Film Noir and it’s influence upon Street Photography.
Film Noir was first used during the 1940s and was used to describe the type of American crime drama that portrayed a dark mood.
In more recent times we’ve had the Nordic Noir television detective dramas such as ‘The Killing and ‘The Bridge’. Based around somewhat disturbed characters with underlying personal problems and set in dark and dismal locations.
So, what is Film Noir and how does it translate into Street Photography. It’s more about the visual element for us photographers. The scene can be set at night, maybe on a misty evening and a single character walking the streets. The term Liminal Space comes to mind also. It’s some location that engenders a feeling of unease that something could be amiss. All these elements can add atmosphere to our Street photography. It’s often what isn’t shown that can be all important but what we imagine is in the shadows.
Daniel Sackheim the American film and TV director is an example of a cinematographer turned to still photography and the genre of film noir to enhance his photographs and give them atmosphere:
Some time ago, after watching Max on Analogue Insights on YouTube do a review of the Agfa Optima 1035 Sensor I acquired one at a good price off Ebay. As a lightweight and compact camera it is ideal for Street Photography. More recently I have also purchased an Olympus Trip 35 and the one thing I realised was how similar these two small analogue cameras are in their functionality.
Agfa Optima 1035 Sensor on the left and Olympus Trip 35 on the right.
They are quite different in their appearance, the Agfa being made of metal and coated with a black plastic grained paint finish and the Olympus being of metal but with a chrome and leatherette finish.
Both cameras have a hot shoe for flash.
With the the similarities in mind I thought it would be good to do a photo shoot using both cameras to do a direct comparison. I took them out on a Photo Walk in the town of Saffron Walden in Essex, one of my favourite towns as there are a lot of subjects.
Both of these cameras are of a similar size and sit well in the hand. Both use 35mm film and are of a viewfinder style with fixed 40mm lenses. They both have zone focusing with another scale under the lens showing feet and meter focusing scales for more accurate setting of focus.
Both have zone focusing with a metre and feet scale below the lens barrel.
One major difference between the cameras is that the Agfa needs batteries to operate whilst the Trip 35 has a selenium cell meter that doesn’t need any batteries. The Agfa’s batteries are located inside the back cover of the camera so if you need to replace them you have to open the back which is a bit of a nuisance as you then fog the film. The saving grace here though is that the Agfa has a rather neat arrangement whereby you load the film on the right hand spool and then it unloads into a light resistant enclosure to the left so you should only fog one or two frames when changing batteries mid-roll. Not to be recommended that you do it in bright sunlight however.
The Agfa viewfinder on the left with the sliding scale to show the zone you are set for and the Trip 35 on the right with the small window showing the zone.
Both cameras have nice, bright viewfinders although the Agfa wins out slightly here with a very bright one with information about the zone focusing. The Trip does have a small mirror in the viewfinder that shows what focus you are on but not as clear as the Agfa.
Agfa Optima 1035 Spec.
Technical Specifications
Type : Film 35 mm camera 24 x 36 mm (35 mm).
Lens: Color – Solitar S f2.8 / 40 mm ( 4-element) with multi-layer coating (MC), ØS 49 mm x 0.75, distance range 0.9 m – Infinity.
Shutter: Electronic Paratronic shutter 15-1/1000 sec.
Automatic exposure: Fully automatic and infinitely variable control of shutter times and aperture.
Exposure control : Green signal 1/30-1 / 1000 sec. Red signal 1 / 30-15 sec.
Film Sensitivity : 15-28 DIN 25-500 ASA.
Viewfinder: (V1: 0.78) with parallax marks, distance symbols reflected.
Flash: Flash time setting when the flash unit is pushed in, manual aperture setting via quick switch lever, acoustic rewind control. Self-timer.
10 sec delay time with optical release – advance notice.
Filter size: 49mm.
Dimensions: 102 (width) x 69 (height) x 55 mm (depth) Weight 305 grams.
Olympus Trip 35
Technical Specifications
Film size: 24 × 36 mm (35mm). Lens: D. Zuiko F2.8, 40 mm. (4 elements in 3 groups). Shutter: Programmed system. Automatic: 1/40 sec. or 1/200 sec. Manual: 1/40 sec. X sync. Film rewinding: Crank type with rewinding button setting system. Focusing: Zone focusing system (4 zone indicators) with distance scale (in meters and feet). Exposure meter: Automatic exposure adjustment by built-in electric eye meter. Light measuring range: EV 8 – EV 17 (ASA 100). Film speed setting: ASA 25 – 400. Filter size: 43.5 mm (screw-in). Accessory shoe: Cordless flash contact. Viewfinder: Luminous bright frame finder (Magnification 0.55) with parallax correction mark and zone indicators. Film winding: Rear wind-on wheel. Self-cocking to prevent double advances and double exposures.
So, with a roll of Fomapan 200 loaded in both cameras off I went to Saffron Walden to shoot some images. Here are the results. I used Fomapan 200 film and processed both rolls in the same tank at the same time to ensure consistency between each film.
The column on the left are those taken with the Agfa Optima 1035 Sensor and those on the right are taken with the Olympus Trip 35.
Shutter speed: One of the differences between the two cameras is that the Trip 35 has only two shutter speeds, 1/40th or 1/200th and the Agfa has an infinitely variable electronic shutter. So in theory, the Agfa should be able to handle more different exposure situations. Looking at the difference between Figure 7 and 8 above though I think I prefer the handling of the exposure by the Trip 35 as it seems to have more contrast.
Aperture: Both of these cameras have automatic control of the aperture.
Film Speed: The film speed range can be a bit of a limitation on these cameras if, like me, you are in the habit of wanting to push film to 800 or 1600 ASA. The Trip 35 only goes as far as 400 ASA and the Agfa to 500 ASA.
Both of these cameras handle a situation on a sunny day and give pretty good results on indoor settings. The Trip 35 locks if it considers the light level too low but you can fool it by just putting the setting on the lens barrel from automatic to f2.8 which is the flash setting and it will then use the 1/40th second shutter speed. The Agfa will just adjust the settings to handle the available light. It does though have a warning light in the viewfinder which flashes green for what it considers a suitable light level and red for insufficient light. It will still take an image.
Filter size: Another difference here is that the Olympus in the Trip 35 have gone for a rather unusual 43.5mm filter size whilst the Agfa has the more traditional 49mm. I think maybe that Olympus were aiming to make more by selling their own filters to suit this unusual thread size. You can however still get some 43.5 size filters on some auction sites online and there is also the option of purchasing a stepping ring to change up to 49mm so not a big problem.
Conclusion.
So, in conclusion, which of these two cameras do I prefer? That’s a very difficult question to answer as I like both of these little cameras very much and am using both. But, at the moment I think I’m favouring the Olympus Trip 35 but I’m not sure why. Maybe it’s the traditional viewfinder styling with satin chrome and the unusual green leatherette finish. This particular Trip was made in 1974. The Agfa Optima is a more futuristic styling based upon German product design of the Schlagheck Schultes design studio in the late 1960s.
In the first 50 years of the 19th century London’s population more than doubled from 1 million to 2.3 million. With the increased population came the added problem of what to do with the dead. The parish churches graveyards had become dangerously overcrowded and there were incidents of decaying matter from overcrowded graveyards getting into the drinking water supply and causing epidemics.
The answer was to create more private cemeteries outside central London. In 1832 Parliament passed an act encouraging such cemeteries. Over the following decade seven new cemeteries were established. These were Kensal Green (1833), West Norwood (1837), Highgate 1839-1860), Abney Park (1840), Brompton (1840), Nunhead (1840) and Tower Hamlets (1841).
The group at the entrance to Brompton cemetery at the start of the walk. This is a digital image.My setup for the days shooting. Olympus OM2n. Zuiko 35-105 f3.5 zoom lens. Zuiko 135mm f2.8 lens. Ilford Delta 3200 Pro film. (digital image)
Looking for a location for a walk with the London Film Photography group on Meetup I thought a cemetery might be good for some atmospheric images. It might seem a bit morbid to some but our old cemeteries are a great location for statues and textures on the graves. They can even be quite good for some nature shots.
So, this month we set off firstly to Brompton Cemetery. Designed by Benjamin Baud, it was designed to be an open air cathedral with an impressive central colonnade leading to a domed Chapel. Not the oldest but the 39 acres is full of monumental statuary and is the resting place for the suffragette leader Emmeline Pankhurst and public health pioneer John Snow to name a few. They also have a nice little cafe at the North Lodge entrance.
The weather held out for us with just a few spots of rain but it did mean we had some interesting cloud in the sky.
The equipment that I used was my Olympus OM2n and the Zuiko 135mm f2.8 lens and the Zuiko 35-105 f3.5 lens. I started off with the film that was already in the camera, a Fomapan 200, which proved to be a bit slow for the overcast weather. I also had with me a roll of Ilford HP5+ and a roll of Ilford Delta 3200 Pro. I was keen to try out the Delta 3200 and shoot it at 1600 iso as I thought the graininess of this fast film would suit the subject matter. It would also mean that I could use a filter on the lens to improve the sky rendition and the contrast. As I was using a telephoto lens I also wanted a fairly fast shutter speed. Al the imags in this article are shot on the Ilford Delta 3200, shot at 1600 and developed in Rodinal for 28 minutes at 20 deg c.
We spent an hour and a half at Brompton which proved to be not long enough to explore the 39 acres so it looks like we will have to go back again.
A lot of patience was required to capture the crows!
After lunch at the North Lodge cafe we set off further north for Kensal Green cemetery.
Built in 1833, Kensal Green is the oldest of the public cemeteries now known as the Magnificient Seven and includes in its now the resting place of HRH Duke of Sussex and his sister Princess Sophia. At it’s heart is the Greek Revival Anglican Chapel and the landscape includes 161 designated monuments and other structures.
We spent another hour and a half at Kensal Green but again this proved to be not long enough to explore a lot of it’s 77 acres of grounds. We ended our tour by going to a local pub before wending our various ways home after a very nice day.
In our photography we use well established rules to help us compose our images. Although one shouldn’t be too restrained by so called ‘Rules’ they do provide a starting point, when learning, to compose a pleasing image. These compositional rules have been well established for years and been used by artists.
There are also other aspects of fine art that can be helpful in creating a good image with impact. We have discussed in the past how we can use ‘figure to ground’ in photography to make a subject stand out by contrast against the background.
Many Street photographers adjust their exposure value to create dark shadows devoid of any detail which creates a dynamic graphical shape within the image. They may also use direct light to illuminate the main subject within that dark graphical shape.
This method of creating an image with strong contrasts between light and dark is known as Chiaroscuro, an Italian word literary meaning ‘Light-Dark’. In painting it is used to suggest volume and modelling in the subject.
A master of the use of chiaroscuro was the artist Caravaggio. A good example of his is ‘Calling of St Matthew’.
A favourite contemporary artists of mine who also demonstrates a good use of light in their pastel paintings is the Canadian artist Sally Strand.
In her words she explains her use of light within her paintings:
‘I relate to small moments of life that are often overlooked. These moments resonate with me because they are familiar—we see ourselves in them. They sometimes suggest things beyond the obvious. Painting mundane objects or tasks provides me with a challenge to portray the commonplace in a compelling way, to make the usual unusual and worthy of notice. ‘
This is also a good video where Strand explains how she sees the different light values: https://youtu.be/axlnVZjCjNA
Developer: Fomadon R09 (same as Rodinal) diluted 1+200.
Patterson developing tank.
One of my more recent projects in the darkroom has been to explore further options on how to process my black and white film.
I would in the past just follow the normal method of a 30 second agitation and then 4 inversions of the developing tank every minute. This over the normal timing of somewhere between 8 to 16 seconds depending on film and ISO rating.
The dilution of the developer would be 1+1 of 1+3 for something like Ilford ID11. For Fomadon R09 or Rodinal it would be the normal 1+25 or 1+50 dilution. Temperature would be 20° Centigrade.
I have though seen mention of what is called Stand Development which is using a very dilute developer and just leaving the film tank standing for a very long time, usually about an hour without agitation.
I have in the past been put off by problems others encounter using this method such as bromide drag which leaves streaks on the negatives. It’s always seemed to me to make sense to create the situation where the exposed film emulsion gets influenced by active developer equally across the surface.
However, I thought it might be time to attempt this method on a roll of film exposed for this purpose and wouldn’t be missed if it all went wrong.
I have been reading the books ‘The Art of Black and White Developing’ by John Finch and ‘Ilford Monochrome Darkroom Practice’ by Jack H Coote.
Bishops Stortford on a misty evening.
I was keen to see if I could increase the acutance of the negatives by inducing something called the adjacency effect. This is where bromide, a by product of the action, collects at boundaries of high to low density.
This bromide inhibits local development along the line of these boundaries and creates what is known as a Mackie line which increases perceived sharpness along these lines. The one problem of this release of bromide is that it can also cause streaking on the negatives caused by the bromide falling to the bottom of the tank when it is left standing without agitation.
Bishops Stortford on a misty evening.
So, having thought I would give stand development a try I read in the ‘Art of Black and White Developing’ that Rodinal type of film developers are good for this style of stand developing.
It was recommended that the dilution was 1+200 and the development time be 2 hours so that is what I decided to use. I chose Fomadon R09 developer which is a similar type to Rodinal and the film I chose was Fomapan 200.
I stood the developing tank in a water bath at 20° centigrade so that the temperature wouldn’t drop too far during the 2 hour time.
Bishops Stortford on a misty evening.
I shot the film at 100 ISO rating to ensure good detail capture in the shadow areas.
The images were taken on some very dim and misty days in December and I was very pleased with the results and didn’t get any bromide drag streaks on the negatives. I will definitely try this method again.
Bishops Stortford on a misty evening.
The first series show the evening shots. I also took some on a very dull day on a walk along an old unused railway line.
Along the old Buntingford branch line.Along the old Buntingford branch line.
Having set myself a task of walking the 78 miles of the Capital Ring walk around London over the next year and setting my start point at Hackney Wick I decide it would be a good idea initially to do a walk around the area of the Olympic Park area. I wanted to explore some of the history and industrial heritage of the area. A good precursor for the start of the walk.
The walk of 3 miles started at Pudding Mill lane and followed some of the Greenway running through this part of London. The weather was dry but it had got colder than it had been recently.
Docklands Light Railway.
Due to engineering works we had to get the train into Liverpool Street, then tube to Bank where we got onto the DLR to Pudding Mill Lane, the start of the walk.
Starting off on a North West direction under the railway we found a great cafe at the Olympic Park and started the day with a bacon bagel and coffee.
Olympic Park
From there we followed the Greenway and Victoria Walk North West as far as the crossing of the Lea Navigation.
The Greenway, formerly known as Sewerbank, is following the course of the Northern Outfall Sewer which is part of the London sewage work carried out by Joseph Bazalgette.
Bazalgette built London’s first sewer network in the 19th Century and was responsible for wiping out Cholera in the capital. The sewers took 16 years to build and are still in use today.
Alongside the River Lea.
Going down on the track to the left before the bridge over the Lea we then took a course South alongside the River Lea Navigation. At this point the sewer crosses the river overhead in an enormous steel construction.
The steel construction which supports the main Northern outfall sewage pipes over the River Lea.
The path was dry and there much to see with boats along the river.
There are many colourful and interesting narrowboats along the canal.
An interesting building across the others side of the river is the Bow Quarter which is the old Bryant and May match factory, redeveloped in the 1980s it is now flats and town houses.
Just before the Bow flyover we had to jiggle round the river at the point where the river splits to travel North East and becomes St Thomas Creek.
Crossing over to the other side of the river we go as far as Three Mill Lane where we cross the river again onto Three Mills Island.
There are references to mills on this site in the Domesday survey of 1086 which is considered to be the earliest record of a mill system in England.
The current mills were bought in 1727 by three local Huguenots. It was a good location for mills with the strong tidal flow giving eight hours of power per tide.
The mills are currently film studios with programs such as Masterchef being filmed there.
Continuing North we travel alongside Three Mills Wall River and stop off at Three Mills Green for a late lunch of sandwiches. East of us across the Prescott Chanel, a tributory of the Three Mills Wall River, are the original and new Abbey Mills sewage pumping stations, something we will be visiting on our next walk.
As we continue North we can see to the West of us Sugar House Island. The Island is named after a striking 19th century five-storey red brick warehouse which still stands on site.
As we arrive at the A118 High Street we cross over to continue our walk back in a Westerly direction to the end at our start point at Pudding Mill Lane DLR station. Before continuing though we stop on the A118 to admire the old Yardley box factory and offices.
Little did I know that within three months we would be all locked down and unable to travel far. Well, that put a stop to my course. I’d gone as far as Martin Parr teaching how to photograph an event only to be at a point where there were no events taking place.
Jump on about 15 months and I had an opportunity to go along to a vintage fair in aid of the Helen Rollason Cancer Charity and photograph the event. The Vintage fair is now in it’s 11th year. I had been involved, along with some other members of our local camera club, in photographing events put on by this charity. This was an ideal opportunity to catch up with my course and make some images of an event and also try to make some money for the charity. We would take the photos and then supply them to the charity so people who attended the event could buy them from the charity web site.
As it was a vintage event I also thought it a good opportunity to try out a recently acquired vintage camera. A Mamiya C330 ‘Professional f’ twin lens reflex (TLR) which was produced from 1969 and using Kodak Ektar 100 colour film. Maybe the colour film was a bit recent for some of the eras portrayed at the event but I was anticipating some colour in the attire and the classic cars on display. I wasn’t disappointed!
The Mamiya C330 Professional f camera used to photograph the event. I used Kodak Ektar 100 colour film.
Many of the visitors dressed in period costume.The girl singers, the Harmonettes were performing at the show.the HarmonettesMore visitors entering into the theme of the show.
There were also may vintage cars and motorbikes on show.
I had anticipated there being a few old vintage cars around at the event and had thoughts of trying to get some close up views of the colourful cars. With the Mamiya TLR you have to allow for parralax error because the image taking lens is below the viewing lens. When you get up close the image taken isn’t quite the same as that which you are viewing. The Mamiya C330 gets round that by having a line move down the viewfinder showing the top of the image that is captured. It seems to work very well as I got the shots I was after.
E-Type Jaguar dashboard.There were some interesting old motorbikes there too!
After getting through a couple of rolls of colour film I tried out the camera with some black and white film. I used Ilford fP4+ which I was able to process myself at home.
The band provided some great music for people dance to whilst maintaining social distance.An interesting V-Twin engine in a Morgan three-wheeler.
A great day out with many photo opportunities. Think I’ll have to go back next year.
How to create a PDI multi-image document for something like a triptych.
Creating document.
With Affinity Photo open – Click on File – New
Dialogue box opens – Click on ‘My Presets’ so we can save our document for later use.
Under ‘Layout’ on the right set document units to ‘Pixels’ .
To create a landscape document set width to 1600pixels and height to 1200pixels. Make sure you have the orientation set to ‘Landscape’.
If you want a portrait format you can just click on orientation ‘Portrait’
If you want a square format then just change the 1600pixels to 1200pixels.
Other settings:
DPI: 300
Colour format: RGB/8
Colour Profile: sRGB
Before you go any further you can click on ‘+Custom’ at the top and it will save these settings under ‘My Presets’ for later use. If you right click in the preset you’ve just created you can rename it.
Click on: ‘Create’
We now have a document of the size open with a white background.
Changing background colour.
At this point you can change the colour of the background. I like to use a 30% grey background.
Go to the tab ‘Colour’ on the right and click on ‘Greyscale’
Move the slider to 30 for a 30% greyscale or any other shade you wish to use.
Using the ‘Flood Fill’ tool click on the background and you should now have a 30% greyscale background ready to place your photos on.
Placing images.
Click on ‘File’ – ‘Place’ and chose an image from wherever you have stored your images.
Click and drag on the image background you have created and this will place the first image. Don’t worry too much about the size and position of the image as this can be adjusted once all images are on your background.
Make sure at this stage that you have the ‘snapping’ set to on at the top as this is useful in aligning the images once you’ve placed them on the background. You can move the images to the edge of the background and pick up the centre snap shown as a green line that pops up or move them near the other images to use the alignment of edges snap shown as a red line. You can click on each image and resize and reposition as required until you have the final setup.
You can also place text on your final layout by using the ‘Text Frame’ tool. Text can also be aligned by using the same snap alignment tools.
Text type size etc. can be changed by clicking on font et at the top of the page.
Saving the multi-image document.
Once satisfied then click on ‘File’ ‘Export’ and save your completed multi-image document to wherever you wish to save it.
As well as exporting to an image file of the type of your choice you can also save the file as an affinity file type .afphoto so that you can edit it further later.
Having just loaded up my Olympus OM2n with a roll of Rollei RPX 100 it has prompted me to write up my results from the last time I used this film
Back in 2019 I had a couple of days out with my Pentax P30 and SMC Pentax-M 50mm f1.7 lens and loaded with a 36 exposure roll of the Rollei RPX 100.
One day was spent through Bishops Stortford and the second day was Saffron Walden which is a lovely town in Essex, and a favourite of mine.
I developed the film in Ilford ID11 diluted 1:1 for 12 minutes at 20 deg C.
The camera that I used for the test.
My first location was on a walk through Bishops Stortford.
Bishops Stortford.
Top of Wind Hill, Bishops Stortford.
Looking down High Street, Bishops Stortford.
The Gourmet Turk restaurant which used to be The Boar’s Head pub.
Church Street, Bishops Stortford.
The multi-storey car park. Bishops Stortford.
My second location was the lovely town of Saffron Walden.
On the corner of Freshwell Street looking up Bridge Street toward High Street
Looking down Bridge Street Saffron Walden.Looking up Bridge Street, Saffron Walden.
I scanned the negatives using a Plustek 8100 scanner and was very pleased with the results. The negs have good tonal variation and contrast so it’s prompted me to stock up with some more of this film.
When I retired four years ago I decided to get back into more serious photography as a means of having an interest that I could pursue.
I joined the local photography club and started entering competitions. This was using a modern digital camera. However, I started seeing some good old film 35mm cameras on ebay which piqued my interest in maybe getting back and doing some retro film photography.
The Olympus OM2n that I used for these photos.
So, two years ago I started using old cameras and developing my own black and white films. The negatives would then be scanned to digital copies for use on social media etc.
That then, of course, led me to thinking that wouldn’t it be nice to get back to some old retro printing in the darkroom using traditional silver gelatin printing methods.
I had semi converted our loft in our house to a craft room 10 years ago. I had redirected the electrical wiring and extended lighting and power circuitry. Flooring was the next thing to go down followed by rooflights and insulating between the rafters. We are fortunate that our house has quite a high ridge line so the loft has a high area in the centre without having to disturb the main load bearing structure.
Flooring down and workbench installed within truss structure. Next stage is installing windows and insulating between rafters. I also stapled multi-foil insulation under the rafters for additional insulation.
I was also able to create workbench areas constructed off the load bearing trusses down each side of the roof. I was aware that I couldn’t put a lot of load on the roof structure so the way I had done it meant that it could never be used as a proper room and heavy things such as furniture couldn’t be put up there. It was though adequate to allow use for crafts as nothing I was using was heavy.
The room as it was converted was great as a craft room but we never really used it as such as we realized that as we are still capable of going out we would rather be out and about than stuck up in the loft doing crafts. For me the plan was to do model making and for Liz it was bead and card making.
So, we were quite happy to let things go and spend our time going out and the craft room didn’t really get used. Then, along came Covid 19 and we had a lot of spare time on our hands.
So, jump to 9 months ago and my current interest in doing some photographic printing. The first thing I had to do was to make some blackout curtains for the Velux windows. The windows which were a big advantage for craft work were something I could do without in a darkroom where you have to work only with a red safelight.
The darkroom all setup with the blinds in place and the red safelight on.
So, some material purchased from ebay along with self-adhesive velcro and I’d made the blackout blinds for the windows.
Next thing was the equipment required to produce prints from negatives. I used to do photographic printing as a teenager and had kept all the equipment, the enlarger, developing trays, safelight etc but here’s the cruck, when I was going to convert the loft I had decided I wasn’t going to use that anymore in the digital age so had chucked it in the council tip. I had tried giving it away but no one wanted it. At that point everyone thought that film photography had died.
Fortunately for me, 10 years later a fellow member of my photography club was clearing out his garage and wanted to just get rid of all the kit to do printing. It was actually better kit than I had before as that was purchased when I was a penniless teenager rather than a penniless pensioner.
So, next stage was to get all the kit up and running. It hadn’t been used for a while and some of the electronic things didn’t seem to work any more. So things like the enlarger timer were taken out of line and replaced with an ordinary in-line torpedo switch and the timing done with a mechanical timer.
In an ideal world a darkroom should have a wet area but for my room I had to make do with using a couple of the large plastic darkroom trays that I had acquired to wash the prints. All used chemicals and dirty water goes into a bucket and is carried down to the bathroom for disposal.
All set up and ready to go and an order sent off to Ilford Photo for some paper developing chemicals and Kentmere VC Select 10” x 8” silver gelatin paper. I setup an oil filled radiator in the loft. Although the heat from the house would rise up through the open loft door I did need to make sure that the temperature in the room was maintained at around 20 deg C. so additional heating was required.
An actual scan of a silver gelatin print produced in the darkroom. Henry Moore, Mother and Child.
I had been running out of subjects to photograph but fortunately the Henry Moore Gardens in Perry Green had decided to stay open in December so thought that would make a good subject for some film photography.
A scan of an actual darkroom print. I thought it was a good opportunity to get some close ups of the sculptures with water on them.
Whilst I have been using Ilford black and white films by preference I’d also been trying out using some unusual film. One such was Rollei Retro 400s which is actually a film originally produced in Belgium for aerial surveillance (more on that subject in another post). It is what is termed as super panchromatic and is sensitive to more of the red spectrum. I thought it would suit the subject of Henry Moore sculptures very well with it’s increased contrast.
My first trials were to actually test the effectiveness of my blackout arrangements. I set everything up and placed a coin on some photographic paper with all lights including the red safelight off for 20 minutes. Developing this showed no witness of the coin on the paper so that proved the blackout arrangements were OK.
Next test was with the previous arrangement but this time with the red safelight on. This proved that the safelight itself was effective in not fogging the paper.
I was using multigrade paper so set the colour head settings on the enlarger to give a grade 2 mid range contrast and my first set of prints were just to do a couple of test strips. First set 5 seconds apart to get the ball park figure then another set 2 seconds apart. I also established that the photos of the Henry Moore sculptures looked better with a bit more contrast so reset the colour head settings to give a grade 3 paper.
I did some 8” x 10” prints and were very pleased with the results. Unlike when trying to print using an inkjet printer the black were actually a warm tone black rather than a blue hue as produced by the inkjet.
I have also recently processed the higher contrast Rollei Retro 400s film and produced some prints from those which I’ve been very pleased with.
A document scan of a silver gelatin print produced in the darkroom. Rollei Retro 400s film.
A document scan of a silver gelatin print produced in the darkroom. Rollei Retro 400s film.
Next stage in my lockdown crafts is to mount and frame some of the photos. I think a set of three framed Henry Moore prints would look good on the wall.
Nicks Pics 