Old Things,Farms,Barns,Buildings, Plus

[newtorf]

I wish the management could put the intrusive intro somewhere else! Kodak TMAX 100 4x5 film, Legacy Pro L110.

Abandoned house by Jingmin Zhou, on Flickr

[newtorf]

Kodak TXP320 4x5 film, Legacy Pro L110.

The abandoned by Jingmin Zhou, on Flickr

[newtorf]

Kodak TXP320 4x5 film, Legacy Pro L110

Two-floor buildings by Jingmin Zhou, on Flickr

[newtorf]

Kodak Tri-X 4x5 film, Legacy Pro L110

Exterior wall of a cabin by Jingmin Zhou, on Flickr

[Ulophot]

The abandoned:
I continue to enjoy the work of your compositional eye.

[newtorf]

Thank you, Philip!

The abandoned:
I continue to enjoy the work of your compositional eye.

[austin granger]

Outhouse, Cordelia Lutheran Church, Idaho by Austin Granger, on Flickr

[paulbarden]

The Orleans Church, Albany, OR.

I'm continuing the pursuit of salted paper printing, and the making of negatives that fit the long tonal scale of salted paper. Although Ilford FP4 is the film most often recommended for making an ideal salt negative, I'm finding Delta 100 does a good job also, but with a bit different result.

I'm developing both FP4 and Delta 100 in PMK Pyro at 2:4:100 dilution, 10-12 minutes at 72F This image is from one of the thinner, less developed Delta 100 negatives. Contrast and density is ideal for POP printing, and for scanning, but you'd have difficulty making a good silver gelatin print from this negative.

Intrepid 5x7 camera with the 1930's Kodak 6 & 3/8" Anastigmat lens, at f16.5. Exposure was 1/2 second, rating Delta 100 at 80 ASA. The PMK produces a denser, more contrasty neg at the 2:4:100 dilution (double whats normal), and in part, this is what contributes to the bold tonal scale of this image.

I look forward to printing it on salted paper.

[Michael Kadillak]

The Orleans Church, Albany, OR.

I'm continuing the pursuit of salted paper printing, and the making of negatives that fit the long tonal scale of salted paper. Although Ilford FP4 is the film most often recommended for making an ideal salt negative, I'm finding Delta 100 does a good job also, but with a bit different result.

I'm developing both FP4 and Delta 100 in PMK Pyro at 2:4:100 dilution, 10-12 minutes at 72F This image is from one of the thinner, less developed Delta 100 negatives. Contrast and density is ideal for POP printing, and for scanning, but you'd have difficulty making a good silver gelatin print from this negative.

Intrepid 5x7 camera with the 1930's Kodak 6 & 3/8" Anastigmat lens, at f16.5. Exposure was 1/2 second, rating Delta 100 at 80 ASA. The PMK produces a denser, more contrasty neg at the 2:4:100 dilution (double whats normal), and in part, this is what contributes to the bold tonal scale of this image.

I look forward to printing it on salted paper.

Well done Paul. The tonal scale is perfect so great job in iterating to that point. I recently pulled some Delta 100 out of the freezer and gave it a go and agree with you. It inherently develops quicker, but is quite sharp and contrasty if you keep it from getting away from you.

[paulbarden]

Well done Paul. The tonal scale is perfect so great job in iterating to that point. I recently pulled some Delta 100 out of the freezer and gave it a go and agree with you. It inherently develops quicker, but is quite sharp and contrasty if you keep it from getting away from you.

Thanks, Michael!
I'm spending most of my photography energy these days on getting optimal negatives for salted paper printmaking, and its been less of a challenge than I expected. Ellie Young's document (https://studylib.net/doc/18291219/me...tic-appearance...) was especially useful to me, as I specifically wanted to make in-camera negatives (not inkjet negs, which I have tried and failed at before).

I'm amazed at how good the 90+ year old Kodak Anastigmat lens is. If you're working in B&W, they're still very worthwhile. My 6&3/8" Anastigmat in a fully functional shutter cost me $65, shipping included!