Harman Direct Positive Images

[JoeV]

Outstanding! Now if we could just convince Harman/Ilford to reengineer a new version for us!

~Joe

[basiltahan]

Outstanding! Now if we could just convince Harman/Ilford to reengineer a new version for us!

~Joe

As much as I love the Harman Direct (I have about 75 8x10 sheets left), I have been reversal processing some Ilford MC and getting VERY good results. So easy too.

[John Olsen]

Ferns in the local park under cloud cover. The contrast is severe, even with a preflash. Metering for 3 ISO, this one is one stop "overexposed" but still could use more light. Harmon Direct cut down to 4x5, 72mm lens, 20 s at f16, tray processed in Dektol 1:2. Any suggestions on taming the contrast?

[basiltahan]

Ferns in the local park under cloud cover. The contrast is severe, even with a preflash. Metering for 3 ISO, this one is one stop "overexposed" but still could use more light. Harmon Direct cut down to 4x5, 72mm lens, 20 s at f16, tray processed in Dektol 1:2. Any suggestions on taming the contrast?

Polarizing filter might have helped. Otherwise, maybe more preflash exposure?

I have found no way to get a dark / low contrast image. Adding preflash will reduce contrast but at the expense of shadow density. A bright / low contrast image can be made quite easily. On film, this problem can be sorted out in development AND/OR printing. Maybe, there is a good low contrast developer or development method that could be used. (Thinking out loud).

Suggestions?

[Courtlux]

Berlin Linhof Standard Press

[John Olsen]

Polarizing filter might have helped. Otherwise, maybe more preflash exposure?

I have found no way to get a dark / low contrast image. Adding preflash will reduce contrast but at the expense of shadow density. A bright / low contrast image can be made quite easily.

Thanks to your note emphasizing the preflash, I went back and retested my method. It turns out that my preflash was dominated by being too close to a safelight during cutting and loading. I've got a new preflash prescription now and hope to try it again tomorrow. This may partly explain my erratic results so far.

[Alessandro Bocchi]

Pastrengo (VR) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of Fernando and his son Pamelo Rossi at Palo Palo Wallygator Wakeboard park.

- 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 - 5 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD HYPAM FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light
- Lighting: Ambient light only

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

[basiltahan]

Thanks to your note emphasizing the preflash, I went back and retested my method. It turns out that my preflash was dominated by being too close to a safelight during cutting and loading. I've got a new preflash prescription now and hope to try it again tomorrow. This may partly explain my erratic results so far.

Please share your results. I have taken to loading this paper in the dark as it seems impossible to tell how much the "safe" lights are exposing the paper!

[basiltahan]

Pastrengo (VR) Italy - "Italians Gone Surfing" a Series of Portrait of Surfers, Windsurfers, Kitesurfers and also Skateboarders. Portrait of Fernando and his son Pamelo Rossi at Palo Palo Wallygator Wakeboard park.

- 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 - 5 minutes at 20° C
- Stop: ILFORD ILFO STOP
- Fixer: ILFORD HYPAM FIXER
- Lightmeter: Gossen Lunasix 3 reading the incident light
- Lighting: Ambient light only

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

Allesandro,

It seems you have just about perfected the use of this paper.

Could you speak to your method for loading the paper (light conditions) and preflash exposures?

Nice work. Being a surfer, I really enjoy the cultural feel to your work.

Cheers.

[Alessandro Bocchi]

Hello. Thanks for the nice comments.
I have to tell you that at the beginning my Direct Positive were much much better than this. This comes from a box that maybe someone gave me. A box that was probably opened under not a completely "safe light" a box that probably get some light. My develop was also exhausted and i did not have fresh one so i think i made all the mistake in a single picture. For the Harman the developer MUST be fresh. Maybe you can develop with the same solution many other print but the Direct Positive did not develope at all. By the way something come out due to the magic of the phptographic process itself.
Knowing that the paper already get some light i did not add any pre or post flashing. I exposed at 3 ASA based on my old and not very precise Gossen Lunasix. I was in shadow condition but the back of the subject was much lighter. You can see the solarization effect on the sky. The are of the sky is realy burnt from the excessive light. I love this paper maybe more than enyone else. I am so sorry that its no longher available. I have many many boxes still closed but they are getting older. and i am getting a worst photographer day by day.
About the pre and or post flashing i have to say that i always use it to increase the quantity of greys shades. I prefer the post flashing that give you the possibility to compensate some little exposure errors. Of course only if you have done a series of photos under the same situation.

Allesandro,

It seems you have just about perfected the use of this paper.

Could you speak to your method for loading the paper (light conditions) and preflash exposures?

Nice work. Being a surfer, I really enjoy the cultural feel to your work.

Cheers.