and a, wondering whether or not they will need trimming to go into standard Fidelity 4x5 and 8x10 film holders. I have purchased a Jobo CPA-2 with lift for this enterprise and wondering if there are any hints you might give.

What's your process for testing and calibrating.

In this, did you alter your assumed ISO as part of the test parameters or did you use say 3 and one fixed temp. then adjust everything else?

50 sheets is a lot of material to go through. Do they sell 4x5 and 8x10 of the same lot of paper. I'm worried that if I do the calibration on 4x5 paper, the 8x10 could need to be done from the beginning again! I guess one can cut up the 8x10 to 4 sheets for this!

It does seem then that one needs to buy at least 200 sheets of the same production run or else the percentage of wastage must be high!

Do you ever pre-expose, (flash) to decrease the contrast or any such tricks?

Asher

[John T]

DD = double darkslide

Another name for film holders

[Roger Cole]

DD = double darkslide

Another name for film holders

Interesting, never heard that before (nor does it make a lot of sense to me since the darkslide is just a part that works with the holder itself but never mind.) Funny the things you learn here. Thanks.

[Brian Ellis]

Aside but - scratching my head trying to figure out what variant of "film holder" has initials "DD." Can't figure it out - what's a DD?

DD stands for double dark.

You're supposed to know that it's an abbreviation of an abbreviation of the phrase "double dark-slide" and that the "S" has been omitted, presumably because the "S" key on the typewriter of the first person to use this abbreviation was stuck. And since there are two dark slides in a film holder you're also supposed to know that the first "D" means "double." It's one of those abbreviations that serves no purpose other than to hinder communication.

[JoeV]

Maris and Joey

Glad to have you guys here as the leaders!

I'm about to order Harman and also Ilfochrome papers and a, wondering whether or not they will need trimming to go into standard Fidelity 4x5 and 8x10 film holders. I have purchased a Jobo CPA-2 with lift for this enterprise and wondering if there are any hints you might give.

I've only worked with the Harman Direct Positive paper, ordered through Freestyle Photo's website. On their website they state whether the paper is sized for sheet film holders or not.


What's your process for testing and calibrating.

In this, did you alter your assumed ISO as part of the test parameters or did you use say 3 and one fixed temp. then adjust everything else?

I started with an ISO of around 6, and kept the developer dilution constant (1+15 using Ilford's PQ liquid concentrate) and temperature around 68-72f. Subsequent rounds of testing brought me to rating the Harman Fiber Based glossy direct positive paper at an Exposure Index of 1.6.

I also found that developer exhaustion is something you need to watch with these direct positive papers. With paper negatives, as the developer begins to exhaust its strength, development times need to be extended, but the resulting negative density and contrast doesn't suffer as much; some folks report better control of contrast with paper negatives in partially exhausted developer, something I can corroborate. With the Harman paper, if the developer begins to exhaust then you will not get adequately dense shadow details, the shadows will instead appear to be a mottled and weak middle gray.

As for batch-to-batch consistency, I've been using the Harman 4x5 sized paper in two different batches and find little or no variance. Your exposure and processing tolerances are probably looser than the paper's manufacturing tolerances.


Do you ever pre-expose, (flash) to decrease the contrast or any such tricks?

Asher

Pre-flashing is my standard method for all paper negative or direct positive paper media. It helps to bring out the shadow detail and control excess contrast. I found that for the Harman Direct Positive paper it required about 1/2 of the preflash time that I normally give to grade 2 paper negatives.

For using the Efke RC direct positive paper I found it required significantly longer preflash times than the Harman, and its range of exposure tolerance was very narrow, as compared to Harman's paper, such that I've essentially given up on using the Efke and now recommend Harman's direct positive fiber based glossy paper as a better product (for my use ... you mileage may vary).

I'd also say for the benefit of those who have not worked with direct positive paper, or paper negatives, that troubleshooting your initial calibration of the paper can be confusing. So for your benefit, here are some tips to keep in mind:


Unexposed, undeveloped and fixed direct positive paper should look blank white.

Unexposed and properly developed / fixed direct positive paper should look pure black. If you cannot get unexposed and developed paper to look absolutely zone 1 black, then your developer is either exhausted or impure. You need to be able to achieve this first before you proceed.

Any additional exposure that you give the paper will add brightness to the image.

Pre-flashing the paper will lighten the shadow density somewhat. You will want to arrive at an Exposure Index and pre-flash amount that, combined, produces an image with good but not excessive contrast and adequate shadow detail.

The Harman paper is essentially sensitive to only blue and UV light. Think daylight only. So when you meter the scene, with your light meter set to your paper's ISO rating (that you've determined through testing), make sure that the meter is only seeing daylight illumination of the subject, not artificial lighting.

The Harman paper, like other paper media, is not sensitive to reds and browns. If your subject matter predominates in those colors, you'll need to give the paper some additional exposure. How much exposure? You'll have to determine this through experimentation and testing, but a good rule of thumb is to give it one additional stop of exposure.

Shiny metal surfaces and water will reflect much more UV light than you might otherwise think, showing up on the paper as much brighter exposure. You will need to compensate for this in your metering and/or exposure.

Indirect daylight illumination (like from a north-facing window) provides very nice soft lighting for this paper. Under direct sunlight the images can present a harsh contrast, even with pre-flashing, so keep that in mind, especially for portraits.


~Joe

[JoeV]

Here are examples of developer tests using the Harman direct positive paper.

The first set has two test strips. The top one, medium gray, was unexposed paper developed using used paper developer that otherwise produces nice paper negatives using grade 2 paper and an extended development. As you can see, even with an extended development time, the paper would not get any darker than medium gray.

The second strip was after the addition of some makeup liquid concentrate into the used developer batch. The result is a darker shade of gray, but still mottled and uneven development.

The third test strip is a pure black tone, achieved by using fresh paper developer. It seems pretty clear that the Harman paper requires fresh developer for each session. It will give you much more consistent results.

~Joe

[JoeV]

Okay, so what about using the Harman Direct Positive paper in pinhole cameras? Well, because of its slow sensitivity (my calibrations show an Exposure Index of 1.6), even in direct sunny bright conditions you'll have long exposure times, depending of course upon your pinhole camera's focal ratio.

The first image attached is a daylight scene of the old Aztec Motel sign on Central Avenue in Albuquerque, after they recently tore down the building. Sunny conditions, mid-morning light. The exposure time was over a minute, as I recall. Having a wide angle camera that produces some corner darkening, as in this image, helps the image, I think.

The second image posted is a self portrait under bright daylight conditions but with some high, thin clouds that softened the light somewhat. As a result of the paper's slow speed, the diminished light and the pinhole camera's large focal ratio, the exposure time was around 7 minutes.

So, although using the Harman direct positive paper in pinhole cameras is entirely possible, and results in good images (see the Aztec Motel sign), it can quickly become impractical when the light starts to dim.

~Joe

[cowanw]

As might be suspected however, double dark slide (dds) is distinguished from the single dark slide (sds) of the past.
http://www.earlyphotography.co.uk/site/entry_B13-2.html
and here
http://www.earlyphotography.co.uk/site/entry_B26-1.html

[Maris Rusis]

http://farm6.static.flickr.com/5280/5910612888_551d2c5513_b.jpg
Old-time Photographer

Gelatin-silver photograph on Harman Direct Positive Paper 8x10 exposed in a Tachihara 810HD triple extension field view camer fitted with a Fujinon-W 300mm f5.6 lens.

More on "Old Time Photographer" illustrating the desperate measures invoked to get decent photographs out of Harman Direct Positive Paper.

There is very little picture generating technology involved in "Old-time Photographer" but there is a lot of sneaky subject management and studio wrangling hidden in the back story.

The subject is me in costume as a tatterdemallion photographer. Because Harman Direct Positive is a very short scale material I dressed in grey to avoid empty shadows and hard highlights. Direct Positive is severely orthochromatic so coloured clothing can deliver bad tonal response surprises. Grey garb sidesteps the problem. The tatty T-shirt with the white pattern came out well. I guess the result is "shabby chic" or the next level down from that.

The black beret prevents "chrome dome" glare. The "granny spectacles" are a contrivance to put metallic glints near the eyes. The mid-grey studio backdrop is on the back wall but my other backdrop, a brilliant white, is actually on the studio floor to kick light up and keep luminance ratios under some control.

The main props, camera and tripod, were chosen for the bright metal-work accents. These blow out to featureless white but the areas are small, the eye accepts them, and they liven up the picture.

Exposure was determined by trial and error starting at an assumption of EI = 6. I would make an exposure, walk to the darkroom, and process immediately, and then re-shoot. Development goes to completion in a couple of minutes so I know what adjustments to make for the next shot.

Pre-flashing is the key to taming this recalcitrant material.

I use one of my 4x5 enlargers set to 950mm high, 150mm lens at f16, 150 watt bulb in the lamphouse and 0.8 seconds set on the timer. This delivers an actual pre-flash exposure of about 4 Lux.seconds (if my luxmeter is accurate). Your set-up will surely vary from this but trial and error and persistence always win. After the paper is loaded into the 8x10 holders (dim red safelight) the holder is centred under the "pre-flash" enlarger, the dark-slide pulled, and the 0.8 second blink is given. With the dark-slide back in, the holder is carried up into the studio for trial exposure in the camera.

Pre-flash is a critical quantity. I find results at 0.7 seconds and 0.9 seconds are solidly different from 0.8 seconds. A confounding factor is that a change in pre-flash seems to cause a change in the the effective speed of Direct Positive. The only way through this nest of variables is continued experiment. My first 50 sheets of this expensive material went on exposure and pre-flash tests! Exposure is critical. Even +/- 1/3 stop makes an obvious difference. I've had all my shutters electronically timed (to the third decimal place) and all lens apertures calibrated to avoid bad surprises.

A nasty consequence of pre-flashing is the loss of a proper black tone. The picture edge in "Old-time Photographer" didn't get any pre-flash and it shows a good black but nothing in the picture area actually matches it. That's the trade-off: control contrast but kill black. A partial compensation comes from using fresh, strong paper developer. I actually warm the Dektol 1+2 to get maximum activity. Development goes to completion in about two minutes. Direct Positive is demanding of fixer. I use fresh Hypam 1+4 warmed a bit for 5 minutes.

The orthochromatic response of Direct Positive delivers vile (harsh, ugly, gritty) skin tones but I find that a 2 stop orange filter improves things a lot. The downside is that the effective EI is down to approximately 0.6. Very slow indeed!

Mysteries still unexplored include the effect of illuminants of different colour temperatures. I suspect daylight is not like flash is not like hot tungsten. And I haven't tried to work out the reciprocity characteristics of Direct Positive. It may be that Direct Positive actually gets "faster" with extended exposure times. I just don't know.

[Tom J McDonald]

Maris,
Thanks for all of that.

What is that background material made of?

[Roger Cole]

Wow, makes me wonder what on earth makes the stuff worth all this?

[Jay DeFehr]

Roger,

I was thinking the same thing, then I remembered how long I struggled with APHS Ortho and Kodak Imagelink films. Sometimes a challenge is enough.

[Roger Cole]

Roger,

I was thinking the same thing, then I remembered how long I struggled with APHS Ortho and Kodak Imagelink films. Sometimes a challenge is enough.

Good point. People could ask us the same thing about LF when MF or even digital is good enough for 90% plus of our actual uses (or at least, for mine, I just like shooting LF.)

[Maris Rusis]

Maris,
Thanks for all of that.

What is that background material made of?

7 foot wide white cotton sheeting dyed to approximately 18% grey, The dye job wasn't exactly even but I'm not going to redo it. You should have seen the mess involved in trying to boil and mordant more than a hundred square feet of fabric!

[Maris Rusis]

Wow, makes me wonder what on earth makes the stuff worth all this?

Harman Direct Positive Paper offers a rare opportunity to display camera-original material as a final product.

In aesthetic terms it represents the shortest possible distance between subject and photograph and has a special power and magic because of that. There are philosophical implications about photographic truth, indexicality, absence of manipulation, credibility and trust in the image, and so on. That's going to be the basis of my spiel when (if) I get enough DPP photographs together to mount a gallery scale exhibition.

[bob carnie]

Ok this photo has me confused, I hope I am not crazy here.

But Why isn't the shutter open if this is a self portrait into a mirror?


[QUOTE=Maris Rusis;774485]More on "Old Time Photographer" illustrating the desperate measures invoked to get decent photographs out of Harman Direct Positive Paper.

There is very little picture generating technology involved in "Old-time Photographer" but there is a lot of sneaky subject management and studio wrangling hidden in the back story.

[mdm]

Its very nice in pinhole cameras.

[JoeV]

Harman Direct Positive Paper offers a rare opportunity to display camera-original material as a final product.

In aesthetic terms it represents the shortest possible distance between subject and photograph and has a special power and magic because of that. There are philosophical implications about photographic truth, indexicality, absence of manipulation, credibility and trust in the image, and so on. That's going to be the basis of my spiel when (if) I get enough DPP photographs together to mount a gallery scale exhibition.

Maris, I'm fascinated by your thesis, and look forward to reading more. I appreciate the Harman paper also because it presents an in-camera original photograph with the qualities of a fiber based, double-weight, "gallery quality" print. It's slow photographic speed and one-of-a-kind positive image remind me a lot of wet plate collodion in that respect.

~Joe

[Maris Rusis]

Ok this photo has me confused, I hope I am not crazy here.

But Why isn't the shutter open if this is a self portrait into a mirror?

It's not a mirror portrait, just a studio shot from a Tachihara 810HD 8x10 triple extension field view camera. The only extra gadget involved is an Auto-Knips self timer attached to the cable release of the Fujinon-W 300/5.6 lens on the 8x10 Tachi. The "Old Time Photographer" is posing with a 4x5 Tachihara 45GF on a Manfrotto 390 tripod for "stylish" effect.

[bob carnie]

thanks, I thought I was losing it for a second.

It's not a mirror portrait, just a studio shot from a Tachihara 810HD 8x10 triple extension field view camera. The only extra gadget involved is an Auto-Knips self timer attached to the cable release of the Fujinon-W 300/5.6 lens on the 8x10 Tachi. The "Old Time Photographer" is posing with a 4x5 Tachihara 45GF on a Manfrotto 390 tripod for "stylish" effect.

[CantikFotos]

I guess they're making the paper for their new camera.


Ilford Photo launches 5x4in pinhole camera

A pinhole camera that can record images on 5x4in positive paper will go on sale next month, the owner of the Ilford film brand has confirmed.

The British-made Harman Titan, a prototype of which was shown at the Focus on Imaging show six months ago, will cost £150.

http://www.amateurphotographer.co.uk/news/Ilford_Photo_launches_5x4in_pinhole_camera_news_309687.html

http://www.bjp-online.com/british-journal-of-photography/news/2110197/harman-release-5x4-pinhole-camera

[Steve M Hostetter]

I guess they're making the paper for their new camera.



http://www.amateurphotographer.co.uk/news/Ilford_Photo_launches_5x4in_pinhole_camera_news_309687.html

http://www.bjp-online.com/british-journal-of-photography/news/2110197/harman-release-5x4-pinhole-camera

Notice how the film is loaded? Yep, just like a Hostilux!

[johnielvis]

Here are examples of developer tests using the Harman direct positive paper.

The first set has two test strips. The top one, medium gray, was unexposed paper developed using used paper developer that otherwise produces nice paper negatives using grade 2 paper and an extended development. As you can see, even with an extended development time, the paper would not get any darker than medium gray.

The second strip was after the addition of some makeup liquid concentrate into the used developer batch. The result is a darker shade of gray, but still mottled and uneven development.

The third test strip is a pure black tone, achieved by using fresh paper developer. It seems pretty clear that the Harman paper requires fresh developer for each session. It will give you much more consistent results.

~Joe


I've noticed EXACTLY the SAME thing when I was doing direct positives using regular paper--if I didn't use FRESH developer it didn't get black enough....oh well..I thought that the dir positive paper would save me trouble in that way, but I guess NOT...same trouble...of course you don't have to bleach the dir positive stuff......so that's still a plus....

[JoeV]

A brief session today in bright sunlight, just before noon local sun time. 4x5 Anniversary Speed Graphic with Ektar 127mm lens at F/8. Preflashed Harman direct positive FB paper, exposures 2 and 4 seconds respectively.

~Joe

http://farm7.static.flickr.com/6152/6167237987_4bb8e514a9_b.jpg

http://farm7.static.flickr.com/6153/6167772378_4840c4c34a_b.jpg

[Tom J McDonald]

JoeV, I think the second one is better.
Tom.

[Jimi]

JoeV, if they were taken at noon, the shadows looks strange to me. Are you sure they aren't posted upside down?

[JoeV]

I corrected the orientation of the two images posted above, as per Jimi's suggestion. Not sure why I didn't notice it earlier, but there you go. As a result, the Flickr links are broken, so I'm reposting the newly oriented images in this reply. Couldn't edit my original post.

-----------------------------------------------------------------------------

A brief session today in bright sunlight, just before noon local sun time. 4x5 Anniversary Speed Graphic with Ektar 127mm lens at F/8. Preflashed Harman direct positive FB paper, exposures 2 and 4 seconds respectively.

~Joe

http://farm7.static.flickr.com/6152/6167237987_c812a7e04b_b.jpg

http://farm7.static.flickr.com/6153/6167772378_7bc83fea2c_b.jpg

[JoeV]

Nambe ware bowl with decorative gourd. Harman Direct Positive fiber paper in handmade 8"x10" nested box camera using a 265mm single-element meniscus lens stopped down to 9mm aperture, 4.5 minute exposure under indirect north daylight.

Paper was preflashed and developed with Ilford PQ liquid concentrate diluted 1+15.

~Joe

http://farm7.static.flickr.com/6160/6187325096_f555ca4cc1_b.jpg

[JoeV]

Bottles, Harman Direct Positive fiber paper in handmade 8"x10" nested box camera using a 265mm single-element meniscus lens stopped down to 9mm aperture, 7 minute exposure under indirect north daylight.

Paper preflashed, developed in Ilford PQ liquid concentrate diluted 1+15.

~Joe

http://farm7.static.flickr.com/6167/6187324978_8b05c22f17_b.jpg

[JoeV]

Earlier this week I took a stroll down along Central Avenue, the old Route 66, in Albuquerque, equipped with 4x5 Anniversary Speed Graphic, Ektar 127mm lens and film holders loaded with preflashed Harman Direct Positive fiber paper. Here are some results. Scans from direct positives, spotted in PS.

~Joe

Zia Motor Lodge:
http://farm8.staticflickr.com/7031/6393132653_6440baa520_b.jpg
(Exposure: 2 seconds at F/22)

Fence:
http://farm8.staticflickr.com/7035/6393052257_d679a783f1_b.jpg
(Exposure: 2 seconds at F/22)

Alley Door:
http://farm8.staticflickr.com/7171/6393052667_cee2f52135_b.jpg
(Exposure: 2 seconds at F/22)

Shopping Cart:
http://farm8.staticflickr.com/7011/6393052461_8dbfebb154_b.jpg
(Exposure: 3 seconds at F/11)

[JoeV]

And one more:

Flying Star Cafe:
http://farm8.staticflickr.com/7029/6393132831_13da8da6ef_b.jpg
(Exposure: 2 seconds at F/22)

[Kimberly Anderson]

I have been playing with 'In-camera Monotypes' for a few years now. I have just received two boxes of the direct positive paper and am very excited about it.

Thank you for the pre-testing that you were able to provide Joe. It is very valuable.

We will be using this material as well as regular photographic paper for my daughter's science fair project which will deal with pinhole cameras.

Regarding the pre-flash...is there some scientific way to explain and measure how it decreases contrast? We can do step-wedges to show that it actually *does* decrease contrast, but do we know how and why it works?

This might be that grey area that makes photography more 'art' than 'science', which I'm OK with BTW...

When we get her project done we'll be sure to post a link.

Thanks again!

[JoeV]

@Michael;

There's a bit of science with preflashing. As I understand it, the various exposure stops in the zone system are logarithmic, representing a doubling or halving of the previous or subsequent zone's exposure. The idea of preflashing is to give the paper an additional exposure which, when added to the scene's exposure, increases the exposure of the shadow detail.

Now, the reason why this preflash exposure doesn't also significantly increase the exposure of the highlights can be seen from a simple examination of the various zones. Let's say a preflash exposure raises the shadow detail from zone II to zone III. Between zone III and zone VIII (peak whites) there are five zones of exposure. The amount of preflash exposure added to the shadows will increase the highlight exposure by 1/(2^5), or 1/32 of a stop.

The net effect in this hypothetical example is that a preflash increased the shadow exposure by one whole stop (from zone II to zone III), but only increased the highlight exposure by 1/32 of a stop. This happens because the zonal exposure scale is logarithmic. The preflash exposure is biased toward affecting the shadows more than the highlights. You'd hardly notice the extra 1/32 of a stop exposure to the highlights; thus, the effect is to reduce contrast overall.

I hope this explanation helps with your daughter's science project. Keep us informed of her progress, I'd be interested in how it turns out.

~Joe

[Kimberly Anderson]

Sweet info Joe. Awesome.

Then that would explain how the pre-flash works in the opposite direction when using traditional printing paper to add exposure to the shadows on the negative and toning 'down' the highlights? Then the opposite is true for making the 'positive', we pre-flash to add density to the shadow areas there as well correct?

This is making my head hurt...thanks for doing all the hard work.

[Kimberly Anderson]

Reciprocity failure is the first part of my daughters project. Color sensitivity is the second.

I don't anticipate any problems with loading it into an 8x10 holder. It's never been an issue in the past with any other of Ilford's 8x10 paper that I've shot in-camera.

[bracan]

First attempts with unflashed Harman Direct Positive paper rated 3 Iso, in fact it is 1,5 Iso. Next time...For portraits also please use orange filter which I didnt:(
Excuse me because of dust all over, dont have a time to remove.
75054
75055

Sinar P 8x10, Rodenstock Sironar 300mm f5.6 wide open, homongous amount of flash light, developed in Ilford Multigrade 1+9, fixed in Ilford Rapid Fix 1+4.

More tests to do.

[Rain Dance]

Harman 4x5, exposed at I think 2 seconds, no filter, unflashed.

http://farm8.staticflickr.com/7087/7173295785_e9ffe2358c_b.jpg

[JoeV]

Bracan: those are nice portraits. How much flash power did you end up using?

Ranie: nice landscape, though the shadows are a bit harsh, but it shows what this paper is capable of when used straight.

Looking forward to seeing more, and reminds me that I need to do more myself.

[bracan]

JoeV: Thanks!
There is two Bowens generators maxed out, 3000ws and 2400 ws maxed out with wafers 100x140 from left and One umbrella above the camera of 500ws also maxed out...
F number was 11, but need more lights because of bellows extension:(

[bracan]

Setup for portraits.
75167
75168
75169

[megapickle1]

@JoeV
Presume, I have no enlarger to preflash the Paper. Can I do it with natural light (window) or a flash (softbox) in the filmholder using the camera. Let´s say for an 8x10 with 12" lens at f5,6. How long should the preflash-time be? 1/2 sec., shorter, longer? O.K. with window light it depends what daytime and which season.

George

[bracan]

More Harman DPPs!

75259

75260

75261

[JoeV]

Some still life's done yesterday with Speed Graphic and a 150mm binocular lens stopped down to 20mm aperture. Preflashed Harman FB direct positive paper, 45-60 second exposures under indirect north-facing daylight.

http://farm9.staticflickr.com/8155/7369679618_3dd90fc874_b.jpg (http://www.flickr.com/photos/31285363@N07/7369679618/)
Hat001a (http://www.flickr.com/photos/31285363@N07/7369679618/) by jvcabacus (http://www.flickr.com/people/31285363@N07/), on Flickr

http://farm8.staticflickr.com/7102/7369679344_29d0890f4d_b.jpg (http://www.flickr.com/photos/31285363@N07/7369679344/)
Pig001a (http://www.flickr.com/photos/31285363@N07/7369679344/) by jvcabacus (http://www.flickr.com/people/31285363@N07/), on Flickr

http://farm9.staticflickr.com/8006/7369679416_4028279735_b.jpg (http://www.flickr.com/photos/31285363@N07/7369679416/)
Candle001 (http://www.flickr.com/photos/31285363@N07/7369679416/) by jvcabacus (http://www.flickr.com/people/31285363@N07/), on Flickr

[JoeV]

@JoeV
Presume, I have no enlarger to preflash the Paper. Can I do it with natural light (window) or a flash (softbox) in the filmholder using the camera. Let´s say for an 8x10 with 12" lens at f5,6. How long should the preflash-time be? 1/2 sec., shorter, longer? O.K. with window light it depends what daytime and which season.

George

I can't give you exact data, but with an enlarger lens set to f/32 it required less than a 1 second exposure. But I found for more accurate control of the preflashed exposure I needed a much dimmer light source, permitting longer exposure times that can be more accurately timed. So I fashioned a light source from a 7.5 watt, frosted white "night light" bulb, housed in a light-tight enclosure with a 1/4" aperture, suspended 30 inches above the work table in my darkroom. With this setup, my typical preflashed times for Harman DPP are 3.5 seconds.

-Joe

[bracan]

Excellent images JoeV!!!!

[bracan]

75349

75350

75352

[megapickle1]

@JoeV

Thank you a lot. If I´ve made my maths correct this would mean 7,5 Watt at f 45 (with my 300mm lens) for 3,5 sec. equal to 250 Watt (Softbox with Nitraphot) at f45 for about 1/10 sec. Is my presumption right if I think that a pre-flash-time of 1/15 would be O.K.? How does the DPP behave if the pre-flash-time is too long or too short? If too short, maybe the dark areas would be structured enough. If too long, there would be a fogging effect?
Sorry for bothering you, but this matter is too interesting for an unexperienced LF photographer like me.
George

[JoeV]

I'm not aware of any reciprocity failure with Harman DPP when doing short duration pre-flashes, because I have not done any. The paper is so new that we are all pioneers in learning to use it. My advice is to make some test shots of the same scene, with and without pre-flashing, and see what you get. Shoot 4x5s if it gets too expensive to do tests with larger format sheets. Or cut strips and tape them into your film holders.

If you can relate your normal exposures to zone V of the zone system, try to target a preflash time that is around zone I or II, which would be 3 or 4 stops below your normal exposure. Start there, then make adjustments until you like the results.

Too little pre-flash and the image is high contrast with dense shadows devoid of detail. Too much pre-flash and the image is washed out and over exposed.

But if you are lighting your still life and portraits with fancy lighting setups, why pre-flash at all? It is really useful for scenic photography where you cannot control the quality of the light. But in the studio, everything can be controlled, including the quality of the light.

-Joe

[wentbackward]

More Harman DPPs!

75259

75260

75261

Did you use and orange filter on any of these portraits? I actually quite like the skin tones! Is there something much worse that cannot be seen in the smaller online images?

[Kimberly Anderson]

There is no reciprocity failure with the paper. We did linear exposures up to 4 hours long and all were exposed correctly. It was amazing for us to discover virtually no reciprocity failure.

[bracan]

Did you use and orange filter on any of these portraits? I actually quite like the skin tones! Is there something much worse that cannot be seen in the smaller online images?


I did not use any filter.
I was thinking about before first DPP portrait, but I quite like a lot like this!

[wentbackward]

bracan ... That's great!! I feel my long term want for an 8x10 coming closer!

[bracan]

Go for it wentbackward!

Here is more:)

75631

75632

75633

[JoeV]

Okay, a few more still life subjects. Preflashed 4x5 Harman DPP. Indirect north-facing daylight. Speed Graphic, 150mm binocular lens stopped down to 20mm aperture.

~Joe

Toy Airship:
http://farm8.staticflickr.com/7238/7403936956_e024911383_b.jpg (http://www.flickr.com/photos/31285363@N07/7403936956/)
Zepp001a (http://www.flickr.com/photos/31285363@N07/7403936956/) by jvcabacus (http://www.flickr.com/people/31285363@N07/), on Flickr

Dollar:
http://farm9.staticflickr.com/8155/7403937200_f64d5216ee_b.jpg (http://www.flickr.com/photos/31285363@N07/7403937200/)
Dollar001a (http://www.flickr.com/photos/31285363@N07/7403937200/) by jvcabacus (http://www.flickr.com/people/31285363@N07/), on Flickr

Snap Hook:
http://farm9.staticflickr.com/8142/7403936726_63ec009269_b.jpg (http://www.flickr.com/photos/31285363@N07/7403936726/)
Reese Snap Hook001a (http://www.flickr.com/photos/31285363@N07/7403936726/) by jvcabacus (http://www.flickr.com/people/31285363@N07/), on Flickr

[megapickle1]

Fantastic!
I have to try this process.

George

[bracan]

Fantastic JoeV!!!

[bracan]

Few more:)

75972

75973

75974

[jcoldslabs]

Few more:)

Great stuff!

Jonathan

[bracan]

Great stuff!

Jonathan

Thank you very much Jonathan.

[bracan]

...and few more:)

76099

76100

[jacobby]

Results from my first box of direct positive paper. Love the contrast so much!

http://farm8.staticflickr.com/7116/7447308078_c4751502ac_c.jpg (http://www.flickr.com/photos/27940083@N06/7447308078/)
Direct Positive Paper (http://www.flickr.com/photos/27940083@N06/7447308078/) by ==--== (http://www.flickr.com/people/27940083@N06/), on Flickr

http://farm9.staticflickr.com/8027/7447308578_52989a80c6.jpg (http://www.flickr.com/photos/27940083@N06/7447308578/)
Direct Positive Paper (http://www.flickr.com/photos/27940083@N06/7447308578/) by ==--== (http://www.flickr.com/people/27940083@N06/), on Flickr

http://farm9.staticflickr.com/8009/7447309086_caac8fa379.jpg (http://www.flickr.com/photos/27940083@N06/7447309086/)
Direct Positive Paper (http://www.flickr.com/photos/27940083@N06/7447309086/) by ==--== (http://www.flickr.com/people/27940083@N06/), on Flickr

http://farm9.staticflickr.com/8005/7447307614_b3b020f298.jpg (http://www.flickr.com/photos/27940083@N06/7447307614/)
Direct Positive Paper (http://www.flickr.com/photos/27940083@N06/7447307614/) by ==--== (http://www.flickr.com/people/27940083@N06/), on Flickr

[bracan]

Just go for it Jacobby!

[megapickle1]

Hi all dpp users!
I´m just trying to load my ds with harmann dpp. What side is the emulsion-side? The glossy (sticky) one or the silky smooth one?
The paper makes an "arch" a "bow" when the "sticky" or "glossy" side points down. Can you help me?

George

[muffin]

It bows towards the emulsion side. Better use test strips to verify :)

[bracan]

The glossy, sticky side is emulsion side. You cant miss!

[megapickle1]

Thanks bracan! That is a clear answer!

Some poeple here told me recently, I have to lick the surface and where I´ll taste some chemicals there is the emulsion side. Well, that´s another way to find it out. I have only asked my stupid question because I do not want to waste two sheets of paper and the development chemicals too.
Thank you for answering!
George

[premortho]

Lick your lips, dry them with the back of your hand. Stick the very edge of the film between your lips. The emulsion side will stick more to your lip than the other side. 1/4 inch is sufficient.
Thanks bracan! That is a clear answer!

Some poeple here told me recently, I have to lick the surface and where I´ll taste some chemicals there is the emulsion side. Well, that´s another way to find it out. I have only asked my stupid question because I do not want to waste two sheets of paper and the development chemicals too.
Thank you for answering!
George

[wentbackward]

It seems Ilford are not making anymore for the time being whilst they work out some production issues :(

[Luke79]

greetings to all, can someone tell me how the preflash works and how it has to be done, on thoses papers, in order to get better contrast

[bracan]

It seems Ilford are not making anymore for the time being whilst they work out some production issues :(

Where you get that info?
I cant find on Ilford Harman site.

[wentbackward]

I guess it's ok to post this reply from them to me.



We have encountered technical problems coating the HARMAN DIRECT POSITIVE RC paper. The result of this is that we cannot release the product to end users and as a consequence the product is now out of stock. At this point, whilst our R&D team work on the problem, we are unable to advise when the product will become available.

[bracan]

I guess it's ok to post this reply from them to me.

Phuh, anyway my choice always is FB Harman DPP:)
Dont like RC...

[wentbackward]

ok, I'll email them again and see if FB is available.

[wentbackward]

ok, can clarify it's only RC that has gone back to the drawing board. Have placed my order for FB now.

[bracan]

My five boxes of 8x10 FB Harman DPP is on there way from London to Belgrade, Serbia:)

[Luke79]

Whats the difference between RC and fb

[bracan]

RC papers is Resin (poliester) coated paper with thinner emulsion then Fiber based or Baryt papers. Many differences, RC gave plastic looking, but FB give better tonal range and you can toned FB easy.

[bracan]

Few more...

77691 77692

[Luke79]

thank you very much bracan , great!

[wentbackward]

bracan, much prefer the back lighting on the latest ones!

4 boxes on the way to me in HK. I already have an 8x10 with 3 holders. One of my 4x5 lenses can cover. The suspense is building!

[bracan]

Great news!!! My five boxes is arive:)
Be careful with fresh mixed developer, first 6-8 photographs are too contrasty. Best results will get with medium used developer!
What lens you will use?

[bracan]

From yesterday, fresh developer:(

77809 77810 77811 77812

[bracan]

77886

[wentbackward]

That last one is amazing Bracan!

I had my first attempt today, but underexposed it as my meter can't go low enough and I forgot to double the exposure times! Gah! Night time now, so will try again tomorrow. It looks much more than 1 stop under though. I didn't pre-flash.

Something interesting is that I processed two sheets using a Paterson Orbital print processor, That way I can process even my darkroom is not set up at the moment. I used 25ml of Ilford Multigrade per sheet. 9+1 for 5 mins and achieved a decent black. Tomorrow will try less, I hope to get down to 125ml of fluid in total for a 1-shot process.

My lens is a 250/4.8 Docter and I'm shooting some still life, wide open for now.

[Luke79]

bracan these are great ones,

wentbackward, can you tell me which chemicals you use / developer/ fixer , are you using RC or FB Papers?

[wentbackward]

Had another go today, man the contrast on this paper is fierce! Will definitely need to pre-flash the next ones. Although nothing I'm going to post image-wise, the good news is this:

So using FB paper, 250ml of Ilford Multigrade Developer for 2 sheets. That means 25ml of developer and topped up with water. I'm using the Ilford Rapid Fixer, same amounts. Develop in the Paterson Orbital for 5 mins @ 20'C. 1 Min water stop (~200ml) 3 mins fix. Everything is 1-shot. I just dump the chemicals when done. I'm seeing very high contrast but really good blacks even with only 125ml of diluted developer. I do 3 mins of washing and change the water 3 times.

Even I was using a fill card on the still life, it was far too contrasty for the paper. I think I need to bring the scene with about 4 or 5 stops of contrast in it, use a pre-flash and try again. Perhaps next weekend now. Have just changed the battery in my spot meter as previously was using an incident meter. More control of contrast required (obviously within the scene, nothing chemicals can do here).

I don't believe my process is affecting the contrast, it's carefully controlled temperature-wise.

-Paul

[Luke79]

Thank you very much Paul for the explanation

[bracan]

Thanks Paul on info!
Like I told you, fresh developer will explode the contrast, but after 7-8 FB papers will give some tones:) I mean on Multigrade developer 250ml 1+9, maybe you can try to dilute like, 1+14.
Anyway, like you already notice, developing cant stop even in the Rapid fixer and I use Ilfostop before fixer...weird....
Also, you must try preflash, which I dont...too many things to get tone which I get on regular photo paper...
Just go ahead!!!

[wentbackward]

Ok, finally got this down. Here's my development process: 125ml of Ilford Multigrade (9+1), 5 mins @ 20'C, constant agitation in a Paterson Orbital. 1-shot process. 200ml water stop, 1 min. 125ml Ilford fixer, 3 mins, 1-shot. I know I could re-use the fixer but the heat here, I prefer the knowledge that everything is perfect.

I wanted to get the pre-flash working in the field. That way I can select where to put the toe of the curve, thus all decisions are made on location at point of capture.

After a lot of pain here's the simple explanation:

I meter through a tissue or off a grey card. ISO 6, I get my reading for Zone V and then set the exposure for zone VII to zone VIII. VII is more contrasty, VIII almost no blacks. I then pre-flash through the tissue/off the grey card. That's with my sekonic spot meter and obviously unique to my development process/water supply/ambient temp etc, etc.

Now the paper is about ISO 6. I expose as normal. I got some really weird light leaks. I'm using a lens which I am unfamiliar with. I think the shutter has some problems. I metered and pre-flashed to Zone VII 1/2. I then exposed the scene putting the dark part of the foreground rocks on Zone III and the boat fell on Zone VI.

http://www.wentbackward.com/img/s1/v57/p128217512-6.jpg

Sorry for the poor image, I couldn't scan and had to capture it with my digital camera. I've tried to keep the contrast etc true to the original. In case you want to look at the image more closely, you can download a bigger file from my website (http://www.wentbackward.com/img/s1/v57/p128217512.jpg).

- Paul

[bracan]

Excellent image Paul!
Too much metering for my taste, but..:)
Interesting that you have 6 iso with preflashing.

[tenderobject]

Very interesting discussion here. Too bad i didn't able to get dpp before i live in manila. Was very interested on playing with this. Maybe next time.. I enjoyed the discussion here. Keep us posted!

[Galorette]

This thread is so wonderful - I love seeing the work you are able to do in this medium -- such astonishingly bold portraits, sharp still-life studies, and beautiful landscapes!
I'm brand new to large format & am using direct positive paper as I learn my way around my 4x5 Speed Graphic. I love being able to take it inside and get instant results. Here's something I was playing with yesterday, f22 for 12 seconds.
79310

[bracan]

Beautiful autoportrait Galorette!
Just keep rollin with Harman!

[Nathan67]

Great thread this, Bracans portraits are particularly inspiring , that being my main area of work... And being a sucker for high contrast back and white...

While on holiday in the UK I managed to get one pack of 4x5 and 5x7 but no 8x10.... Been trying it out a little and found out pretty quickly that it would seem my safelight is not safe with this paper (teach me not to read the manual) ha ha...
Next problem has been getting hold of the stuff... Can't seem to find it in Norway... But its back in stock at b&h so I just ordered a whole bunch! :)
Now I just need to find the time between all the digital work for some anologue play!
In the meantime bracan, keep posting those wonderful portraits, cant get enough of them!

[wentbackward]

Next problem has been getting hold of the stuff... Can't seem to find it in Norway... But its back in stock at b&h so I just ordered a whole bunch! :)
Nathan, You can order direct from Ilford in the UK. The Harman Express Website (http://harmanexpress.com/).



79310

That's beautiful Galorette ... Alice through the looking glass! I love the way the image in the mirror looks as though it was taken in a different world.

[Nathan67]

Nathan, You can order direct from Ilford in the UK. [URL="http://harmanexpress.com/"]The Harman Express Website[/.

Thanks, will remember that for next time,,. Got 75 sheets of 8x10 , 100 5x7 and 50 4x5 on its way from b&h right now.... Looking forward to portraits with this paper!

[gambaphoto]

I posted this last week in "lenses & lens access." thread and have had some great help but now I'm onto the test shooting phase so I would like to transfer the questions over to here for some help if I may. Below is the original post and after that is the latest update. Thank you again for all your help.


I have this project in mind to use Harman Direct Positive paper to shoot portraits hopefully using a 16x20 camera that I yet to find or make. I am starting small first, testing out the idea on my Crown Graphics 2x3 cutting some 4x5 paper to fit so I should have plenty of test for very little cost. If it works the way I am planning, I would really like to put the 16x20 plan into effect. I have never shot anything larger then 8x10 so when it comes to lenses I am out of my knowledge base so I am hoping you could help shine some light. The framing I am looking for in these portraits is that of using a 35mm to 50mm lens on 35mm format. My subject will I think be as close as 10 to 20 feet from the camera to get that full standing to 3/4 shot with a shallow depth of field. I think I am looking for a 600mm 24 inch lens but what about 500mm or 480mm? It seems that its not just the mm/inch of the lens but rather more importantly the image circle it provides. I would think that with my subject at close range and the front standard being farther away (2 feet?) I should gain some image circle diameter? Again I have no plans on making this lens focus to infinity and I would like to keep that aperture under f16. Any thoughts, information and or help that you could pass my way will be greatly appreciated. And yes I am aware this like a lazy/poor man's wet plate, thats the idea. little steps.
thanks
Paul



Thanks again for all your help everyone. I did get a chance this weekend to do my first test using my 2x3. Well I learned that I completely fogged all my paper in the darkroom cutting down the 4x5 sheets to 2x3. The exposures here barely visible. At first I thought it was the developer being off temp, so I warmed it back up to temp and tried the second exposure and the same result. I then tried a sheet of uncut paper that although was out while I was cutting the others was in the middle of the stack and there it was complete black. So then I very quickly took another sheet from the stack and tried to cut it again in almost no light at all (using a kodak safe light but I think the bulb is to bright) and ran out side and tried again. This time the exposure showed itself within 30 seconds but seemed underexposed and then I think quickly became over developed. And the second exposure seemed to be fogged again but no nearly as bad as the first ones. in fact this one was the closest to what I expected and I think shows that this paper needs to be pre flashed. I handheld ambient metered for direct bright sun light on the face at f16 1/15sec at iso12 and opened 2 stops to correct for iso3 rating on the paper so the final exposure was actually f8 1/10sec and I think I was still dark about 2 stops before I over developed it. I didn't correct for any reciprocity because the this was only a 2x3 crown graphix and the bellows was typical at only 5 inches but maybe I should? So I'll order a new box of paper and try again. I think I might only load one side of the film holder to make sure I'm not getting any fogging from the first exposure and I'll find a way to cut this paper in complete darkness (good luck with that). I think I close. I'm a bit deflated but I'm ready to try again.

[premortho]

Well, I would make a suggestion or two...I presume you are using the normal length lens on the 2.25X3.25 Graphic. 4 to 4.5 inches or 100 to 110 mm. I think you should start with normal photo paper of the same brand, ie Ilford, to get your negs at the density you want, adjusting the asa until you get the exposure you want. I use Dectol plate, film and paper developer. I dilute the box mix of 2 to 1 by 12 which gives a real dilution of 24 to 1. Develope under a dim red safelight until it looks a little over-developed. pull it out and look through the back at the safelight for a few seconds for detail in the shadows (the light part of the neg). If it is developed enough, rinse, fix and rinse thoroughly, let dry, and contact print normally to see if exposure is correct. You have checked the shutter speeds you are using, I presume. If 1/10 is not correct, place shutter on bulb and try opening, say click-ah and close shutter. Once you are getting consistant results, then try Harman paper at one asa number slower, one the same and one faster, using shutter speeds. I suggest paper negs first as these are much cheaper than Direct Positive paper. If you liked the 8X10 drawing you are getting with a 12 inch lens, try the same formula on your new one, ie the long side of the neg +45% of the short side to get an equivilent drawing. 27 or so inch lens. Your fogging problems could be a too bright safe light, or not red enough or both.
I posted this last week in "lenses & lens access." thread and have had some great help but now I'm onto the test shooting phase so I would like to transfer the questions over to here for some help if I may. Below is the original post and after that is the latest update. Thank you again for all your help.





Thanks again for all your help everyone. I did get a chance this weekend to do my first test using my 2x3. Well I learned that I completely fogged all my paper in the darkroom cutting down the 4x5 sheets to 2x3. The exposures here barely visible. At first I thought it was the developer being off temp, so I warmed it back up to temp and tried the second exposure and the same result. I then tried a sheet of uncut paper that although was out while I was cutting the others was in the middle of the stack and there it was complete black. So then I very quickly took another sheet from the stack and tried to cut it again in almost no light at all (using a kodak safe light but I think the bulb is to bright) and ran out side and tried again. This time the exposure showed itself within 30 seconds but seemed underexposed and then I think quickly became over developed. And the second exposure seemed to be fogged again but no nearly as bad as the first ones. in fact this one was the closest to what I expected and I think shows that this paper needs to be pre flashed. I handheld ambient metered for direct bright sun light on the face at f16 1/15sec at iso12 and opened 2 stops to correct for iso3 rating on the paper so the final exposure was actually f8 1/10sec and I think I was still dark about 2 stops before I over developed it. I didn't correct for any reciprocity because the this was only a 2x3 crown graphix and the bellows was typical at only 5 inches but maybe I should? So I'll order a new box of paper and try again. I think I might only load one side of the film holder to make sure I'm not getting any fogging from the first exposure and I'll find a way to cut this paper in complete darkness (good luck with that). I think I close. I'm a bit deflated but I'm ready to try again.

[premortho]

I should have added that it won't take long for you to read a neg for exposure, then you don't have to do a contact print

[wentbackward]

Dear @gambaphoto, Please keep trying, but I strongly suggest a need to slow down and read carefully through the information from the Ilford website, it's really important, don't rush things. It says in the doc I have that it is only suitable up to 11 x 14, quite far from 20 x 16 you desire.

For developing in particular you really need to read page 7.

- Specific recommendations for a safelight (noted 4 times, plus I recall someone noted fogging on this thread). Ilfords doc has this on pages 1,2,4 & 6!
- I don't think you can over develop the paper in 30s, I process mine for 4-5 mins in a tank that I cannot see anything. The docs say the paper needs to be well-developed for best results (p 7). Don't worry about this for now, you should still have a good image after 3 to 5 mins in a properly diluted developer.
- Your processing might render the paper more or less than ISO 3, so you need to carry out some kind of calibration/testing (i.e. pull the darkslide out 1" at a time) and well develop that sheet. Those steps will tell you what your ISO is.
- This paper is extremely contrasty in fresh developer with no pre-flash. Bracan has mentioned above it and confirmed by my findings also.
- No reciprocity from findings of other users here, do not worry about this.
- Bellows factor has no direct bearing on reciprocity. Focus on something 10 feet away for your tests and you'll be fine.
- Overexposure should in theory turn everything white, but I've had one possible instance (and was reported on the flickr group I think) that others suspect it may go black again. f8 @ 1/10s, I would have thought would render something ... do the calibration step and you'll know for sure.

- Paul

[gambaphoto]

Thank you premortho and wentbackward

Here are the first prints. they were all exposed the same in camera 1/10 @f8. take1 is clearly fogged. take2 clearly fogged but I left it in the fix while I racked my brain for what was going wrong. take3 was fogged but not as much, take4 is underexposed.
80317803188031980320

[gambaphoto]

80409804108041180412

[premortho]

Perhaps you have a shutter problem...although 1/10 of a second is faster than my experience indicates is correct. Try loading 4 sheets and expose at 1/10, 1/5 (or 1/4) 1/2 and one second, and see what you get.
80409804108041180412

[fecaleagle]

Are you guys and girls all buying FB Glossy, because I can't seem to find Luster anywhere to save my life right about now... Any opinions on the FB Glossy? I do prefer fiber-based to resin-coated, but I don't know if I'm brave enough to buy the glossy unseen.

Thanks,
William

[premortho]

Call me a chicken, if you want. But I'm afraid of the light scattering off of the glossy film effecting contrast. So I'll wait until I can get aduller finished emulsion.
Are you guys and girls all buying FB Glossy, because I can't seem to find Luster anywhere to save my life right about now... Any opinions on the FB Glossy? I do prefer fiber-based to resin-coated, but I don't know if I'm brave enough to buy the glossy unseen.

Thanks,
William

[Kav]

So yesterday I was invited to an art walk as one of the artists. I was going to be the only photographer, and I wanted to make photos but do it fast enough to keep the interest of people milling about. So I shot portraits with my 4x5 Speed Graphic and developed them on the spot. For the most part they turned out pretty good for exposures working there way to the 15 second mark as the sun was setting. The reception was better then I expected. I got word that people were telling there friends to "go see the guy making photos at the end of the street. I didn't pre-flash the paper or use any filters. In the very limited testing I was able to do it seems like my batch was about ISO 1.5.

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-rWzGdwV/0/XL/Portrait-10-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-27rqzHD/0/XL/Portrait-3-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-pqncVTC/0/XL/Portrait-6-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-zGxBNrr/0/XL/Portrait-7-XL.jpg

[premortho]

Very nice!
So yesterday I was invited to an art walk as one of the artists. I was going to be the only photographer, and I wanted to make photos but do it fast enough to keep the interest of people milling about. So I shot portraits with my 4x5 Speed Graphic and developed them on the spot. For the most part they turned out pretty good for exposures working there way to the 15 second mark as the sun was setting. The reception was better then I expected. I got word that people were telling there friends to "go see the guy making photos at the end of the street. I didn't pre-flash the paper or use any filters. In the very limited testing I was able to do it seems like my batch was about ISO 1.5.

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-rWzGdwV/0/XL/Portrait-10-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-27rqzHD/0/XL/Portrait-3-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-pqncVTC/0/XL/Portrait-6-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-zGxBNrr/0/XL/Portrait-7-XL.jpg

[Kav]

Very nice!

Thanks, it was a lot of fun to do.

Here's a one of the test photos:
http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-Dq4GHdq/0/XL/Portrait-12-XL.jpg
Speed Graphic
90mm f6.8 @ f 45
Two hour exposure

[jcoldslabs]

Two hour exposure.

Wow! Makes my recent twenty minute exposure on aerial film (E.I. 1.5) seem like a piece of cake.

I miss my F3HP with MD-4. Not that I shoot much 35mm anymore, but nostalgic gear lust dies hard....

Jonathan

[Galorette]

These are very cool, Kav! What was your mobile darkroom setup?

[Kav]

Wow! Makes my recent twenty minute exposure on aerial film (E.I. 1.5) seem like a piece of cake.

I miss my F3HP with MD-4. Not that I shoot much 35mm anymore, but nostalgic gear lust dies hard....

Jonathan

It was a ridiculously long exposure, but my math worked out pretty good. If anything its a just touch over exposed. Maybe 15 minutes too many.

I like the F3, it is a back up for my F4, but it gets more comments. People seem to like it quite a bit. I feel it has more of the allure of a camera then the F4. The F3 was the last camera that at first glance can not be mistaken for a digital camera.


These are very cool, Kav! What was your mobile darkroom setup?

I used a 20x24 changing bag, a Yankee daylight tank and three trays set up on the tail gate of my Bronco. One for the developer, one for the fixer, and one for a water bath. I used the trays so I could quickly pour the chemicals in and out of the tank with out fussing with funnels. One thing I may do different is have a bucket with water to wash the daylight tank out after each use. It retains drops of fixer and I'm sure that's causing the white spots on the paper. They do kind of add to the photo some times, so maybe I will keep doing it the same way. To display them I just stuck them on the side window of the Bronco. It made for easy eye level viewing, and forced them to all dry pretty much flat. The crowd got a kick out of the presentation on the windows. Lots of cell phone digital snaps of that. The paper needed a longer time washing then I could give it there so I kept all of them. I explained this to all of my sitters and every one was cool with it. I took down the emails of everyone that got a portrait done and emailed them digital copies of them.

I was asked by a local tattoo artist if I would be willing to photograph him and his tattoos in the same manner. I also had an elderly woman ask me if I could print some of her mother's old glass plate negatives. I said yes to both and am reallying looking forward to working with the glass plates.

I've been asked to do it again in november, but may not be around. But I may just set up some random weekend and see who I can get to sit down for a portrait.

Here's another one:
http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Sept/i-4Gkkm9m/0/XL/Portrait-1-XL.jpg
Sisters

[fecaleagle]

Well, I just heard back from Harman Technologies... RC is now discontinued.



Due to ongoing technical problems with the RC emulsion the HARMAN DIRECT POSITIVE RC papers are now discontinued.
The FB product will continue to be available but only in a Glossy surface.


:(

[Ivan Boiko]

Hello everybody,
Recently I started to work with 11x14 on positive paper and here is one of the first portraits81687

[jcoldslabs]

Hello everybody,
Recently I started to work with 11x14 on positive paper and here is one of the first portraits81687

Very moody. I like it.

Jonathan

[Emmanuel BIGLER]

Harman At the Photokina (Sep. 2012)

Direct-positive paper by Harman / IMAGO 1:1

And a gentle reminder that the é Harman / Ilford en 5x4 pinhole camera is available (http://www.flickr.com/photos/43175600@N00/8056688564/sizes/l/in/photostream/)
Too bad, this is not the IMAGO 1:1 camera operated by Susanna Kraus ... (http://www.flickr.com/photos/43175600@N00/8056688710/sizes/l/in/photostream/)
... whose images look like this, portraits at 1:1 ratio on direct positive paper (http://www.flickr.com/photos/43175600@N00/8056689578/sizes/l/in/photostream/)

[bracan]

Beautiful.


Hello everybody,
Recently I started to work with 11x14 on positive paper and here is one of the first portraits81687

[bracan]

Harman Direct Positive paper unflashed rated 1,5 iso. Developed in Ilford Multigrade developer for 3 min. Taken with Sinar P 8x10 and Schneider 300mm f5,6 Sironar wide open.

http://farm9.staticflickr.com/8204/8233865977_d035baa48b_c.jpg

http://farm9.staticflickr.com/8197/8233866117_07de3229d0_c.jpg

http://farm9.staticflickr.com/8480/8233866259_ac301bf429_c.jpg

http://farm9.staticflickr.com/8338/8234930174_b10b5316f0_c.jpg

[jon.oman]

I like them! Good work....

[Fourtoes]

Love those portraits. I've got a box of this in a drawer in the studio. Might just give it a go.

[megapickle1]

Hallo bracan!

These are very nice protraits on DPP. What kind of light did you used? Strobes? If so, how many times you have let pop them?
George

[Holdenrichards]

Harman Direct Positive paper unflashed rated 1,5 iso. Developed in Ilford Multigrade developer for 3 min. Taken with Sinar P 8x10 and Schneider 300mm f5,6 Sironar wide open.


Excellent work!

[bracan]

Hallo bracan!

These are very nice protraits on DPP. What kind of light did you used? Strobes? If so, how many times you have let pop them?
George

Tnx everybody!

@megapickle: I use just one strobe pop, but from two 3000ws generators on full power and two 500ws monoblocks also on full power.

[jcoldslabs]

Harman Direct Positive paper unflashed rated 1,5 iso. Developed in Ilford Multigrade developer for 3 min. Taken with Sinar P 8x10 and Schneider 300mm f5,6 Sironar wide open.

Fantastic portraits! I especially like the third one.

Jonathan

[ScottPhotoCo]

Here are a couple of tests and images of mine. I like this stuff!

http://farm9.staticflickr.com/8327/8139312279_7c0ac35346_c.jpg (http://www.flickr.com/photos/themdidit/8139312279/)
Hat_LightTest_HPP_1012 (http://www.flickr.com/photos/themdidit/8139312279/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

http://farm9.staticflickr.com/8330/8124157459_6f250b9b1a_c.jpg (http://www.flickr.com/photos/themdidit/8124157459/)
Hot_Rod_Reunion_2012-23_WM (http://www.flickr.com/photos/themdidit/8124157459/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

http://farm9.staticflickr.com/8046/8124157291_edb0840d1d_c.jpg (http://www.flickr.com/photos/themdidit/8124157291/)
Hot_Rod_Reunion_2012-25_WM (http://www.flickr.com/photos/themdidit/8124157291/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

http://farm9.staticflickr.com/8467/8124173258_5d456596e7_c.jpg (http://www.flickr.com/photos/themdidit/8124173258/)
Hot_Rod_Reunion_2012-3_WM (http://www.flickr.com/photos/themdidit/8124173258/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

All images developed in Ilford Multigrade. Unflashed.

Tim
www.ScottPhoto.co

[bracan]

Keep rollin Scott!!!

[stradibarrius]

WOW Bracan, those are some great portraits! I really like the second one and the detail in the guys beard with the use of DOF.

[bracan]

Thank you Stradibarrius!

[Roger Cole]

They are really good. If I had an 8x10 I'd get some of this stuff. I've shot a few paper negatives in 4x5 and that was fun and easy. This stuff looks better, but 4x5 is just too darned small and the only way to practically enlarge is via scanning. That's ok, but a direct 8x10 right out of the camera has a big appeal for me.

[premortho]

Roger, I think both Edward Weston and my grandfather would agree with you. Edward Weston's famous photos were all contact 8X10 prints...and my grandfather presented me with his 4X5 Speed Graphic in 1947, saying "the only great print is a contact print, and the smallest decent print is 5X7, so take my old camera, I've just gotten a 5X7 Speed Graphic, and this one is superfulous to my needs".
They are really good. If I had an 8x10 I'd get some of this stuff. I've shot a few paper negatives in 4x5 and that was fun and easy. This stuff looks better, but 4x5 is just too darned small and the only way to practically enlarge is via scanning. That's ok, but a direct 8x10 right out of the camera has a big appeal for me.

[premortho]

Not to take anything away from the photogrpher, but you can do this too. Virtually all paper is orthochromatic, and orthochromatic film is famous for this kind of detail (and sharpness) for two reasons. It is much more sensitive to the ultra-violet, violet, and blue end of the spectrum...what used to be called actinic light. It is somewhat sensitive to green, but not sensitive to red at all. The sharpness issue may also be attribeted to the lack of a red dye in the emulsion. The more dyes in the emulsion, the less sharpness it seems to have. Now Bracan's lighting and posing and exposures are his signature, and much harder to emulate.
WOW Bracan, those are some great portraits! I really like the second one and the detail in the guys beard with the use of DOF.

[Roger Cole]

Roger, I think both Edward Weston and my grandfather would agree with you. Edward Weston's famous photos were all contact 8X10 prints...and my grandfather presented me with his 4X5 Speed Graphic in 1947, saying "the only great print is a contact print, and the smallest decent print is 5X7, so take my old camera, I've just gotten a 5X7 Speed Graphic, and this one is superfulous to my needs".

Well I'm fine with enlarging my 4x5 negatives. But that's hard or impossible with a paper negative, except digitally.

I'm sometimes tempted by 8x10 but the difficulty in enlarging it, along with the cost (money I'd rather roll into improving my 4x5 gear) stops me.


Not to take anything away from the photogrpher, but you can do this too. Virtually all paper is orthochromatic, and orthochromatic film is famous for this kind of detail (and sharpness) for two reasons. It is much more sensitive to the ultra-violet, violet, and blue end of the spectrum...what used to be called actinic light. It is somewhat sensitive to green, but not sensitive to red at all. The sharpness issue may also be attribeted to the lack of a red dye in the emulsion. The more dyes in the emulsion, the less sharpness it seems to have. Now Bracan's lighting and posing and exposures are his signature, and much harder to emulate.

The sharpness advantage might have also been due to chromatic aberration in older lenses. When film is sensitive to all colors but not all come to focus at the same point, in black and white this contributes to unsharpness unless sharp cutting color filters are used.

[tenderobject]

very handsome photos scott... i wonder which lens did you used :)


Here are a couple of tests and images of mine. I like this stuff!

http://farm9.staticflickr.com/8327/8139312279_7c0ac35346_c.jpg (http://www.flickr.com/photos/themdidit/8139312279/)
Hat_LightTest_HPP_1012 (http://www.flickr.com/photos/themdidit/8139312279/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

http://farm9.staticflickr.com/8330/8124157459_6f250b9b1a_c.jpg (http://www.flickr.com/photos/themdidit/8124157459/)
Hot_Rod_Reunion_2012-23_WM (http://www.flickr.com/photos/themdidit/8124157459/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr


All images developed in Ilford Multigrade. Unflashed.

Tim
www.ScottPhoto.co

[ScottPhotoCo]

very handsome photos scott... i wonder which lens did you used :)

Thank you!

The car photos were made with a Graphex 135mm f/4.7 on a Crown Graphic. The hat image was made using a Deardorff 4x5 Special using a Rodenstock 210mm f/6.8.

Tim
www.ScottPhoto.co

[dizzzyg44]

Loving the DPP though I'm struggling with the amount of needed flash. This was with 3 einsteins at full power just over a foot away with just 7'inch reflectors....

http://pcdn.500px.net/20156491/20f01e6327a07978402768f29dc375330238cc59/4.jpg

[dizzzyg44]

And my boy, 2 shot ever using this stuff...Took 2 e640's w/7" up close just to get this much light...

Souped in D76 as it's all I had on hand....
http://farm9.staticflickr.com/8343/8214887671_dcc88bfb6d_c.jpg

[Jody_S]

And my boy, 2 shot ever using this stuff...Took 2 e640's w/7" up close just to get this much light...

Souped in D76 as it's all I had on hand....
http://farm9.staticflickr.com/8343/8214887671_dcc88bfb6d_c.jpg

They're both good but I really like this one.

[jacobby]

One of the pictures from DPP on foods while I was doing testing of the paper at home.

http://farm9.staticflickr.com/8071/8301918573_76667f097c.jpg (http://www.flickr.com/photos/27940083@N06/8301918573/)
DPP Spices (http://www.flickr.com/photos/27940083@N06/8301918573/) by ==--== (http://www.flickr.com/people/27940083@N06/), on Flickr

[Alessandro Bocchi]

Venice (VE) Italy - One of the very first shot with the large format camera and also with the Harman Direct Positive paper.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: KODAK No. 2 Folding Cartridge Hawk Eye - Model B 1:11 (Single meniscus lens, located behind the shutter)
- Exposure: f 22
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+14 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

86358

[Alessandro Bocchi]

Venice (VE) - San Marcuola. One of the very first shot with the large format camera and also with the Harman Direct Positive paper.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: f 11
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+14 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

86359

[SMBooth]

Is Efke DPP allowed.
Some old 4x5 DPP which a friend gave me to try. Shot on Wista with 180mm at f11. Natural light in garage about a 3 min exposure. Shot DPP at ISO1.5 with a preflash.
http://farm9.staticflickr.com/8352/8336173787_5ff7c24f9c.jpg (http://www.flickr.com/photos/isisford/8336173787/)
Bottle Jack (http://www.flickr.com/photos/isisford/8336173787/)

[gambaphoto]

@SMBooth I love the tonal range on this. your preflash seems to do the trick to keep more zones. Any chance you could share your preflash steps? thanks

[SMBooth]

Thanks Gamba,
Remember this is old Efke that you cannot buy anymore. But I set my Durst Laborator 1000 to about 27 inches, set the 105mm lens to f32 and did a 1sec interval test strip. I found that at 3 sec I could just detect a slight change in tone. So that was my preflash - 3 seconds. Nothing special about the developer just Tetenal 1:9. You have to get the exposure just right.
Good luck, I assume that Harman is much the same.


Is Efke DPP allowed.
Some old 4x5 DPP which a friend gave me to try. Shot on Wista with 180mm at f11. Natural light in garage about a 3 min exposure. Shot DPP at ISO1.5 with a preflash.

[Alessandro Bocchi]

Noventa Padovana (PD) Italy - Valentina. Giuseppe Toffoli took this photo while we were seriously testing the Harman Direct Positive paper.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: PETZVAL type brass lens 150 1:3.5
- Exposure: 2 seconds at f 3.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: AGFA ...
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Two continuous light in a octagonal soft box.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

86503

[bracan]

Excellent DPP image!
Thanks on info:)



Noventa Padovana (PD) Italy - Valentina. Giuseppe Toffoli took this photo while we were seriously testing the Harman Direct Positive paper.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: PETZVAL type brass lens 150 1:3.5
- Exposure: 2 seconds at f 3.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: AGFA ...
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Two continuous light in a octagonal soft box.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

86503

[ScottPhotoCo]

This is a photographer that I have been following on FB. Beautiful work. I believe that she shoots on HDPP.

www.facebook.com/Jacqueline.Roberts.Photography

Tim
www.ScottPhoto.co

[Kav]

Shot some DDP portraits last night at a local art walk:

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Jan/i-P5RSRpb/0/XL/_MPK9156-XL.jpg

http://kavanaughmp.smugmug.com/StateSidePhotography/North-Carolina/New-Bern-Street-Portraits-Jan/i-spbfKLz/0/XL/_MPK9161-XL.jpg

Both are 30 sec exposures
Kodak Ektar 203mm F7.7 wide open
Developed on site

[bracan]

http://farm9.staticflickr.com/8185/8399194551_8c25d2cc9d_c.jpg

Harman Direct Positive paper unflashed rated 1,5 iso. Developed in Ilford Multigrade developer for 3 min. Taken with Sinar P 8x10 and Schneider 300mm f5,6 wide open.

[dizzzyg44]

Bracan, are you mixing 1+9 or 1+14?

[bracan]

Bracan, are you mixing 1+9 or 1+14?

1+9 but its too strong for first 6-7 papers. Try to compensate with exposure;)

[jumanji]

Harman Direct Positive paper unflashed rated 1,5 iso. Developed in Ilford Multigrade developer for 3 min. Taken with Sinar P 8x10 and Schneider 300mm f5,6 wide open.

Oh, he is so close... I can touch him, or even punch him :D. Excellent Bracan :).

[petetsai]

Hi all, first post here, first time using my newly acquired Deardorff v8 to shoot 8x10. Decided to learn the camera using the Harman DPP paper as a way to get quick learning feedback and save on costs. The developed print was about a 1/2 stop darker then where I'd want it, going to need even more power to get there. Thats all part of the learning I suppose. I shot for ISO 1.5 based on some exposure tests I did with a mamiya 645 the day before.

http://farm9.staticflickr.com/8048/8403264885_31e900dd59_b.jpg (http://www.flickr.com/photos/petetsai/8403264885/)
Megan (http://www.flickr.com/photos/petetsai/8403264885/) by PeteTsai (http://www.flickr.com/people/petetsai/), on Flickr

[jcoldslabs]

http://farm9.staticflickr.com/8048/8403264885_31e900dd59_b.jpg

I rather like the slight underexposure. Since she isn't smiling the darker values suit the mood.

And welcome!

Jonathan

[Jim Jones]

Bracan -- That was the way shallow DOF should be used, with most out-of-focus areas deemphasized with proper lighting. It's a powerful portrait.

[adelorenzo]

There are some amazing images on this thread. I can't believe the results you guys are getting with this paper, it has been a complete struggle for me. I've gone through about half a box so far with nothing to show for it.

[petetsai]

Great portraits Bracan, Looks like you've got your lighting dialed in pretty well. I'm up to 1500w/s right now with some light shaping but its looking like I'm going to need to change up things to increase efficiency so I can get out from being on the fringe of control.

[cuypers1807]

What kind of safelights are appropriate for using this paper. Will a standard red work or do I need a dark red?
Thanks! Love the work here. Can't wait to try this paper out.

[petetsai]

Another one from my first tests with this paper.

http://farm9.staticflickr.com/8080/8407679889_c4492d989f_b.jpg (http://www.flickr.com/photos/petetsai/8407679889/)
John (http://www.flickr.com/photos/petetsai/8407679889/) by PeteTsai (http://www.flickr.com/people/petetsai/), on Flickr

[bracan]

I use standard red.

[bracan]

Excellent Petetsai!!!!


Another one from my first tests with this paper.

http://farm9.staticflickr.com/8080/8407679889_c4492d989f_b.jpg (http://www.flickr.com/photos/petetsai/8407679889/)
John (http://www.flickr.com/photos/petetsai/8407679889/) by PeteTsai (http://www.flickr.com/people/petetsai/), on Flickr

[eberry_tapes]

Just starting to try this stuff out. Someone asked about safelights -- you may want to do a quick test with the red one you plan on using, my (admittedly cheap) red safelight definitely caused some fogging on the test strips I used.

I pre-flashed and exposed it at ISO 3, but it's still not quite where I want it.

Pomegranate:
http://farm9.staticflickr.com/8195/8411671430_701db565bc_c.jpg

[premortho]

A kodak (wratten) number "2" is the filter you are looking for. Works on all orthochromatic materiels. Of which Harman Direct Positive paper is one. So is X-ray film, Arista Ortho ll, Multi-Grade paper.
What kind of safelights are appropriate for using this paper. Will a standard red work or do I need a dark red?
Thanks! Love the work here. Can't wait to try this paper out.

[dizzzyg44]

Decided to experiment some more with this paper...

Ilford dev 1+14 @ 3 mins, no preflash
http://farm9.staticflickr.com/8196/8418092548_b8e167ace6_b.jpg

no preflash
1+19 ilford
2 minutes dev
http://farm9.staticflickr.com/8474/8418319508_16a4aba718_b.jpg

no preflash
caffenol+C (folgers)
24 Minutes dev (dev exhasusted before finishing devas I attempted to re-use it)
http://farm9.staticflickr.com/8228/8417215285_669e9ffb43_b.jpg

[dizzzyg44]

I hope folks aren't getting too sick or my ugly test shots....This stuff is just too much fun...

This isn't a good image at all but posting to show the dev results....

Harman DPP in Tea

This was the result of the Tea experiment I posted about yesterday.

12oz water, brewed 8 tea bags of orange pekoe/black cut tea, added about 4 tsp of washing soda and about 1/4 tsp of citric acid....Bringing to a near boil...

Still a bit underdeveloped even after 30 mins of dev.
Do not ever use an acid stop back with stain developers like this as it's bad for fixers. Instead rinse thoroughly with water before fixing

http://farm9.staticflickr.com/8505/8427361049_7c1bf059de_c.jpg

[Alessandro Bocchi]

Padua (PD) Italy - Concordi cinema inside the Ghetto in Padua.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: N/A
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

89398

[Alessandro Bocchi]

Limena (PD) Italy - Valentina.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: f 8
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

89407

[Alessandro Bocchi]

Me and a friend of mine that is an optician found the right lens of the right dark red colour that is exactly the one needed to work with the Harman Direct Positive Paper. If you are interested just contact me for more details.

[dizzzyg44]

It's better and worse....

The smell isn't as bad as the caffenol+C but it lingers around longer, seemed like my bathroom fan had no affect on it.

The worst smell is when initially mixing the ingredients. Caffeenol+C, I find not to be so bad when mixing but during the development....

[bracan]

Harman Direct Positive paper unflashed rated 1,5 iso. Developed in Ilford Multigrade developer for 3 min. Taken with Sinar P 8x10 and Schneider 300mm f5,6 wide open.

http://farm9.staticflickr.com/8517/8489804144_43a8220ab1_b.jpg

http://farm9.staticflickr.com/8370/8488707159_be9df23f66_b.jpg

[JoeV]

Harman DPP in Speed Graphic, Fujinon 135-5.6 lens, 8 seconds exposure under indirect north daylight plus a bit of halogen fill lighting.

~Joe

http://farm9.staticflickr.com/8365/8512271260_28f988d7cc_o.jpg

[fecaleagle]

Hey all,

Just developed my first 5x7 Harman Direct Positive (FB Glossy). Taken at around sunset with just natural light ~2 seconds at ~f/3.5. I know that to bring out the middle tones that were somewhat lost in the face, I need to pre-flash, but I am pretty happy with the first attempt. Question about the pink cast... Is that from not enough of a wash? Washed for ~20 minutes under a bathroom faucet. Ilford PQ Dev (1+9), 3% acetic acid stop bath, Ilford Rapid Fixer (1+4).

Anyway, just curious about the pink cast, although I really enjoy it if it's not going to affect the permanence of the print...

http://farm9.staticflickr.com/8253/8673602377_d1f8a4d725_c.jpg

[Tin Can]

I have noticed pink cast also. It needs a real good wash. I am doing an hour, with running water, we have plenty of water. Even then I see pink, but it goes away after drying.

I use the same chems.

I have not done pre-flash yet, but I don't use it for people.





Hey all,

Just developed my first 5x7 Harman Direct Positive (FB Glossy). Taken at around sunset with just natural light ~2 seconds at ~f/3.5. I know that to bring out the middle tones that were somewhat lost in the face, I need to pre-flash, but I am pretty happy with the first attempt. Question about the pink cast... Is that from not enough of a wash? Washed for ~20 minutes under a bathroom faucet. Ilford PQ Dev (1+9), 3% acetic acid stop bath, Ilford Rapid Fixer (1+4).

Anyway, just curious about the pink cast, although I really enjoy it if it's not going to affect the permanence of the print...

http://farm9.staticflickr.com/8253/8673602377_d1f8a4d725_c.jpg

[fecaleagle]

The pink cast has faded significantly since I hung it to dry and took that picture.

Thanks!

[Tin Can]

How are you flattening?

And you say, hung to dry. Are you using bottom clips?


The pink cast has faded significantly since I hung it to dry and took that picture.

Thanks!

[Tin Can]

How are you flattening?

And you say, hung to dry. Are you using bottom clips?

I dry them sideways in a letter holder and then pack under books.


The pink cast has faded significantly since I hung it to dry and took that picture.

Thanks!

[fecaleagle]

Started with a hang, now it's between blotter paper. I caught it before it started to curl too bad. I should have clipped it back to back with the other exposure, but I think it will be okay. I've got the portable dry-mount press that my girlfriend uses to remove wrinkles from clothes as a last resort...

[Tin Can]

I need to get some release paper and start using dry mount press. But nothing I care to mount, yet.


Started with a hang, now it's between blotter paper. I caught it before it started to curl too bad. I should have clipped it back to back with the other exposure, but I think it will be okay. I've got the portable dry-mount press that my girlfriend uses to remove wrinkles from clothes as a last resort...

[Tin Can]

http://farm9.staticflickr.com/8115/8676027095_816d252ed0_o.jpg

[Tin Can]

http://farm9.staticflickr.com/8536/8676046871_8dcdcd2ffd_o.jpg

[gambaphoto]

@Randy - is this last one no preflash vs. preflash? if you did preflash, did you preflash in camera?
thanks

[Tin Can]

@Randy - is this last one no preflash vs. preflash? if you did preflash, did you preflash in camera?
thanks
No preflash.

[jharr]

Speed Graphic
Optar 135mm f/4.5
f/11 x 15sec
Harman Direct Positive Paper
pre-flashed by loading the holder in my bathroom with the door open
Developed in Adonal 1+25
Epson V600

http://farm3.staticflickr.com/2842/8857615407_766a7df7fc_c.jpg (http://www.flickr.com/photos/harrlequin/8857615407/)
Cyanotype work area (http://www.flickr.com/photos/harrlequin/8857615407/) by James Harr Photo (http://www.flickr.com/people/harrlequin/), on Flickr

This one was over-exposed by about a stop (F/11 x 4min). Recovered some contrast in PS.
http://farm4.staticflickr.com/3794/8857617249_56d625c42a_c.jpg (http://www.flickr.com/photos/harrlequin/8857617249/)
Stills 4 (http://www.flickr.com/photos/harrlequin/8857617249/) by James Harr Photo (http://www.flickr.com/people/harrlequin/), on Flickr

[jharr]

Just to kick in on the safelight aspect of using this paper... I am using an LED headlamp that has white, red and green LEDs. I put it on the red setting and point it at the ceiling. I only shine it directly on the paper for a moment to check contrast. I haven't had any fogging from the light yet and it keeps hands free without having to set up an extra light.

http://www.homedepot.com/p/Defiant-3-Pack-5-LED-Headlight-809-2613-D/203138523#.UaPI1kDCaSo

[Alessandro Bocchi]

Verona (VR) Italy - Portrait of Marco Monari during a Direct Positive Photographic session.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1.5 second at f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: A couple of continuous light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7361/9028269298_ebe075a083_b.jpg

[Alessandro Bocchi]

Verona (VR) Italy - Portrait of Claudia Callipari during a Direct Positive Photographic session.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1.5 second at f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: A couple of continuous light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm3.staticflickr.com/2860/9028468446_60f9dd12ae_b.jpg

[Alessandro Bocchi]

Baone (PD) Italy - Portrait of Federico Zagolin with a custom bike.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5 in Compur shutter
- Exposure: around 1/2 second and f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4



http://farm6.staticflickr.com/5331/9019538266_160e3ea5cf_b.jpg

[Alessandro Bocchi]

Baone (PD) Italy - Portrait of a motorcyclist with his custom bike.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5 in Compur shutter
- Exposure: around 1/2 second and f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7337/9019269496_2d286021bb_b.jpg

[Alessandro Bocchi]

Baone (PD) Italy - Portrait of a motorcyclist with his custom bike.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5 in Compur shutter
- Exposure: around 1/2 second and f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4http://farm6.staticflickr.com/5442/9015984050_11097f76c7_b.jpg

[Kav]

I am doing a series of these with the Marines in Afghanistan. I posted some in the Aug Portraits thread. Here is one more you all lurking in here:

http://photos.smugmug.com/photos/i-KtXrpHS/0/X3/i-KtXrpHS-X3.jpg

- Camera: Sinar F2
- Lens: Nikon 210mm f5.6
- Exposure: 1 Second @ 11
- Film: HARMAN FB Direct Positive Paper - 1.5 ASA - size 4x5"
- Developer: Kodak Dektol 2 min @ 100F (maybe hotter?)
- Stop: None
- Fixer: Kodak Fixer 5 min
- Lightning: The harsh Afghan sun

It looks like it was printed on metal. Never had that happen before.

[jack_hui]

my First try ...... Copycat only ....
8x10, ISO 3, Selectol Soft 1+3 (4 min)

102243

[Alessandro Bocchi]

Padua (PD) Italy - Deborah. Series of portrait during the Vintage Festival with also Filippo Leonardi, Marco Pilotto, Linda De Zen and FosfeniLAB.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5
- Exposure: 3 second at f 4.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+ 9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: 2 Continuous Light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7370/9776846562_3780dd3f6a_b.jpg

[Alessandro Bocchi]

Padua (PD) Italy - Series of portrait during the Vintage Festival with also Filippo Leonardi, Marco Pilotto, Linda De Zen and FosfeniLAB.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5
- Exposure: 3 second at f 4.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+ 9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: 2 Continuous Light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm6.staticflickr.com/5486/9883079105_91e90eda06_b.jpg

[Alessandro Bocchi]

Padua (PD) Italy - Series of portrait during the Vintage Festival with also Filippo Leonardi, Marco Pilotto, Linda De Zen and FosfeniLAB.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5
- Exposure: 3 second at f 4.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+ 9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: 2 Continuous Light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7455/9883311823_75f32b2560_b.jpg

[Tin Can]

All very nice, I prefer the last as it has less OOF, the first is striking, but the OOF...

Very good exposures!

[Alessandro Bocchi]

Lago di Santa Croce - Alpago (BL) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of Alessandra Villa, a kite surfer.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1/5 second at f 8
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm3.staticflickr.com/2817/9344135783_522f649b61_b.jpg

[Alessandro Bocchi]

Thanks. I really appreciate your comments. I will try to moderate the OOF next time. I am still learning. All the comments and suggestion and critics are extremely wellcome.

[JeRuFo]

You're getting amazing results, Alessandro. Beautiful shadows and nicely controlled highlights. Harman should take you on as a spokesman.

[Alessandro Bocchi]

HA HA. Thank you. I really appreciate. You are too kind and generous. I am still a novice and i have lot to learn.

[Tin Can]

That stuff is really hard to shoot, you have done a wonderful job!

[Alessandro Bocchi]

Lago di Santa Croce - Alpago (BL) Italy - "Italian SurfLand" a Series of Portrait of Surfers, Windsurfer, Kitesurfer and also Skateborder.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1/5 second at f 8
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7393/9346616644_053974bc2c_b.jpg

[TheToadMen]

Padua (PD) Italy - Series of portrait during the Vintage Festival with also Filippo Leonardi, Marco Pilotto, Linda De Zen and FosfeniLAB.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5
- Exposure: 3 second at f 4.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+ 9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: 2 Continuous Light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4


Hello Allesandro,
Thank you for sharing your portrait series. I like post #202 and #208 best.
I noticed lesser (= better?) contrast in the biker series than in the Vintage Festival series. For example: in post #206 the highlights blew out on the chest (below the neck, above the dress).You used the same paper, same lens, but different dilution of developer: Biker 1+15 and Festival 1+9.
Do you think the dilution of the developer contributes to this difference in contrast? Or was the lighting the major factor here? What do you think?

There were a lot of discussions where it was suggested to preflash the Direct Positive Paper to control contrast problems. Did you try this?
I received a box of Harman DP paper that I want to try with my old Russian FKD camera (18x24 cm sheets) so I'm happy to learn from your experiences.
-----------
Edit: I just now saw your last image (post #215). A very nice portrait also: my favorite for now. You tamed the contrast range nicely!!
I see you used an other lens this time. I wonder what type of lens suites this paper best. A soft lens maybe? Any experience anyone?
----------
Thanks,
Bert from Holland
http://thetoadmen.blogspot.nl

[Steve M Hostetter]

Lago di Santa Croce - Alpago (BL) Italy - "Italian SurfLand" a Series of Portrait of Surfers, Windsurfer, Kitesurfer and also Skateborder.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1/5 second at f 8
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7393/9346616644_053974bc2c_b.jpg They are lucky to have such a good photographer!

[Alessandro Bocchi]

Noventa Padovana (PD) Italy - Valentina. While Giuseppe Toffoli was testing the Collodion I just try some shot with the Harman Direct Positive paper.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: Voigtlander Heliar 210 1:4.5 in Compound shutter
- Exposure: 2 seconds at f 4.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Two continuous light in octagonal soft boxes.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7454/10003821405_57e172db98_b.jpg

[ScottPhotoCo]

Noventa Padovana (PD) Italy - Valentina. While Giuseppe Toffoli was testing the Collodion I just try some shot with the Harman Direct Positive paper.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: Voigtlander Heliar 210 1:4.5 in Compound shutter
- Exposure: 2 seconds at f 4.5
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Two continuous light in octagonal soft boxes.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7454/10003821405_57e172db98_b.jpg

This is really great. I need to shoot more like this. :)

Tim
www.ScottPhoto.co

[Alessandro Bocchi]

Brescia - (BS) Italy - A series of portrait during the event PhotoTrace 2013. She is Samanta Cinquini.

- Camera: LUPO Aldina II 13x18
- Lens: Voigtlander Heliar 210 1:4.5 in Compound shutter
- Exposure: 1 second betwen f 4.5 and f 6.3
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: 2 Continuous Light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm8.staticflickr.com/7290/10317154265_656a377cf1_b.jpg

[photobymike]

Hypothetical ...can you pre-flash in the field? a white frosted filter over the lens...(like the ones that digital guys use to get color temp.) and just shoot the sky at say 25th of a second? or 50th...so experimenting will be needed. Just a thought

[TheToadMen]

Hypothetical ...can you pre-flash in the field? a white frosted filter over the lens...(like the ones that digital guys use to get color temp.) and just shoot the sky at say 25th of a second? or 50th...so experimenting will be needed. Just a thought

That would be a nice & easy solution!! Maybe Simon knows??

Simon, are you still there??

[photobymike]

i am thinking frosted snow glass... I am going to get me a box of this stuff and try it

[TheToadMen]

Why wouldn't one be able to use pre-flashing in the field? Should be a simple as finding film base plus fog for film speed testing. A simple white card out of focus in front of the lens and a tested amount of 'underexposure' and you should be there.

I understand here and in other discussions that preflashing is a bit critical. So how to make the preflash just right and constant in the field? A bit more demanding than in a controled darkroom under an enlarger, I guess...

See for instance post #19 and #23 in this thread.

[Vallantho]

My first attempts with direct positive paper. Got a sample pack with the Harman Titan last christmas. Only just got round to playing with the paper.

http://www.vallantho.co.uk/storage/cache/images/000/013/Positive-001,medium_large.jpg?1382920424

http://www.vallantho.co.uk/storage/cache/images/000/014/Positive-002,medium_large.jpg?1382920430

I'm guessing the smokey effect is caused by uneven development? I developed them in a Jobo tank as i don't have any trays or a dark place to do the necessary. Just something fun to do on a rainy afternoon. I could get really into this!

[Michael Cienfuegos]

My first experience with the Harmon Paper:

103821

My son was a willing model. Kodak 5x7 2D, not pre-flashed.

Just wondering if an ExpoDisc could be used in front of the lens for preflash.


m

[TheToadMen]

My first attempts with direct positive paper. Got a sample pack with the Harman Titan last christmas. Only just got round to playing with the paper.
I'm guessing the smokey effect is caused by uneven development? I developed them in a Jobo tank as i don't have any trays or a dark place to do the necessary. Just something fun to do on a rainy afternoon. I could get really into this!

The smokey effect could be a result from too much agitation too. See my dry plate glass negatives developed in a tray - shouldn't have agitated like it was a paper print:
http://thetoadmen.blogspot.nl/2012/09/making-dry-plate-glass-negatives-with.html

[Vallantho]

Yeah i think agitation may have a big part to play because i agitated the first one and just let the second one stand. There's definitely more of a smokey effect in the first. And because i'm developing in a tank i have to pour the developer onto the paper instead of putting the paper into the developer. I might have to sort out a dark place and use trays.

[Stofjas]

104257

I have been messing about with the Harman paper for the last few days. Without any preflash i end up with images that have very low contrast and even the black borders of the image is grey and not black. After thinking it through and trying different things I have come to the realisation that my red light might be the wrong type. It is as old as the hills and there is no other way light could have reached the paper in my darkroom (or the Harry Potter room as the kids call it... it is under the stairs.) Am I wrong in thinking that it could be the red light? If it is it is a major pain. Now i have to go and search for another brand of light and this far down on the African continent it is not so easy to find.

[TheToadMen]

I have been messing about with the Harman paper for the last few days. Without any preflash i end up with images that have very low contrast and even the black borders of the image is grey and not black. After thinking it through and trying different things I have come to the realisation that my red light might be the wrong type. It is as old as the hills and there is no other way light could have reached the paper in my darkroom (or the Harry Potter room as the kids call it... it is under the stairs.) Am I wrong in thinking that it could be the red light? If it is it is a major pain. Now i have to go and search for another brand of light and this far down on the African continent it is not so easy to find.

Hello Stofjas,
I've been thinking about this, but I think you have an other problem. If your red light wasn't in order you would see over exposure and fogging of the paper. But if your black borders aren't black at all, I don't think you have a light leak problem (I'm not an expert, though).
You could simply test this. get a test strip of the DP paper, put it in total darkness on the table with something on top of it (a pen, scissors, comb, ...) and leave it there for about 3 or 4 hours with only the red safelight on.Then develop the paper as usual. If the paper is wrongly exposed by some light source, then you should see the objects as a contact print emerging after developing. If not: no problem with the red light.

Other factors may be:
- wrong developer (too old, exhausted, wrong dilution, ...)
- developing times
- exposure times in camera.

An simple test you could do:
1) develop a test strip that hasn't seen any light at all (not even red light): it should be as white as possible.
2) get a test strip, take it outside the darkroom in full (sun) light for one or two minutes and develop: it should be as black as possible.
3) get a test strip exposed properly in camera at a high contrast scene (some white, black and grey objects should be nice). Even include the two previous test strips in the scene. Then develop in the same way as the two test strips: you should get a good range of tones and you can compare the two test strips in the photograph with the originals - did you get the same white and black strips in the image?

If not, then investigate what the deviations are and post it here, with scans of the test strips.

"Veel plezier met testen"

Bert from Holland
http://thetoadmen.blogspot.nl

[Stofjas]

Thanks Bert

I have also taken that as a possibility. Although my developer is quite old I have only recently cracked the seal so I dont know if that could be it. I have tested the developer with my normal paper negs that I use and that seemed to develop just fine. It is very odd. I was also expecting more fogging on the paper if it was the red light but the weirdest thing for me was the fact that the white hidden borders, which, since they have not been exposed, should be black is not consistently black but black in spots and grey in others. And I do agitate the solution the right amount. So... i am a bit flummoxed. I will try the test strip tonight while i mess around and then have a look in the morning. Otherwise it is a trip into the city for me to go scrounging for the right light and then I will buy some fresh developer too. Thanks for the help. I will report back to say what the problem was.

[Alessandro Bocchi]

Cesenatico - (FC) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of Nui.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: N/A
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 3 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm4.staticflickr.com/3799/10725656796_d7697b502e_b.jpg

[Alessandro Bocchi]

Verona (VR) Italy - Portrait of Camilla during an Analogic Photography workshop.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: 2 second at f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 3 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: A couple of continuous light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm4.staticflickr.com/3822/10798007726_c8bde8df10_b.jpg

[ScottPhotoCo]

The more I use this paper the more I like it. :)

http://farm3.staticflickr.com/2880/10804288056_3c7d738a7c_b.jpg (http://www.flickr.com/photos/themdidit/10804288056/)
A portrait of words (http://www.flickr.com/photos/themdidit/10804288056/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

http://farm8.staticflickr.com/7390/10804288526_0ea9406a17_b.jpg (http://www.flickr.com/photos/themdidit/10804288526/)
A portrait of words (http://www.flickr.com/photos/themdidit/10804288526/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

[ScottPhotoCo]

One more.

http://farm3.staticflickr.com/2847/10676142503_c794ddb1a7_b.jpg (http://www.flickr.com/photos/themdidit/10676142503/)
Tracy. October 2013. (http://www.flickr.com/photos/themdidit/10676142503/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

[Vallantho]

One more.

http://farm3.staticflickr.com/2847/10676142503_c794ddb1a7_b.jpg (http://www.flickr.com/photos/themdidit/10676142503/)
Tracy. October 2013. (http://www.flickr.com/photos/themdidit/10676142503/) by ScottPhoto.co (http://www.flickr.com/people/themdidit/), on Flickr

This i like very much. Something about the shapes feels very sixties or seventies.

[grantflanagan]

104479

My dad at 60.

Lit with Profoto 2400 w/s pack through 5 foot octabox and Hensel ring flash on camera.

Developed in stock (1:1) Dektol, no pre-flashing.

[StoneNYC]

104479

My dad at 60.

Lit with Profoto 2400 w/s pack through 5 foot octabox and Hensel ring flash on camera.

Developed in stock (1:1) Dektol, no pre-flashing.

Interesting, the ringflash must've been at a very low setting because you can hardly tell that it was used for fill

[grantflanagan]

Interesting, the ringflash must've been at a very low setting because you can hardly tell that it was used for fill
Yeah, it was just barely there, the print shows much more of the shadow side.

[Ootsk]

Verona (VR) Italy - Portrait of Camilla during an Analogic Photography workshop.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: 2 second at f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 3 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: A couple of continuous light.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm4.staticflickr.com/3822/10798007726_c8bde8df10_b.jpg

Outstanding. If I were closer, I'd take your workshop.

[Alessandro Bocchi]

Cesenatico - (FC) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of Silvano Ronconi.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: N/A
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 3 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm4.staticflickr.com/3739/10747437223_df26485d9d_b.jpg

[Alessandro Bocchi]

Cesenatico - (FC) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of Margherita Boschetti.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: N/A
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 3 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm3.staticflickr.com/2845/10747585576_83fb756e4a_b.jpg

[Alessandro Bocchi]

Levico - (TN) Italy - Portrait of Valentina Perrina and her partner in their hut where they spend all their time and energy saving abandoned animals like rabbits, dogs, guinea pigs, horses and many others.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: Voigtlander Heliar 210 1:4.5 in Compound shutter
- Exposure: 1/2 second betwen f 4.5 and f 6.3
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm6.staticflickr.com/5472/10334460375_63c4ef1a50_b.jpg

http://farm6.staticflickr.com/5550/10334552054_e329543c10_b.jpg

http://farm4.staticflickr.com/3798/10334744444_65e9d255f2_b.jpg

[JoeV]

I'm no Mark Sawyer, but here's a pair of still-lifes, using as a subject my grand daughter's dollie. Harman DPP, Fujinon 135-f/5.6 on Anniversary Speed Graphic, 15-20 seconds exposure with some white LED fill lighting on the figure. The piano is a tube-powered piano AM radio.

~Joe

http://farm8.staticflickr.com/7434/10932734486_b0b9b4215b_o.jpg

http://farm4.staticflickr.com/3750/10932672135_125e6ba80c_o.jpg

[Alessandro Bocchi]

Cesenatico - (FC) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of a surfer.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 150 1:5.6 Convertible
- Exposure: N/A
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm4.staticflickr.com/3813/9858933696_d4049de103_h.jpg

[Alessandro Bocchi]

Baone (PD) Italy - Portrait of Federica Benfatto with a custom bike.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5 in Compound shutter
- Exposure: around 1/2 second and f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm4.staticflickr.com/3818/11122019944_494a7ffd36_h.jpg

[MMELVIS]

Baone (PD) Italy - Portrait of Federica Benfatto with a custom bike.

- Camera: Fatif Luxi Special Studio 13x18 (1959)
- Lens: Voigtlander Heliar 210 1:4.5 in Compound shutter
- Exposure: around 1/2 second and f 5.6
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 5x7"
- Developer: ILFORD PQ UNIVERSAL 1+15 - 4 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4



Very nice work once again, great looking motorcycle too.

[Misko]

http://www.vallantho.co.uk/storage/cache/images/000/013/Positive-001,medium_large.jpg?1382920424
I'm guessing the smokey effect is caused by uneven development? I developed them in a Jobo tank as i don't have any trays or a dark place to do the necessary

I really love that smokey effect! Makes it more "arty" :)

[Alessandro Bocchi]

Lago di Santa Croce - Alpago (BL) Italy - "Italian SurfLand" a Series of Portrait of Surfers, Windsurfer, Kitesurfer and also Skateborder.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1/5 second at f 8
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm6.staticflickr.com/5535/9345817632_af8f83b2cf_b.jpg

[StoneNYC]

Lago di Santa Croce - Alpago (BL) Italy - "Italian SurfLand" a Series of Portrait of Surfers, Windsurfer, Kitesurfer and also Skateborder.

- Camera: TOYO-FIELD 45 AII L (Linhof)
- Lens: SCHNEIDER Symmar 210 1:5.6 Convertible
- Exposure: 1/5 second at f 8
- Film: HARMAN FB Direct Positive Paper - 3 ASA - size 4x5"
- Developer: ILFORD PQ UNIVERSAL 1+9 - 2 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD RAPID FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light.
- Lightning: Ambient light only.

- Scanner: EPSON V700 and EPSON Scan 3.81
- Software: Adobe Photoshop CS4

http://farm6.staticflickr.com/5535/9345817632_af8f83b2cf_b.jpg

Yes!!!

So cool! Love belly pics! I gotta say it... Gives a whole new meaning to "breaking water" :)

[Misko]

If you want 'arty' do it with smoke, not poor processing.
But I liked the effect of the poor processing this time. Just like was liking recently some portraits that I've seen done in the same way.

[Misko]

My 1st ever Large format shot & first ever Harman Direct Positive shot

http://farm6.staticflickr.com/5501/9253983735_22c8473972_b.jpg (http://www.flickr.com/photos/milosgazdic/9253983735/)
Life... (http://www.flickr.com/photos/milosgazdic/9253983735/) by Milos Gazdic (http://www.flickr.com/people/milosgazdic/)