Amazing Polaroid 4×5 Camera Conversions: Alpenhause Kamera Werke


Let me introduce you to Steven Icanberry!

 

 

My 900 converted to 4x5 by Alpenhause Kamera Werke

My 900 converted to 4×5 by Alpenhause Kamera Werke

The story begins…

Several years ago my oldest daughter and her husband gave me a complete Polaroid 900 Camera system for fathers day.  I like old cameras and this one sat in a glass display case in my studio for years.  It was a beautiful camera but with film no longer being made it was living its life as a hanger queen only.

My Polaroid 900 Camera Set

My Polaroid 900 Camera Set

Steven Icanberry at Alpenhause Kamera Werke

Steven Icanberry at
Alpenhause Kamera Werke

One day while exploring one of the 4×5 Facebook groups I came across a post from  Alpenhause Kamera Werke and Steven Icanberry,  He was advertising a conversion on the older Polaroid  Land Cameras like my 900 to 4×5 film with a film back and a coupled rangefinder calibrated to the new 4×5 lens he would install!  Steven is a disabled veteran who makes his living from converting these cameras!

This was simply too good to be true and after calling him and with his advice for options and lens selection I sent off my camera to him to be converted.

About the film holder!

About the film holder!

Now, a little bit of info on his designs and options.  His 4×5 film back is of his own design and is small and lighter than any other on the market.  He has them made by a local machine shop and I can attest to the quality of it!  He removes the old lens and makes a new lens plate mounting your choice of lenses.  

I choose a Fujicon 150mm lens.  He couples the lens to the rangefinder system in the camera and calibrates it to be perfect. (This was the big draw for me as I was looking for a simple 4×5 carry around camera).  

He also cleaned all of the rangefinder optics assuring sharp clear viewing.  

I was offered a large selection of colors and new clothes for my camera, I choose bright blue and a silver top along with a built in shutter release cable.   Look at the top image above and tell me that the camera doesn’t look stunning!

His camera conversions are simply stunning in their beauty and functionality!  For those of you who like and desire to shoot film I strongly suggest picking up one of his cameras.  You will not be disappointed at all and you will be helping a disabled US Veteran make a living.  But more importantly you will have a camera system that is as beautiful as it is functional.   I am going to close this with a few images of some of Stevens cameras and the first shot I took with mine.  

He advertises starting pricing at around $500 for a converted camera in stock and also does custom conversions (like mine).  I paid $900 for mine, but I chose a new custom lens and several other options!   

Am I satisfied?  YOU BET!!

Please consider having Steven Icanberry and Alpenhause Kamera Werke do a conversion or sell you a stock conversion!  It is my wish to spread the camera goodness around and this is one good company!

Handheld Converted 900 image with TMX 100

Hand held image from my Converted 900 image with TMX 100

Colors colors colors

Colors colors colors

Beautiful!

Beautiful!

Screen Shot 2016-07-03 at 7.51.07 AM

 

4x5 Film Back

Stevens custom designed 4×5 Film Back

 

My converted 900

My converted 900

Advertisements

Learning To See The SOUL Of Your Image: Black & White


Removing The DISTRACTION of COLOR!

Do you enjoy the purity of a finely crafted B&W image?  

 

Look closely at the image below of the neither regions of the Folley Beach Pier.  This was taken with a B&W only DEEP CONTRAST Infrared camera converted by KolariVision.com with their new AR coating.  Look at the detail and depth captured here.  Do you think that if the sand was actually in color that you would even notice the pier going off into the distance past the initial structure? This is what the power and purity of B&W gives to us!

Fuji X100s 850nm Deep Contrast B&W Infrared: Under The Folley Beach Pier

Fuji X100s 850nm Deep Contrast B&W Infrared by KolariVision.com with their new AR coating: Under The Folley Beach Pier

I love working in B&W,  so that I would only create them if the market would support such endeavor.   There is something about a well crafted monochrome image, having the distraction of color removed leaves you with the soul of the image.  

I find that it is so powerful for me that I look at EVERY scene I approach with B&W in mind.  Yes, I can visualize in B&W.  So can you!  It only takes a little practice… OK, a LOT of practice really, but it is well worth the investment in time and energy!

I am so into fine art B&W that I even have a Leica Monochrom digital camera that is dedicated to it in that it only takes B&W images!   Not to mention digital B&W infrared cameras!  

But DON’T forget film…. Which really is a post for another day.

The baby blue is a Olympus 35RC rangefinder  that I had rebuilt, cleaned and given a nice new set of baby blue clothes!  The second is a Polaroid 900 that my daughter found at a garage sale and sent to me.  I kept it in a display case for a year or 2 then sent it off to  WWW.Alpenhause.com where Steven Icanberry took it apart, cleaned, re-gasket, replaced the lens with a Fujicon 150mm lens and added a 4×5 film back.  He also calibrated the internal rangefinder to the new 150mm lens and gave it an adult blue suite!  It is a dream camera come true! 

 

My Custom Olympus 35 RC Film Camera, one of dozens of film systems I shoot.

My Custom Antique Olympus 35 RC Film Camera, one of dozens of film systems I shoot.

Polaroid 900 converted to 4x5 with a Fujicon 150mm lens.

Polaroid 900 converted to 4×5 with a Fujicon 150mm lens converted by Steven Icanberry

I shoot 35mm, 120mm and 4×5 film systems.  Usually, I will expose about a dozen rolls a week in 120, Develop, Dry and Scan then treat them as I would a digital image except for the fact that I will never be starting with a color image!

Rollei IR400 Film - M7 28mm Elmarit - Rodinal 1-50

Rollei IR400 Film – M7 28mm Elmarit – Rodinal 1-50 processing, scanned and printed

I mainly  shoot with my Sony A7rii camera and a selection of 4 lenses in my normal day to day work.   I shoot in COLOR but always process both color and B&W in post processing.   I can just hear you say “why not just shoot in B&W in camera?”   Well the easy answer is while you can do so, you will get much better B&W images by shooting in color then post processing to get the best possible color image, THEN convert to B&W.  I use The NIK filter Silver EFX Pro for my B&W conversions, and by feeding it a finished color image it will have enough data to generate a wonderful B&W image!

Here is an example of just what I mean:

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.  Daddy’s Girls, Bluffton, SC

First an image of Daddys Girls, a shrimp boat out of Bluffton, SC.   The image is a great one, full of colors and textures with an interesting sky!  I feel that in color this makes a wonderful image and think that there is a market out there for it.  I spent the time with the image during post processing to bring out the colors, textures and contrasts to make the image pleasing.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Daddy’s Girls, Bluffton, SC

Then, and ONLY THEN I ran the image through Nik’s Silver EFX Pro B&W converter.   I Chose a deeply sepia tinted output with a slightly scratched texture and a minor border.  This to me is a pure image with which you can witness and feel the soul of the scene!

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.  Stormy Seas, Head On with the clouds of tropical storm Colin.

Another example from the Sony that I took and post processed today is this image of the shrimper Stormy Seas, likely the MOST PHOTOGRAPHED shrimp boat in South Carolina, IN COLOR.  

Again, I shot in COLOR in order to have as much data as possible for the B&W conversion. Again I found myself in a sepia mood and processed it as the examples above!  As you can see, it has a totally different look, feel and emotional impact from its color version above!

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Stormy Seas, Head On with the clouds of tropical storm Colin.

B&W images can be really powerful in their emotional impact.   There was a time when B&W was all you could have, then color became popular because of the fact that it was different!  But guess what?  B&W is again VERY POPULAR to the point of actually out selling color in fine art shows and to collectors!  This should give you pause if you are concentrating in color only.  You are missing have of the scene, the most important half!

Roanoke River Lighthouse, M Monochrome

Roanoke River Lighthouse, Leica M Monochrome Camera system, B&W only!

 

Out And About With Film….


Wandering the shrimp fleets of Georgetown with my Voigtlander Bessa III 120 film camera….

Voigtlander Bessa IIIw 120mm camera system

Voigtlander Bessa IIIw 120mm camera system

Yep, early this morning I grabbed the bag with my wide angle 120mm camera system and headed out to Georgetown where I was going to spend a bit of time with the shrimp fleets and some film….  I chose the Voigtlander Bessa IIIw system.  It has a 55mm lens on it which at 6x6mm equates to around 35mm and at 6x7mm to 30mm.  This is pretty wide and allowed me to capture several very wide angle shots of various shrimp boats around the water front.

One of the other things that I do when shooting film is to keep a accurate written record of the exposure data for each and every frame.  This assists in keeping my process the same once I get the proper exposure, contrast and desired grain for each of the film types I use.

I enjoy this camera system very much.  It has a lot going for it specifically its 6x7mm negative size which makes for some pretty big scanned files when all is said and done.  I also like the fact that it is a rangefinder which pretty much defines my youth and what I had learned to use when very young!  It is not too heavy, has a leaf shutter which is totally silent and goes up the 1/500 second for exposures. This could be a little faster but I can work with it.  A 120 roll of B&W film gives me 10 exposures at 6×7 which is the format I like the most. 

Rodinal One Shot

Rodinal One Shot

I normally use stand film processing with Rodinal at 1:100 ratio with water, a water bath then the 1 hour processing and normal fixing and a wash, but for these rolls I am going to use Ilford Perceptol ultra fine grain developer in hope of a sharper  image with greater contrast.  So, we will see next week how this new combination works for my finished film!

Stand processing is not dependent upon chemistry temperature, ISO or even Film type!  You put the film in its can, give it a 5 min water wash, then pour the developer in, gently agitating for 1 min then letting it sit for another 60 min!, Water Stop, since and done!     But there are trade offs with Stand processing, namely Bromide Drag which is shown as the slightly darker vertical streaks in the image below.  These come from the developer chemistry being exhausted.

Voigtlander Bessa IIIw with Rollei IR400 120

Voigtlander Bessa IIIw with Rollei IR400 120

Jordan and his film camera

Jordan and his film camera

So with the Perceptual chemistry (6 min develop time) I will not see Bromide Drag and it is supposed to give sharper smaller grain and higher contrast.   So instead of a 1 hour develop time we are looking at 6 min now, sharper negatives with higher contrast!  We will see….

I will hold of processing these images till the first weekend in May so that my 7 year old grand son come come with me to the studio and process his own 35mm film at the same time!  Yes, I am teaching him how to photograph and process film! You gotta start them young so that they catch the film bug!

Cooking the film!

Cooking the film!

Come on back in a few weeks to see the results of todays outing!

 

 

The Purity Of B&W


Going Home To Momma…

Don’t you have the feeling sometimes of not reaching that creative high so that when you return home you are almost like an empty husk?

Well me too, and sometimes I really need to stretch my artistic legs.  Going out with a Color Camera will just not get the job done and leaves me feeling empty.  Working in Film is a lot better and scratches an itch that I just cannot reach otherwise… But when I am really feeling creatively down and mentally cramped I usually turn to my Leica M Monochrom system.

Duggars Creek Falls, Boone, NC.  Leica M Monochrome

Duggars Creek Falls, Boone, NC. Leica M Monochrome

Working directly in B&W is a soul expanding exercise that will re-inflate my creative side quickly and effectively.  I am the type of photographer who can actually think and see in B&W. Actually generating those images in the field with a capable B&W rangefinder system really is like going home to Momma.  It leaves me with that ohhhh feeling, or is it OHHHHH… Yep, that is the feeling that I am talking about!

First, I LOVE shooting with a rangefinder camera system.   ALL of my cameras are rangefinders except for one little Fuji XT1 that sits in my camera bag rarely used unless I take it out for lightning shots.  I just love the feeling of using a rangefinder!  I am not kidding about the feeling of going home to momma!  They take me back to my early days of photography when a rangefinder was all that I had and used.  They were and still are a nitch camera system.  You generally will not find someone out shooting birds in flight images with one, but that is OK  with me because after 50 years of shooting, I am soooo TIRED OF BIRDS (well except for hummingbirds but I can do those just fine with a rangefinder).

Outer Banks Fishing Pier, 250 second Exposure Leica M Monochrom

Outer Banks Fishing Pier, 250 second Exposure Leica M Monochrom

So what makes me smile about the M Monochrom?  The ease of use, the CRISP release of the shutter, the incredible functionality of the camera and its wide dynamic range!  I love the way it feels in my hands and responds to my control!  I even love the sound of it. It is almost sensual in nature!  Now, couple that with the amazing images that a pure B&W 18 mega pixel sensor with NO Brayer filter and no anti-aliasing filter can create you will be left breathless with the results.  

So for this simple and short post about achieving emotional nirvana, I will keep it to just 2 images that make me feel good. Now that I am creatively re-inspired I can go out again with my color camera (rangefinder of course) and while looking at my scenes in B&W create color images again!

Thank you for stopping by for a visit to the blog…

Creating Digital Negatives For Van Dyke Brown Printing


How I make my Image Stack for Digital Negatives…

Green Negative for UV blocking.

Green Negative for UV blocking.

Easy Digital Negatives is another remarkable book by Peter Mrhar

Easy Digital Negatives is another remarkable book by Peter Mrhar

This post is about how I create my Digital Negatives for printing in Van Dyke Brown.  Before I get into the meat of the subject I need to tell you that I am a follower of Peter Mrhar’s gradient maps for creating my negatives rather than using curves.  The maps will allow you to create a much more controlled negative without the issues normally seen in curves like wild spikes and twists which can really mess up your image.  Peter has written a book on the subject called Easy Digital Negatives which can be purchased on Amazon for a small fee.  The entire book leads up to the last chapter where he gives you an automated script that plugs into Photoshop that will create the gradient map.   Read the entire book first to understand how to develop a exposure test strip and a 245 step print that his script need in order to build the map.  

The basic recipe that Peter gives is:

  1. Create a exposure test strip to get the correct exposure under your UV lights for perfectly exposed dark tones (black/Brown).  You do this with a piece of sensitized paper with a strip of un printed negative material covering 1/2 of the paper.  You then place a total UV blocking material leaving 1 inch of uncovered space, and expose for 1 min.  Then move the UV blocking material to uncover another inch of open paper/film for another min.  Repeat this procedure for about 10 min to create your test chart.   Annotate each exposure with pencil on the paper prior to developing to know what the exposure time was for each movement of the blocking material.  Process and completely dry.  Where the darkest tone that was under the unprinted negative material matches the darkest tone next to it on the paper only side you get your max exposure time.  This then becomes your base exposure for the paper/emulsion comes from.  You will need to do any paper treatments to your paper first like acid washing or applying Fumed Alumina.
  2. Van Dyke Brown Step Wedge Calibration Chart for 3 Min Exposure

    Van Dyke Brown Step Wedge Calibration Chart for 3 Min Exposure

    Now print your 256 step chart that Peter provides on a piece of paper treated the same as in step 1, with a UV blocking color which you will learn about below.  Process and dry.  Scan the resulting image according to Peter’s instructions and feed it to his script in Photoshop and it will pop out a Gradient Map for you to place in your image stack (example below).   

That is all there is to it to create your gradient map (his script will also create a curve if you so desire).

Ok, lets talk about how you put together your file to create your digital negative once your have your gradient map in hand! Below is a copy of my adjustment layers in my digital negative file.

Image Stack in Photoshop for Digital Negative

Image Stack in Photoshop for Digital Negative

Starting at the bottom and working up, take a look at each layer:

  1. Background, default layer in every PS file.
  2. White Background, if you select this the non image area of your negative will print black (green) and leave the emulsion unexposed and white.
  3. Transparent Background, basically the same as layer 2.  I have this here so that I can select it and be able to read my text layer above on the negative.
  4. Black Background, if you select this layer then you will get a negative with the non image area printing white which will force expose the paper black.
  5. 256 step tablet.  You can select this layer to print a test chart.
  6. Picture Goes Here.  Place your image to be printed above this layer.
  7. Picture, REMEMBER even though we are printing a B&W image it MUST be in RGB mode because we are going to print the negative in COLOR to have a UV blocking layer on the top of the stack!
  8. Text layer  with data to be printed on the paper but separated from the image.  This is the bottom of a grouped set of layers that are all selected by simply selecting the group name, read on…
  9. Gradient Map for Lana Paper, acid washed and exposed for 2.5 min.  This is the meat of the layer stack.  This one layer will correct your MID TONES while the 2.5min exposure will correct for the dark tones.  This layer is what make your negative work.
  10. Lana paper group name.  Select this and the next 2 will automatically be selected. I have expanded them so that you can see them here for explanation.
  11. Group of 3 layers for Stonehenge papers with the same basic steps as 8, 9 & 10 with the only difference being a GRADIENT MAP created for Stonehenge paper rather than Lana paper!  you can have groups for each of your papers used in the stack and simply check the boxes you need for the paper you are going to print on!
  12. Invert, you MUST click on this prior to printing the create your negative image, switching your blacks & whites.
  13. Red UV blocking color, click to choose, be careful to not select both Red and Green.
  14. Green UV blocking color, click to choose, be careful not to select both Green and Red.

RULES:

  • Select ONE and ONLY ONE gradient map group or your picture will not print properly!!
  • Select ONE and ONLY ONE color UV blocking color or you picture will not print properly!! 

Let’s talk a little about the UV blocking colors.  It seem a little strange to use a COLOR layer when printing B&W but you need to realize that some colors are better than B&W for controlling your UV exposures!  I have 2 color layers included in my image stack but there can be many others depending upon your printer, ink set and choice in negative film.  For my system (Epson 7900 24 inch printer using the Image Print V9 RIP) I have found that the Green layer works much better.  I am going to show you the difference below between using a B&W negative vs. the GREEN negative.  Pay close attention to the density of the grasses next to the sky in both prints. 

First using a B&W negative with the same gradient map…

B&W negative

B&W negative

As you can see the density of the negative especially in the grasses looks great, but when you look at the output print you can see that the grasses all turn white at the horizon and get lost!

Bent Tree, B&W Negative

Bent Tree, B&W Negative

Now let’s take a look at the negative with the GREEN UV blocking layer…

Green Negative for UV blocking.

Green Negative for UV blocking.

The first thing that you should notice is that the density of both the sky and the grass seems much less dense but when you look at the output print the difference is amazing!

Bent Tree, VDB, w/ green negative

Bent Tree, VDB, w/ green negative

The grasses are now full of texture and you do not loose any detail at the horizon.  The exposure on both images are the same thus you have the same amount of dark areas of shade and in the tree, but the mid tones now are full of greater details.  This was simply achieved by adding the color UV blocking layer.

As I talk about these technical details they may seem simple, but it did take a while for me to master them in all of their glory.  The image used as an example for you is not yet to my liking.  The sky is a little too dark and the shadows are too black.  I have just this week created a new negative with corrections for those specific areas and will be printing this image again tomorrow!

Nothing comes easy with alternative printing. Our printing lives are full of trial and error, but once we master the basics of the digital negative the trial and error period will drop down considerably.   

You can download a copy of my PSD negative stack files both here in my download link on the bottom of the right hand menu and on Facebook in the Van Dyke Brown Printing group or in the Digital Negatives for Contact Printing group.  There is a download file button on the top of each group page that will take you to these files.

I hope that this has been helpful for you. If you have any questions on this process please leave a comment here or join the FB groups above and you will find a great group of people on each group who can and will assist you in your process!

Using Fumed Alumina To Fix Paper Issues in Van Dyke Brown


An Easy & Cost Effective Way To Fix Paper Issues!

Stormy Seas, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

Stormy Seas, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, 720nm Infrared

Testing Fumed Alumina…

Van Dyke Brown emulsion is basically on the acidic side of things chemically and as a result of this I have been forced to wash most of my papers with a acid bath. This caused a increase in my process by 2 days. So I am testing Fumed Alumina which is acidic unlike Fumed Silica which is neutral. I decided to go with the Alumina test first and will do a followup post down the line with the Fumed Silica.

Bent Tree, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

Bent Tree, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, IR400 120 Film

Initial results were quite pleasing with both Revere Platinum and Lana Aquarelle papers. I got a MAJOR increase in Dmax with both the Lana and Revere papers, but upon completion of my final wash the Revere was VERY EASY to damage with finger smudges until it dried. The Revere had a tendency for the Alumina to easily rub off the Alumina while wet whereas the Lana was strongly attached.

Anderson Mill, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

Anderson Mill, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, Leica M Monochrom

The Alumina did fix ALL of the spotting issues that I had when using the Revere Platinum paper but the fact that it will rub off when wet causes some concern but it is easily overcome with careful handling.

Magnolia, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

Magnolia, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

The Process:

  1. Dry roll on the Fumed Alumina in 2 directions and rap the paper edge on the table to remove the excess.  Make sure that you use a good mask to filter out this dust as it might irritate your lungs.  DO NOT OVER COAT or you will get streaks when you coat the emulsion.  The rolling step only takes about 30 seconds! You will need to put about 1 TSP of the Alumina into a small paint tray then pre load a small (3″) HARD foam roller with it.
  2. Coat as normal after you roll on the Alumina. You will need about 12 extra drops of VDB emulsion due to it absorbing more. My basic quantity of VDB emulsion for a 8×12 sheet of paper coated with Alumina is 48 Drops of emulsion and 2 drops of Tween 20 at 25% (you will need to dilute the Tween from 50%) solution.  For this post I brushed on the emulsion.  In the past I would normally use a glass rod for coating but the Alumina creates a very rough surface and I was afraid of damaging the paper.
  3. Dry and Expose. Here you will find that the addition of the Alumina will DECREASE your exposure about 1.5 stops!
  4. 1st water bath with distilled water and a pinch of citric acid, 2 min.  This bath will remove any extra ferric ammonium citrate which will cause a yellow paper stain. This bath will darken the print.  Do not worry as the FIX will balance contrasts and bring out the highlights!
  5. Fresh water bath to remove citric acid. 2 min. If you are Gold Toning, this step is VERY important as any Citric Acid will destroy the toner bath!  
  6.  Gold toning bath 2 to 5 min to taste.  The toning process requires CONSTANT AGITATION! After 2 or 3 prints toned add 5ml/print of Gold Chloride to bring the bath back up to strength. This  toning bath will further darken the print.  Do not worry as the FIX will balance contrasts and bring out the highlights!
  7. Fix for 2 min with Sodium Thiosulfate for 2 min. 30g/L. I do not believe that any further time will help the process.
  8. Final moving fresh water bath for 30 min.
  9. Air dry,  I spread out old towels on a table top and place the print on it for about 10 min to absorb most of the water thru the back of the print.  I will then hang the prints to dry by a corner.  
  10. Use a  heat press to flatten your prints at 170deg for 20 seconds. The heat press step is to make the paper flat again.
  11. Hand rub in SOFT custom wax coating for protection then heat to force the wax to be absorbed into the paper fiber with a hair drier (more about this in a future post).
Dinghy, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

Dinghy, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, Leica M Monochrom

All in all this was a VERY easy fix to the acid washing step  and only added about 30 seconds to roll on the Alumina. The Fumed Alumina can be purchased at Bostick & Sullivan for $15/500g which will do about 100 sheets of 8×12 paper.

2 Dinghys, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned

2 Dinghys, Van Dyke Brown, Lana Paper, Fumed Alumina Brush Coated, Gold Toned, Leica M Monochrom

The increase in Dmax with the Fumed Alumina is amazing and the resulting images are stunning.

Please let me know what you think of this post and with suggestions for future posts!

Gold Toning Van Dyke Brown Prints


Gold Toned Van Dyke Brown Prints on  Lana Aquarelle 140lb HP  paper

“Oak Reflections in Infrared” Gold Toned Van Dyke Brown Prints on Lana Aquarelle 140lb HP paper

Who knew Gold would be so cool?

After experimenting quite a bit with washing my un coated Lana paper with a 2.5% wash of Citric acid and distilled water and discovering that ALL of my paper issues fell away that the Dmax of my paper/print would so radically improve!  Though I do have to admit that pre washing the paper adds 2 entire days to my workflow and is a LOT of work.  I recently ordered some Fumed Alumina powder from Bostick & Sullivan as an alternative to acid washing.  B&S says of Fumed Lumina:

A small quantity of fumed Alumina is rolled on to a piece of paper with a dry high density foam paint roller. It spreads evenly on to the paper leaving a velvety surface to the touch. The paper can then be coated with a platinum/palladium solution, dried, exposed and developed in the standard method. It is suspected that the Alumina can be used for other hand coated photographic processes like cyanotype, van dyke, Kallitype, and similar processes. It has already been tested with great success with albumen prints. The coating acts as a sizing enhancer and appears to protect the emulsion from alkali buffers. Contrast increases but appears largely to be due to enhancement of the blacks. 

Anderson Mill, Gold Toned Van Dyke Brown Prints on  Lana Aquarelle 140lb HP  paper

Anderson Mill, Gold Toned Van Dyke Brown Prints on Lana Aquarelle 140lb HP paper

So, this then is the great experiment of March!  I will report back on the measured effect as it applies to my process in the next post!

Now, onto the reason for this posting, Gold Toning of Van Dyke Brown prints! Now that I am getting consistent prints from my acid washed Lana Aquarelle 140lb HP  and Stonehenge papers I wanted to explore increasing the Dmax further by Gold toning.  Rather than mixing my own gold toning solution (basically I am very lazy) I decided to purchase Bostick & Sullivans Gold Toning liquid solution.   This is simply 2 bottles of a chemicals, solution A is 2% Ammonium Thiocyanate and solution B is .2% Gold Chloride.  You mix 50ml each of A and B  with enough distilled water to make 500ml of working gold toner.  Easy peasy, no powders to measure and mix.  B&S says that you can replenish the solution by adding 5ml of the Gold Chloride for each 8×10 print you tone.  I do this in the toning bath but when finished I am thinking that I need to throw it away and treat it more like a 1 shot toner.  Since the cost of the Gold Toning kit is so reasonable from B&S ($45) and will make such a large amount of working toning bath 10 bottles of 500ml working bath I am inclined to do so. 

Magnolia Blossom, Gold Toned Van Dyke Brown Prints on  Lana Aquarelle 140lb HP  paper

Magnolia Blossom, Gold Toned Van Dyke Brown Prints on Lana Aquarelle 140lb HP paper

The reason for this is simple.  It has to do with the processing sequence:

  1. Expose your coated paper.
  2. 1st water bath with 2000ml of distilled water and 1 tsp of Citric Acid for 2 min to remove excess sensitizer (yellow Stain) from the paper and to help prevent emulsion wash off.
  3. Gold toning bath, watching for toning in the mid tones and highlights to indicate finish.
  4. 2nd water bath with 2000ml of distilled water and 1tsp of Citric Acid.
  5. Fix.
  6. Rinse in tap water for 30 min.
Stormy Seas on the dock, Gold Toned Van Dyke Brown Prints on  Lana Aquarelle 140lb HP  paper

Stormy Seas on the dock, Gold Toned Van Dyke Brown Prints on Lana Aquarelle 140lb HP paper

The issue for me with replenishment of the gold toner solution is that even the TINIEST amount of citric acid will destroy the toning solution.   So this means that between step 1 and 2 I have to insert:

    1b. Plain tap water bath for 1 min to remove Citric Acid.

Since the Citric Acid will destroy the gold toner and that there is very little chance for me to remove most of it prior to toning then there is the very likely chance that it will be ruined even with a plain water bath prior to toning!

The acid problem with the gold toner is the only real issue to its use.  I really do not want to have to put the print into my print washer for 5 min to clear all of the acid so a 1 shot toning bath for about 3 images seem a good trade off to me.  Time will tell!

I hope that you have been paying attention to the images spaced through out the post.  All of them have gone thru the gold going process and with the exception to the last one I did not add any more Good Chloride to the bath.  Because of this you can notice that with the exception of the 1st and last print each print after the 1st look more brown as we progress down the line! With the last one I added 25ml of the gold to bring the bath back up to strength and you can see the difference.  You can tell that it is run down by how long it takes for the toning process to complete to the point where you like the results.   I have been told by friends online that I could have taken the toning process a bit further.  The thing about gold toning is that the gold replaces all of the silver in the print which shifts the print colors from dark brown to a very platinum looking black.  You can even get a bluish tint in the dark tones of your print!  

I think that the toning process is VERY worth while and highly recommend that you give it a try.

The next post should be on using the Fumed Alumina as an agent to overcome a non-acidic paper coating as well as increasing the prints Dmax!

 

Continued Work In Van Dyke Brown Alternative Print Process!


Perfection in Brown

 

Glade Creek Mill, Van Dyke Brown, Revere Platinum Paper exposed for 5 Min

Glade Creek Mill, Van Dyke Brown, Revere Platinum Paper exposed for 5 Min

 

Oak Reflections in Infrared, Van Dyke Brown, Revere Platinum Paper, 3 Min Exposure

Oak Reflections in Infrared, Van Dyke Brown, Revere Platinum Paper, 3 Min Exposure

After another 2 weeks working on the negative density, I have finally gotten to the point of good negatives, not great yet but I will get there.  I have to master the use of UV blocking color in the negative for them to be perfect and that is a project for the future. To date though I have reached perfection using normal B&W negatives.  

My CORRECTED Digital Negative for the Van Dyke Process

My CORRECTED Digital Negative for the Van Dyke Process

Here is the corrected negative that I used in the image of the Oak trees above.  It is much dense and has been corrected for the mid tones as printed in the Van Dyke Brown Process!  It has much greater contrast and required only a 3 min exposure in my UV unit. 

One thing that you have to remember when making your UV exposures is to place the ink side of your negative down on the paper surface.  If you reverse this the picture will be backwards, but more importantly, the UV light will burn the ink surface and ruin both the negative and the print.

B&W Negative for Van Dyke Brown Print exposure calculated for 3 Min.

B&W Negative for Van Dyke Brown Print exposure calculated for 3 Min.

Compare it to the negative on the right.  This negative was used in the previous post here where the image printed much darker and with less mid tone data.  Take a close look at the difference between the two negatives, the first has much brighter areas for increased black contrast and more detail in the trees. The difference is amazing and was easily achieved by the process discussed below…

Here is a small copy of the print generated by the 2nd negative from the previous post.  Notice how much darker it is and that there is no detail in the mid tones of the image!  It only took me a short while to create the Gradient Map from the process that I learned in Peter Mrhar’s book below.

Van Dyke Brown Print, Over Exposed by 2 stops due to the uncorrected negative

Van Dyke Brown Print, Over Exposed by 2 stops due to the uncorrected negative

Easy Digital Negatives is another remarkable book by Peter Mrhar

Easy Digital Negatives is another remarkable book by Peter Mrhar

Easy Digital Negatives is another remarkable book by Peter Mrhar that I use in the creation of my negatives.  It enables you to easily create Gradient Maps to adjust the mid tone values of your negative tailored to the alternative process that you are printing with!  I highly recommend this text over all of the others!

There are several good books on Digital Negatives out there but As I said the is the easiest that I have read and used plus the results of using a Gradient Map over a Custom Curve.  I suggest that you purchase several texts and try them in your workflow to see what works best for you!

I hope that you enjoyed this short post on the Van Dyke Brown Process.  You can look for more about it in the future!

Going Home to Momma with the Leica M7…. Film Photography Returns!


Ahhh… It Feels So Good!

Rollei IR400 Film - Leica M7 50mm Lux - Rodinal 1-50

Spring in the South…  Rollei IR400 Film – Leica M7 50mm Lux – Rodinal 1-50

Oh my, I do NOT know where it came from but I got the BUG again for more film photography!  I have a cabinet here in the Gallery just full of old film cameras plus a Leica M7 film body that works with ALL OF MY M MOUNT LENSES!  (see the last post HERE for more info on the lenses).  I decided to purchase a new stock of several films:

  • Kodak Tri-X 400, Ohh
  • Eastman Double X 200, Ahh
  • Rollei IR400  400, WOW!
  • Kodak Tmax, Ho hum…
  • Ilford HP5+ 400
Rodinal One Shot

Rodinal One Shot

I picked up some stainless 2 roll developing tanks with a bunch of Hewes (don’t skimp on your reels, buy the best!) Stainless Steel 35mm Reels.  For developing I like Rodinal One Shot due to its ease of use and a life span of around 40 years.  I simply mix it one tank at a time usually at a 1:50 ratio with water using a small syringe. It allows a very wide latitude of contrast and iso control.  I have used several other developers but I keep coming back to Rodinal!

Now, I am playing with several cameras. As I said my main and BEST camera is my Leica M7.  But here is a current list of those cameras I am using:

  • Leica M7 with Leica & Voigtlander Lenses
  • Petri 7s, 1962 
  • Olympus XA
  • Olympus 35 RC 
  • Shen Hao 4×5 Field Camera (about 12 years old)
1962 Custom Petri 7s Film Body

1962 Custom Petri 7s Film Body

The Petri 7S has been in my hands since 1962 and still shoots great ( I did send it off to have the light seals replaced and a new leather covering ). The Petri has no batteries but rather a solar cell around the lens that drives a needle exposure meter that you simply place into its center notch for a good image!

All of the cameras in my list above have proven reliable  but with the Petri you get a link to the past, specifically MY past as this was my 2nd camera I owed when I was young!

The Olympus 35 RC is an amazing small rangefinder with very nice controls.  It is smaller then the Petri 7s and actually has better control functionality.  It does require a battery to run its metering system though which is a step down from the Petri 7S in my opinion.  The nice thing other than the size is the fact that EVERYTHING is displayed inside of the viewfinder.   Unlike a refurbished Petri 7S which can be found for around $100 used on Ebay, the Olympus 35 RC camera refurbished is demanding around $250!  This is a big difference in price and tells you a lot about its quality and demand! I was lucky to find one from a collectors inventory that he sent off to be totally refurbished and re-skinned for much less than $200.00!  For you film shooters out there on a budget this is the camera that I recommend if you find yourself desiring a rangefinder.

My Custom Olympus 35 RC

My Custom Olympus 35 RC

The Olympus XA was a 35mm rangefinder camera built by Olympus of Japan. It was one of the smallest rangefinder cameras ever made, together with the Contax T.

Olympus-XA

Olympus-XA

It was designed by Yoshihisa Maitani who had joined Olympus Optical Co Ltd in 1956. He was the chief camera designer and managing director of Olympus Optical Co Ltd., having developed a number of legendary cameras during his career. These included the Pen series, the OM series, the XA series, the IS series and the [mju:] series of cameras.

The original model, the XA, was sold from 1979 to 1985. The original XA features true rangefinder focusing, a fast 35mm f/2.8 lens, and aperture prioritymetering. The lens was protected by a sliding dust cover.

This is the smallest 35mm rangefinder ever made.  It will fit in the palm of my hand and will make a great system to have with me everywhere I go!

The Leica M7 uses batteries and sports a center weighted spot meter measured either off the film or off the shutter.  I find that it meters very reliable. It is the top of the heap when it comes to 35mm film cameras.  There are a lot of high end rangefinder cameras on the market but the Leica is the top.  I really excels in the area of long exposures with either a count down timer  in the viewfinder for images metered and controlled in the aperture priority mode or a count up timer for exposures done in the bulb mode.  In bulb, it will count up to 16 min then stops counting for battery conservation, but will continue exposing until you release the remote shutter release.  It will use NO battery power after the 16 min count up timer turns off until you release the shutter then it requires a pulse of electricity to close the shutter.   NO other rangefinder can say this unless you use a pure mechanical camera like a Leica M2 which has no metering system at all.

The Leica M7 is surprisingly heavy but easy to handle.  I keep reading about other high end rangefinder bodies out there but when you do the comparison of features I always come back to the M7.

My Leica M7 Film Body

My Leica M7 Film Body

All of my cameras are fun to use and reliable.  With the Leica M7 you get the world class glass but with the Petri 7S you get a link to the past, specifically MY past as this was my 2nd camera I owed when I was young!  The Olympus 35 RC is an advanced rangefinder from the 1970 era and is slick and fun to shoot. You will see examples from these cameras towards the end of this post!

______________________________________________________

I usually develop my negatives on Sundays.  I have a film drying cabinet that I use to dry the film without dust spots overnight.  I then will scan the negatives on Monday or Tuesday using a Nikon 4000 ED film scanner at 4000 dpi into the DNG format for editing and cleaning later in the week.  I usually shoot 2 or 3 rolls a week.

Rollei IR400 Film

Rollei IR400 Film

My favorite film is Rollei IR400.  This is available at the big camera stores like Digitaltruth, Freestyle and B&H.  What makes this film so special is the fact that is very much like Kodak Tri-X 400 as shot.  It has a VERY THIN film base which really makes scanning easy.  BUT the most amazing thing about this film is that it is sensitive to INFRARED!  If you place a Hoya R72 IR filter on the camera lens the film will record 720nm IR images!  There is an ISO hit due to the filter being so dark down to 12 ISO but it is worth it being able to shoot in both normal B&W and IR B&W!

Next I like the Kodak Tri-X 400 film.  It gives great contrasts and has a very wide latitude in development.  It is well known and tested and for ultra long exposures.

Eastman Double X 5222

Eastman Double X 5222

Then comes Eastman Double X Cinema film.  This is a GREAT B&W film that gives a very smooth gradation and lovely warm tonality with slightly increased contrasts.  This is motion picture film so unless you are going to buy a 400 foot reel you will need to purchase it from the store at Film Photography Project. They will sell it in either 24 exposure rolls or a 100 foot bulk loader roll.  It develops nicely in Rodinal at 1:60 for ISO 200 but there are ratios for 100 up to 800 ISO!  This film is very much worth experimenting with.

I need to say a few words about the folks at Film Photography Project.  They offer  an amazing wide selection of films and old cameras!  This includes Polaroid cameras and film also!  Their Podcast is amazing and I find that it is so good that I now have it running all day while I am working at my gallery in Pawleys Island.  Good Stuff, check them out here:  Film Photography Project.

Whatever film you decide to use you will be pleased with the results. Processing is easy to do with a VERY small investment. You will need:

  • Film Camera
  • Film
  • Chemestry:  Developer, Stop (you can use water), Fixer and water bath with a Wetting Agent.  $40 to get started
  • Film drying hanger clips $3 for a bag of 2
  • Film tank, either stainless steel or a Peterson. Peterson tank and reel is about $40
  • Film tank reels (if stainless do not skimp on these).  Hewes Steel are about $25 each
  • Dark changing bag to move the film from the canister to the developing tank.   $40
  • You will also need some way to scan your film into a digital image or pay someone to do it for you.

That is it.  It normally takes me about an hour to develop 2 rolls.  I will let them dry for several hours then cut them into strips of 6 and put them into plastic storage sheets.

For scanning, as I said above, I use a Nikon 4000ED film scanner.  As you can guess from the name it will scan at 4000 dpi and has a lot of adapters for different types of film scan feeders.  It has slide auto feeders, single slide feeders, a 6 position film rail for troublesome film and an automatic roll feeder to scan entire rolls automatically.  If you couple this with VIEWSCAN software you have an amazing scanning system that rivals those that pro labs use!

Nikon 4000 ED system

Nikon 4000 ED system

Ok, lets take a look at the results of 3 types of film in 2 cameras!

Pawleys Pier  M7 Elmarit 28  Rollei IR400 film in Rodinal at 1:50

Pawleys Pier M7 Elmarit 28 Rollei IR400 film in Rodinal at 1:50 240 second exposure

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

Eastman Double X Film - 1962 Petri 7S  - Rodinal 1-50

Eastman Double X Film – 1962 Petri 7S – Rodinal 1-50

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

1962 Petri 7S, Eastman Double X film in Rodinal at 1:60

Rollei IR400 Film - Leica M7 50mm Lux - Rodinal 1-50

Rollei IR400 Film – Leica M7 50mm Lux – Rodinal 1-50

Rollei IR400 Film - M7 28mm Elmarit - Rodinal 1-50

Rollei IR400 Film – M7 28mm Elmarit – Rodinal 1-50

Rollei IR400 Film - M7 50mm Lux - Rodinal 1-50 240 second exposure

Rollei IR400 Film – M7 50mm Lux – Rodinal 1-50 240 second exposure

Rollei IR400 Film with R72 IR Filter - M7 50mm Lux - Rodinal 1-50

Rollei IR400 Film with R72 IR Filter – M7 50mm Lux – Rodinal 1-50

 

Rollei IR400 Film - M7 50mm Lux - Rodinal 1-50

Rollei IR400 Film – M7 50mm Lux – Rodinal 1-50

I hope that you enjoyed this post and its associated images.  I have been using film since I was 9 years old.  At 13 I had my first darkroom at home.  I worked in film in my own darkroom until I was 18 when that period of my life can to an end.  42 years later I re-engaged film photography again and cannot help but ask “Why did I wait so long?”  I have been shooting digital since my career at Eastman Kodak when you could ONLY get B&W digital camera systems!  I have spent fortunes on digital and have loved every moment of it.  Film will NOT take any of that away, I still have digital and continue to use it.  But I have to be honest and admit that working in film again fills me with a sense of peace that I have not experiences in a very long time….

Please let me know what you think of this post!