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Printable View
https://c1.staticflickr.com/5/4043/5...cb8136e7_b.jpgGelatin-silver photograph on Fomabrom Variant 111 FB VC, image area 16.3cm X 21.2cm, from a 4x5 Tmax100 negative exposed in a Tachihara model 45GF camera with a 300mm f11 single meniscus lens. Titled and signed recto, stamped verso.
Forest, Soft Focus.
That's wild, Maris!
You can just about fake IR with a treatment like this, nice job Maris.Quote:
Originally Posted by Maris Rusis
Thanks Peter De Smidt and scheinfluger_77. I've never been able to get this exact effect again. Soft focus is a crazy mixture of subject, lighting, lens, and aperture; many variables.
First go with a single meniscus. Found it in some kind of spot light/projector at a second hand shop. I only wish I had managed to save the the l wheel with the stops cut in it.
Aside from some newly arisen development and light leak annoyances I'm quite happy with the result.
Crop from 8x10 paper negative.
~f/7
8x10 Ilford MGIV RC
Ilford Universal PQ
5 min walk from my place in Oslo, one of the many bridges crossing over the Akerselva (struss pictorial).
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Glasses and Pears
Gelatin-silver photograph on Fomabrom Variant111 FB VC, image area 24.7cm X 19.5cm, from a 8x10 Fomapan 200 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a 400mm single meniscus lens set at f11.
Guro through a P&S Synthetic wide open f/4.5. Light on the face only bounced from a white background, so backlit with crazy glow.
Using this lens wide open is challenging as any highlight is blown out and turns everything into mush.This is the reason for trying only bounced off light. Next step would be to underexpose slightly...
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Stephane, I like your soft focus photos.
I haven't seen your negative, but perhaps rather than less exposure, less development might tame the contrast.
Here's a photo from Imogen Cunningham from 1910 with a gentler but similar lighting to yours if you're looking to refine this.
http://iphf.org/wp-content/uploads/2...ngham_1910.jpg