 I love B&W images. They speak to me on a level that color simply cannot and for a long while I wondered why. A few years ago, after reading Susan Sontag "On Photography" book I began to realize what it was. Photography for me has nothing to do with reality so the B&W abstract interpretation of our world appeals to me. But there are times when a color rendition can be just as abstract. The film has to be right, as does the development and the light has to be just so but it does happen. And these, abstract representation of the world, draw me in and tap into an emotional memory that can be more powerful than a B&W image. The picture above, with its obvious location, was shot on Portra 400 film. This was taken early int he morning and the sun was coming up. The sky was a blue grey while the sun coming up was bouncing off the stone architecture that was all around me. I shot this image and the colors are obviously nothing like what I was seeing. But what I was seeing was not nearly as beautiful as this image. As I think back on the day, my memory has slowly changed to match this abstract view of it. It was a wonderful day, a day I took off from work, took a bunch of film and a couple of cameras and dedicated myself to a photography walk around London. Most of my favorite images of that wonderful city comes from this walk.  These colorful shots, processed with slightly expired chemicals, give me the abstract interpretation of the world that I love. Digital continues to improve and the quality of images, the details that can be captured and the perfection of the cameras themselves continue to surprise me. But the natural film rendering of a scene, when properly captured transmits more emotion then the perfection of those digital cameras. 
0 Comments
 The idea is to think of an image, shoot it, develop the roll and make a print in a single day. This weekend I did just that with a roll of 120, my Mamiya C220 and a Calla Lily that was growing in my front yard. I had seen the flower earlier in the week, for those who do not know, this type of Lily gives a flower that lasts about a week. The plant then continues to offer Lilys for several weeks after that. So I noticed the first bloom and waited to have a couple very nice ones opened. Saturday was the day of reckoning. I had envisioned a close up of the Lily flower so I needed a camera or lens that could give me a close up. The Mamiya C220 is one of my favorite cameras for this kind of a shot. I can focus very close to the object, the 120 film gives me a great deal of detail and the camera is not too unwieldy. From past experience, I knew that the metering of this flower was going to be a challenge. You need to spot meter well inside the flower in order to get detail in the highlights. This was a special challenge because this particular Lily sits in a dark corner of the yard. The contrast was going to be high and I needed to keep detail in both the dark and the white. I had a cloudy day and took advantage of the perfect time to capture the shot. I selected Ilford Delta 100 Pro, one of my favorite low grain film. This film developed in D76 or ID-11 gives a wonderful tonal range with some potential contrast without becoming overpowering. If I compare it to HP-5, the Delta 100 has a great deal less contrast but still gives you the option to bring out more using filters. For this image I wanted something soft yet keeping the details in the whites and blacks.
I chose an Exposure Index of 80 as compared to the box speed of 100. I developed it normally as if I had exposed it at 100. I believe this gives me a more even exposure, and if lighting permits, I shoot at 80. The set up was simple, I put the C220 on my tripod and got up close. I took a spot meter reading on the inside of the flower. I wanted a good depth of field to ensure that everything was in focus, and I wanted to be able to tell that the background was actually leaves. I did not want it to appear as if I took the picture with a backdrop in a studio. I wanted that garden look to be there, even if just hinted at. So I selected f/8 and took my reading. I took three shots, to bracket the image.
 Through Ground Glass I framed the image to ensure that I had some leaves in the background. The image above was shot through the viewfinder using my iPhone. The trick with up close images on the C220 is to watch the framing. Since it is a TLR as you get closer you begin to suffer parallax.  Here is the final print. The detail in the flower is clear, the background is still visible and I managed to keep the detail in the shadows as well as the flower petal. The framing is what I wanted and the light is exactly how I imagined. The grain of the Ilford Delta 100 allowed me to zoom in for the right crop given the 8x10 paper size.
The overall project came out better that I had hoped.  I enjoy doing photo deep dives, for those of you who have not seen it check out the top of this page, but there are dangers of doing this. A photo taken in isolation of the rest of the photographer's work is often not representative of the photographer. It can be a great image, a work of art and might move an entire generation of photographers BUT it might still not represent the type of photographer that took it. When you look at more of a photographer's work, you begin to understand more about their style, methodology and approach. Most of the time this is purely academic and but sometimes it can teach you something that you can apply to your own photography. Fan Ho is a prime example of that. Going through his work, turning page after page I began looking for themes and similarities in the photographs. This is what I found...
Pulling these images together, showing them one after another, the theme is clear. They are all taken in the same place, same time of day to take advantage of the light rays coming through. I would guess it is morning light as people seem to be going to work and school.
His method here becomes clear. He knows a place with great light, knows the place well and the time he needs to be there to get the light he is after. He picked his spot and kept going back. I can picture him going there every few weeks or months, finding a place to stand and then wait for the story to come together. Just as a lion would scout out a watering hole, Fan Ho picked his background and then waited to let the people walk into it. This is not the meandering walkings of a street photographer trying to capture the life in a neighborhood. Here we have a very methodical approach to capturing life. Go to the place where life unfolds in front of the background you like. This worked amazingly well for Fan Ho. He was able to control the composition, ensure good lighting and capture a variety of different people walking through. If you look at any image, the background represents a massive amount of real estate on an image. If you can control this you have a great deal of elements within your control. Fan Ho took amazing images all over Hong Kong and I do not pretend to argue that he only took this kind of pictures. But what I do see is a methodical artist who went back to the same places to see what changed. As I look through some of his other images, I see the same methodology. So how does this help me? It taught me the need to know a city, to understand your surroundings know how the light interacts in that place throughout the day and go back. Keep going back and see what you can capture in that spot.  So much has been written about the color rendition of the old Leica M9 (in my case ME) that I thought it was worth showing some of my favorite images using this camera. I now have a Leica M10 but must admit that the M9 is still a wonderful workhorse. Yes it has its oddities, such as a limitation on card size, slow buffer and horrible LCD screen but it still performs flawlessly where it really counts. I see plenty of people discussing the color rendition of a CCD (Charge Coupled Device) sensor versus a CMOS (Complimentary Metal-Oxide Semiconductor) that I thought it worth spending a little time on. There are a few good places on the internet to dig into the engineering behind each, but suffice to say that the CCD transports the signal from each light reading cell to the edge and then converts it to a digital signal. A CMOS does a series of amplifications at each cell. Which is better? I have no idea...just two different ways of solving the problem, however amplification of signal is difficult without an amplification of the "noise" as well.... Regardless, this is not a comparison between the two sensors because that would be awfully boring. I can tell you that in many side by side images it can be difficult to see a difference. But there are shots, that for some amazing reason come out absolutely spellbinding on the CCD sensor. The image above, of my two sons at an airport waiting on a delayed flight to Cambodia, is almost straight from the camera as all I adjusted was the contrast (RAW files are always a bit flat), cropped it a bit and gave the blacks a bit of a push. Someone can look at this image and argue the white balance is off, and it is but look beyond that into the brightness of the blues, the subtle transition into the greenish tint in the background yet still holding onto the real skin tones.  Here is a very basic snapshot. I wanted to capture all the junk that a small stall was selling in some backroad store. The colors really hit me when I looked at this image back home. Nothing bright, just the basic yellow, green and blue rendered so wonderfully.  Here a simple image with some amazing red walls in the background. I shot this image because of the color and the contrast with the white, marble statue. When I got back I was floored with how well it was captured.  Here was a sunset off some of the islands in Indonesia. Again the color and light capture is frankly astonishing.  This shot is the one that really got me into the color discussion of the Leica M9. I shot this one and just loved how perfect the color rendition is. I began wanting to understand why and started seeing the discussion of the CCD sensor versus the CMOS.
My Leica M10 shoots amazing pictures and the color rendition is very close to what I actually see. But thus far there is no image that has struck me because of the color. The detail it captures impresses me as does the feel of the images but the color is fairly...normal. So I keep my M9 and occasionally pull it out and use it hoping to get one of those amazing color images. Maybe there is something to be said for the CCD sensors.....  I travel for work and fun and get to see amazing art all over the world. I love oil paintings, sculptures and tapestries but struggled to find something worthwhile to do with them photographically. Taking a picture of a sculpture for the sake of art is really a form of reproduction which complicates my outlook. Let me explain. As a photographer I strive to make art with my camera. I want that art to be built on a unique perspective. I don't want to recreate the snapshot seen around the world. I want to look at a scene in my own unique, if limited, way and capture it. So when I look to a work of art, the challenge is how do you make a unique piece of work out of another artists work? If I just shoot the work and reproduce it, would my work not just be a copy of their efforts? Would my shot be beautiful because of their work? How could anyone look critically at the photograph and get something unique from it? My perspective change with this sculpture that I found in Tuileries Park in Paris. As I stood looking at this sculpture it brought back my studies of Ancient Greek culture, my visit to Greece and my shear wonder for the art they created. I wanted to capture this in some way but again did not know how to. I took a few shots of it and left, disappointed as always when I take a picture that I am unhappy with. I took it because I could not because it was worth taking. That night I was thinking about this statue and my struggle to capture it when I had an idea. Over breakfast I began playing with the idea and when I looked out I saw it very overcast and my idea took form. I would capture this statue digitally, with a very tight frame. The overcast clouds will give me a backdrop and will almost look as if this Greek Hoplite is making his final stand against the gathering storm. I got very close to it and positioned myself so that the statue filled the frame. I did not want to crop the image after taking it so I shot three different shots to ensure that the statue went from corner to corner of my frame. The clouds were perfect, I got a little low and snapped the shot. To be clear, the art was made by the person who carved this wonderful statue. This no longer bothers me because everything I shoot was made by someone else and all I am offering is a different perspective. So without taking the credit for the art, I can take credit for my perspective of it. This fueled my imagination, and I began looking at sculptures in a very different light. I began to challenge myself to shoot them in a unique way.  One of my favorite works is the Winged Victory of Samothrace but I could not find anything to do with it photographically. I walked around it, along with 30 other people, and took a snapshot just to have it. I then saw the stairs and decided to include it in my shot. I waited for the number of people to drop a bit and chose my shot.  Here I got very low to be able to shoot this statue with a backdrop of the ceiling and window arch. I wanted enough of it to give some contrast to the image. Both the statue and the building are works of stone and I like the contrast between them. The same statue in a different location would not be nearly as interesting to capture.  Here is a sculpture from Easter Island, a gift from the Chilean government to the Louvre. I liked the mood lighting that they had on it. This was an easy capture but they had it displayed perfectly.
 It is a moment I was not prepared for. This is not a new occurrence for me, my first child, an amazing daughter, has been pushing my boundaries since the day she was born. This day would be no different. She came to me and explained that there was going to be an environmental march downtown in Buenos Aires and she would like to attend. For those unfamiliar with the latin culture and our famous hotblooded politics let me explain...you see for us, politics is something emotional and anything emotional can become physical. I am naturally weary of protest marches in Argentina however this one seemed on the tamer side of things. I offered to take her and she brightened up immediately. I would have been happy to drop her off but she seemed pleased I would be there. Again, another surprise. I grabbed the Nikon F2 I had just finished servicing, and two rolls of film. I selected a 35mm lens as I am still not liking the 28mm lens I have for the Nikon (a matter of getting used to the perspective) but can quickly picture a 35mm focal length. I wanted something wider than a 50mm do to the tight area I knew I would be in but I also did not want a great deal of distortion. Off we went to walk to the protest starting off point. The protest was to start at the Pink House (here the President lives in a pink house) and march to congress. At congress we were to hear a few speeches then it would end in a cloud of pot. The march was wonderful, people were friendly and supportive and it was made up by mostly young people filled with illusion and determination. It was wonderful to walk around them and gain from their energy level. For photographers, marches are wonderful events. People go to these events specifically to get attention to their cause and hence was photographs to be taken. They welcome it. So taking candid photos of people all over the street is simple and welcome. There is no perceived invasion of privacy and they want to be noticed. Photographers of every ilk ran around snapping up photographs as if there was no tomorrow (and for digital there really isn't). People posed, sang, danced and obviously marched. Whenever I photograph these odd events, where family and friends are not the subject matter, I usually do not come back to them. In other words, I shoot the images, develop them, may print a few but then I do not go back. Obviously I keep the negatives, but it is not something I typically return to. In order to make the entire process of some value, I need to tie it into a project, a short one but something that has a clear deliverable at the end. Weekend Project: I have developed the two rolls of film and now I will find four or five shots and make a type of collage out of them. All will be in black and white however I did take a few shots on my phone so I may have one printed in color for the middle of the collage. I will see how it all comes together and go from there. My goal here is to finish this weekend with a framed collage of this protest to give to my daughter as a gift to commemorate her first march. Lessons Learned:
 Photo by Thomas Millot Sitting in a Methodist Church in Nottingham England I began looking around and taking stock of my surroundings. There were massive windows that let in the wonderful UK light that I remember from my time living in London. There were desks put in a circle with a variety of tools laid out. There were large machines in the front of the room and a small snack for us to eat. As I looked to the other people in the room I saw men of different ages all gathering to see a Chinese man standing in the front of the class asking him questions. I would later get to know the Chinese man and his students surrounding him. You see that man was none other that Mr. Sover Wong. Anyone who likes old Nikon F2 cameras knows of Sover Wong and his sterling reputation as the absolute best repair man for that particular camera (and no other). How I ended up sitting in that little room in Nottingham England after traveling more than 7,000 miles, is a story that started back six years ago and evolved in five countries in a most remarkable turn of events and a story worth sharing. You see, I first learned of Sover when I began looking to buy a Nikon F2. The concept of an all mechanical camera scared me as these things are old, most being produced in the 1970's and most have not been properly serviced in a couple of decades if at all. How could I buy an old mechanical tool and ensure it is in working condition for years to come? My answer was a proper CLA, so I began looking for someone who could do that. Every forum I looked at gave me the same answer, the best of the best was Sover Wong. So I decided to purchase a properly functioning Nikon F2 and send it to him for a CLA. He is not cheap, not by a long shot, but I wanted the camera to be in PERFECT order. So off to Ebay I went, found my Nikon F2 made in 1975-76. The camera arrived in working order and I began using it. It is all manual, which forces me to think of the image I want before setting up the camera to take the image. It is ergonomically well thought out and once you get used to the shutter speed dial's location, is a joy to use. At the time, I was living in Perth Australia and I began looking to ship my Nikon F2 to Sover. The cost of the shipping was a bit steep and I had to recover from the purchase of the Nikon F2 and it was working well. A couple of years later I was transferred to London and the very first thing that went through my mind was my Nikon F2. As soon as I arrived, hand carrying my F2, I went straight to the post and shipped my camera off to Sover for his "Standard Service". A few weeks later, the Nikon F2 was ready and shipped back to me. It came with a Japanese Yen coin (to safely remove the battery compartment), new batteries, rubber strap protectors, a calibration sheet showing all shutter speeds now within ¼ stop tolerance and a CD. The CD had various Nikon F2 manuals, some pictures of the camera being worked on. But most importantly I received my Nikon F2 with the same outside character (the paint fading in all the right spots) but working as smoothly as the day it was made. This Nikon F2 became my favorite shooter and I had become another Sover enthusiast. I was then transferred to Jakarta Indonesia and kicked myself for not purchasing another Nikon F2 and having Sover maintain it. I could always ship one, but the used camera market in Jakarta (due to the humidity) is a challenging one to navigate. But while there, I found a nice Nikon F2AS on Ebay and on impulse bought it. I had to wait a year before a trip to the US let me pick it up from my mother's house. The plan was to have it serviced by Sover as well, but upon my return to Jakarta I found out that Sover holds classes on how to do a CLA on a Nikon F2!!! I was thrilled and immediately emailed him asking to be signed up for the class. I had some vacation time saved up and was going to London for work occasionally making it possible to align it with a work trip. The problem was yet another transfer, this time to Buenos Aires Argentina. With all the hassle of the move I put the course out of mind until Sover emailed me. I decided to double down and make this trip happen. To appease the wife, I suggested that we leave the kids with my father (they had school) and I would take her to visit some friends in Paris and then I would travel to Nottingham for the class. With her on board off we went!  As expected, Sover knows more about the Nikon F2 than anyone of us will ever know. He has a very keen eyesight and can immediately spot the slightest hint of a problem, even though the camera seems to be operating well. He was very forthright with us and explained that he would teach us all he knew about a standard CLA and how to overcome the most common issues. There are couple of things he will not teach as they have been learned through years of study and are not something that commonly needs to be used for a standard CLA. I was surprised he was so open and honest about everything he does know.
Over the two day class, Sover walked us through every step of disassembly, proper cleaning areas, where to lubricate (what type, amount and method), various potential problem areas and finally some common things to fix. He demonstrated proper re-foaming techniques and the various issues with foam and what to look out for.
Throughout the class, the one thing that kept coming up is "not to my standard". He has very high standards and would not allow us to take any shortcuts. He is methodical and highly critical of sloppy work. He wants each camera to leave the class as if he himself did the CLA. Another key component of the class was the need to have special tools. No these are not available on Ebay and he does not sell them either as they take too long to make. But he is generous with the plans needed to make them. I took these home and made myself a set of these tools which took me the better part of an entire day to do. One question I get asked, and wondered myself before attending the class, was why would Sover teach other people his livelihood? He does not keep things from you (aside from the two trade secrets he mentions at the start fo the class), he does not make the explanation more confusing, he honestly and clearly teaches you what you need to know. So what is stopping someone from becoming his next competition? Simple answer is that what Sover knows CANNOT be taught in a two day school. He teaches the basics, enough to give you the knowhow and confidence to open up your camera and do your own CLA. What cannot be taught in such a short period of time, is what to do to solve all he problems encountered. Something stops working, why and what to do to solve it. Something is working but not exactly right, what are the potential implications on the shot and how to fix it. It would take months of study, working closely with him to learn all these things. So why take the class? Well I can tell you why I took it. I wanted to learn more about a camera I like and this seemed an interesting way to do it. I walked away with a new skill set, more confidence and a better respect for a CLA done right. When I see people offering a USD 50 CLA, I know this cannot be done. I know that even with Sover's skills and experience it is a solid day worth of work to do it properly. I know the shortcuts these "repairmen" take and the implications of them. I also know the amount of dedication needed to become a good "repairman" and respect this craftsmanship even more. In short, the course taught me what it takes to be considered an expert. It showed me how much I do not know and yet what I can do with the right kind of tools and a bit of time. I cannot fix a Nikon F2, I cannot diagnose its issues and I cannot modify it but I can take a 40 year old working camera and get it operating like it was new. A proper Clean, Lubricate and Adjust. Not bad for a two day class!!! To reinforce what I learned I purchased another Nikon F2 (my third) and did a full CLA on my own. It took me two days to do but is now working smooth as butter. As I sat back with a glass of red wine looking at my work, I could not help but smile as I believe even Sover would consider it "up to his standard".  Photo by s2 art on Unsplash This weekend was a darkroom weekend. I have enough negatives that have not seen the enlarger to last me a bit of time, plus my collection of paper has grown to an uncomfortable level. I decided to open some larger paper that I bought. This is larger than my standard 8x10 paper. At 11x14 inches it is enough real-estate to have a little bit of fun. Last weekend I was at a ranch and took four rolls of 120 using the Mamiya C220 so I developed them and took them into the darkroom. Since the Mamiya shoots square format, I had to select a template to work on the 11x14. I made this out of some mate board I had laying around. This would help me keep it flat in the enlarger, ensure I had clean boarders and keep the image properly placed on the paper.  The goal with these images is to make a series and hang them in a wine cave we have finished building. The goal is to keep the theme consistent but fill a massive wall we have. I will keep printing from the images I have captured, and then pick a final four to hang. It was wonderful to see the images printed so large, with plenty of detail to nitpick over.   Photo by Jacob Morch on Unsplash I am tired with this Photoshopped filtered solution to digital. Where everyone wants to portray an image of perfection, look at Instagram to see what I mean. We always wanted to be better but now we want to appear perfect. Film is my exploration into the fucked up, into the shadow under the eyes, sweat stained shirt, fat roll and grey hair that is us. It is about the mistake, the untucked shirt and the not-level horizon.
Film, exposed on an old camera, developed in a tank with chemicals and reproduced in a darkroom brings an analog truth to the artistic process. This is not about absolute image quality that can only be mathematically calculated. It is about capturing an emotion and as we are all painfully aware, emotion is not calculated or perfect. I can only hope that hidden behind the grain, around the clipped highlights or too deep shadows, I am able to recreate something resembling a memory. So I shoot people, buildings and shapes. I shoot a great deal of crap but sometimes, hidden in the middle of a roll of crap, is a honest gesture, or an expression that tugs at a memory. I can shoot a perfect image on digital, either through the camera’s help or some post processing magic, but my mind rejects it, I fight against that perfect image. I am immediately saturated by it, tired of it, insulted by it. The colors seem too rich, people seem too happy like a Hallmark movie. That is not my world, that is not your world. Our world is about the drunk uncle, the dirty car and the messy unkept life. That is what I wish to photograph. We come into this world covered in shit and most of us will leave the same way, so why are we so driven to pretend otherwise in-between? Old age is wonderful, so why don’t we shoot it? Scars are evidence of survived battles so why must we hide them? Luggage gets lost, so why not show it? When I look through a viewfinder of a camera made long before I was born, I am looking through the eyes of all the previous owners. I am looking through the same square inch of glass that they composed baby pictures, family vacations, grandparents visits and kids graduations. When I look through it I hear their voices whispering how wonderful life is, in all its ugliness. I choose to listen to them, to feel their finger on top of mine and I choose to snap that picture. And it is wonderful. Even devoid of talent, missed composition and poor exposure it is real. It is straight. It is simple. But it is as far from perfect. Alfred Stieglitz started the photo secessionist movement in 1902, where pictorial photography was disdained and straight photography was embraced. This movement was about accepting photography as art without the heavy handed modifications to the image. A still life of harsh shadows that makes the image appear as something else was proof that impressionist art was not limited to paintings. Photography could be just as poetic, just as nuanced and it did not require post processing magic to do it. We need a new secessionist movement. We need a group of artists that embrace reality. I don’t mean a conjured up, faux reality but an honest image of life, imperfect life. I don’t want to see a world of derelicts, the Diane Airbus of our modern era, I want to see the real. The overweight without a focus on the obesity, the short without the over dimensioned world of little people the cute girl without the Dovima. We have been shown the way. We do not have to find it ourselves all we need to do is follow the map they left us. The maps of Robert Frank, Gerry Winogrand, Paul Strand, Henry Cartier Bresson and so many others. They have struggled, searched, gotten lost and found their way again. They filled up books and museums with the secrets of what they saw. They left us clues to follow and have shown us the way. All we have to do is listen. All we must do if follow. Then, when we have found their way we must make it our own, we must lose ourselves in their map and then make our own. We need to show this world that there is a path away from the over saturated, the high dynamic range, the more perfect than perfect direction. We all know perfect, there is nothing to search for there. We have gone down that short path and reached the end and it is a dull, faceless end. How many colorful sunsets must we be subjected to? How many young perky breasted influencers in the middle of a flower field? How many perfect back lit images of planes on tarmacs? Is it not time to rebel? Is it not our time to rise up against these imposters and cry out against their influence. Do not misunderstand me, I like digital, I love my digital cameras just as I do my film cameras. This is not a film versus digital but it is a rebellion against the over processing of digital files. A digital image can be just as honest as a film image, it does not have to be a marvel of Photoshop skill. A film image is more difficult (not impossible) to alter making it much more about the image that was captured and less about what you want it to look like. My digital files now see less and less time in post processing. Now I just give my digital files the same processing I could give in a darkroom. Contrast, burn, dodge, exposure and cropping.  Yesterday I was developing three rolls of film from test shots of three different cameras. The first, a Olympus OM-2 recently purchased, the second a FED-1 from 1952 and finally a Ihagee Exa camera from 1953. Little did I know, but the problem was not with the 50 year old cameras, but with the 24 month old developer!
I am not one to worry too much about saving a few bucks here or there. I have sufficient discretionary funds to enjoy my hobby amply. While I cannot afford all that I want, I can afford all that I need. So why risk using developer that was24 months old? The answer is that I live in Argentina and have not tested out the local film chemical options. So all I have is what I have brought with me from my time in Indonesia and from recent trips to the US. I had bought this bottle of Ilfosol about two years ago, and opened it after arriving into Argentina. I had all the warning signs possible, with the first few rolls coming out a bit weak. I assumed the problem was my development times and kept on going. What aggravated the problem is that I was developing different films so it was hard to see the signs in the early rolls. Then yesterday I dropped three rolls of HP5 to develop and ensured everything was properly timed. The result was three very thin negatives. The good part of the story is that the pictures taken were not massively important and just made to test the cameras. All three cameras have been proven to work so the test was a success. The bad is that I did capture some nice moments of my son with our dog. It would have been nice to be able to print a few of those. The best part of the story, I have learned an important lesson and have seen the first hand evidence of a developer going bad. To be clear, Ilfosol is a GREAT developer as are all of Ilford's products, it is the photographer who was at fault here. So last night, I took my frustration (at myself) and channeled it into some fresh ID-11 developer (my favorite) which I have in powder form. I have now noticed that I am down to the final 8 liters of developer. So I will test the local supply before I run out of good developer. Here are a few rules I have decided to add to my developing process.
|
AuthorPatrick...confirmed film & digital photography addict. Archives
November 2019
Categories |
RSS Feed
