Real Photographs

Last winter in the garden here at Weeping Ash. Continue reading »

A print made from a 120 film negative exposed in an old Koroll camera; HP5 developed in Rodinal. Continue reading »

This is a print made whilst attending the Tim Rudman Lith Workshop in Ealing this week. Continue reading »

The so-called Brontë Bridge is near Haworth, Yorkshire and was, by all accounts, a place often frequented by the Brontë Sisters. Read more about them here. Continue reading »

Original print on – I believe – untoned Kentona paper in D-163 developer, then fully bleached in ferricyanide and redeveloped in Ansco 70 lith developer. The curious split-toning that has resulted was an unexpected bonus.
(I must try and remember to write on the back of my prints before processing so that I know which paper I’ve used. I always forget to do that in my haste to see what it looks like developed!)

Original print processed conventionally on Ilford Warmtone Multigrade FB, selenium toned, then bleached in ferricyanide and redeveloped in Ansco 70 lith developer. Ilford Warmtone is a paper that does not lith well directly, but this 2nd-pass lith method produces some interesting effects. Continue reading »

From an old 120 negative that had a processing fault resulting in a mottled bubble effect over the lower half. It never worked as a normal print because of this, but the lith process conceals the irregularities somewhat. The first print I’ve made by the lith method using Foma Nature 532 paper, developed in LD-20.

Lith print made from a 120 film negative, printed on Fomatone 131 Glossy and developed in LD-20. Continue reading »

A different viewpoint on the church shown in this post. Continue reading »

click to embiggen

This vase is an original Clarice Cliff design. It has been in the family since the 1930s and came to me after mum died. It forms part of the collection of images that I call ‘Memoria Vitae’, roughly translated as ‘Memories of Life’, an occasional attempt to make photographs of the objects I own that are particularly important to me.

Photographed on Ilford Delta 100 120 film on a Mamiya RZ67, then processed in PMK Pyro developer, the negative was scanned at 1600dpi and taken into Photoshop. I then applied a digital lith processing workflow first described by Marco Pauck. The website from which I made a copy of the process back in 2005 has now disappeared, but I plan to describe the PS technique here at some point as I think it creates a fairly realistic pseudo-lith image.

Here is a conventional (wet process) lith print from the film negative. Printed on Kentona Glossy Grade 2, processed in LD-20.

Of course, this is a colourful subject and true to the spirit of this blog I made a lighting test of the photography set-up on one of my last few remaining sheets of Polaroid 669 film. Here it is, click to enlarge.