Harman Direct Positive Images

**JoeV** · 4-Sep-2011, 18:29

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):

Robot Rider (3 second exposure):

Gourd Birds (15 second exposure):

**JoeV** · 4-Sep-2011, 18:37

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

**JoeV** · 4-Sep-2011, 18:42

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

**Maris Rusis** · 4-Sep-2011, 19:52

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.

**Maris Rusis** · 8-Sep-2011, 19:13

Originally Posted by Maris Rusis

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.

**bob carnie** · 9-Sep-2011, 14:20

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.

**Maris Rusis** · 9-Sep-2011, 21:58

Originally Posted by 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?

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** · 10-Sep-2011, 05:53

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

Originally Posted by Maris Rusis

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** · 19-Sep-2011, 15:58

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...ws_309687.html

http://www.bjp-online.com/british-jo...pinhole-camera