Real Photographs

Neofin Red – Examples

Posted on September 24, 2017 by Roy Hammans

Selection from a couple of rolls of Tri-X, exposed at 400 ISO, processed in Neofin Red for 11 mins at 20°C, agitation is 1 minute initial, then 10 seconds every minute.
The first set are from the my Ensign Autorange camera and show the sharpness and resolution that this lens/film/developer combination can give, bearing in mind that they are scans of the negatives, not prints.

: High resolution – click

: High resolution – click

: High resolution – click

: High Resolution – click

: Stourhead, Wiltshire

: Stourhead, Wiltshire

: Stourhead, Wiltshire

: Stourhead, Wiltshire

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Neofin Red – and Blue – Revisited

Posted on September 24, 2017 by Roy Hammans

Back in the 1970s and 80s, these were always my go-to developers for 35mm film.

Tetenal Neofin Red and Blue

I acquired these two packs many years ago in a job lot of darkroom chemicals being disposed of by someone giving up the dark arts. There were five full vials of both the Red and Blue, still looking as clear and unsullied as the day they were sealed.

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Ensign Commando

Posted on September 23, 2017 by Roy Hammans

I was given this curiosity by some friends recently.

Ensign Commando

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Archive Delve – Essex Cemetery, 1988

Posted on October 2, 2015 by Roy Hammans

Found in an Essex cemetery.

I saw part of a programme last night which talked about how babies can recognise anything resembling a face almost from birth, but can’t visually recognise anything else until they get many months older. Seems like the ability to identify a face is so hard-wired into all our brains that we see them even when they don’t exist. Continue reading →

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You never know quite what you’ll get

Posted on October 2, 2015 by Roy Hammans

2nd Pass lith process on Adox MCC110 print
Click to enlarge

I had a print of this, published here previously, that was a bit dark. I thought I’d run it through the 2nd-Pass lith process, just out of interest. This is how I’d ended up printing the image originally (I left in the distant view extreme right in the finished print): Continue reading →

Posted in 120, 2nd-pass Lith, Chemical Lith Process, Film negative, Silver Gelatin, Split-toned | Leave a comment

Old Roses

Posted on October 1, 2015 by Roy Hammans

Silver gelatin print from an 8×10 negative on Fomalux SP111 glossy paper.

A contact print of an 8×10 film negative made a month or more ago but only processed this week – the wonders of the latent image! And it proves that my dark slide film holders are light-tight…
The variation in tone along the edges is caused by scanning the print before it had flattened!

This is from the first negative made with the recently-acquired Taylor Hobson Cooke Apotar 9.5in f9 process lens. I foolishly forgot to record the aperture used when I took this, but I estimate it was f45. The lens stops down to an astonishing f128! Continue reading →

Posted in 2nd-pass Lith, 8x10, Chemical Lith Process, Contact Print, Film negative, Scanned Negative, Silver Gelatin | Leave a comment

The ‘Druid Stone’ Revisited – 2nd Pass Lith

Posted on October 1, 2015 by Roy Hammans

The ‘too dark’ print after bleaching and redevelopment in lith developer.

I was never happy with the prints I made of this negative (detailed here) so thought I would take the worst of two, which was far too dark, and see if I could improve on it with some post-processing. Continue reading →

Posted in 120, 2nd-pass Lith, Chemical Lith Process, Film negative, Gold, Split-toned, Toned Print | Leave a comment

New Work – Preliminary Scans

Posted on August 11, 2015 by Roy Hammans

Some scans of recent negatives, made prior to conventional printing.

The images of Stourhead and Bawdsey were made on Edwin Smith’s Ross Autorange camera, recently refurbished. The image of the flowering palm was made on an old Mamiyaflex twin-lens reflex, recently given to me by a friend.

Film throughout is Kodak Tri-X 120, developed in PMK developer. More details will follow when conventional prints are made.

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