Still life-2023

[Iga]

Exquisite! Nothing wrong with a "dark" print as long as all the values are represented. I find few things more disappointing in a print than whites that have no detail whatsoever.

Agree !

[awty]

4x5 wetplate.

[takpro]

Fomapan 400 4x5 film, Legacy Pro L110 developer.

Lamp and tea pot by Jingmin Zhou, on Flickr

Nice work.

[takpro]

18x24 Dated ( 2014 ) Fomapan 100
Heliar 300 @ ƒ16

Nice work.

[takpro]

13x18 Fomapan 200, Rodinal
Heliar 300mm

Nice work.

[younghoon Kil]

Digging up a shadow
Attachment 243443

Is this Korean Gardening Tool(Ho-mi)?

[newtorf]

Thank you!

Nice work.

[Daniel Unkefer]

Makiflex 150 Xenar F11 Octobox 50 Ortho Commercial 9x12cm by Nokton48, on Flickr

Plaubel Auto Makiflex with SK Grimes Graphic Back 150 f4.5 Auto Maki Xenar Yellow Filter Ilford Commercial Ortho 9x12cm Arca Swiss 9x12cm Graphic Back. Broncolor Octobox 150 1500J C200 Monolight One Pop F11. D23 Straight Replenished in 9x12cm Combiplan Tank. DipN'Dunk works great! Love it. New Background Low Key by Artist David Maheu. 4x6 Foamcore Fill off camera right. A successful first test of the Combiplan, I utilized red LED safelight Inspection 25 minutes Straight Replenished D23. Omega DII Laser Aligned 180mm Rodagon Omegalite Dektol 1:2. Copied with Sony Nex 7 on Minolta SRT Copy Stand, Zeiss Touit 2.8/50M at F8

[FrancisR]

Woodyman 4x5, Nikkor-W 210mm, T Max 100 in HC-110 (B).

[bevdig]

More fun with the foam head painted gray. I use this for setups. Zone VI view camera and 180mm Fujinon soft focus lens at f/16 on Tmax 100. Lighting from a single Fresnel fixture to the left. I determined exposure using a Minolta Spotmeter, sampling various parts of the image and then making a small correction for bellows extension. The meter revealed almost no density on the dark side of the foam head, so I moved a white reflector to bounce some of the light back, just enough to break the density to a dark gray rather than pitch black. The spot meter allowed me to measure the background and I made sure there was just enough light on it to produce a near-black, not pure black, about three stops below the key exposure.