Tracking the Light will be on autopilot for a week while Brian is traveling. New material will continue to post everyday, but notices will be delayed. See the Tracking the Light home page at: http://briansolomon.com/trackingthelight.
Kent Station Cork:
For me there’s something about a Victorian train-shed that begs for black & white. I made this photo on my most recent trip to Kent Station in Cork on Kodak Tri-X using a Leica IIIA with 35mm Nikkor lens.
Tracking the Light normally posts new material daily.
The little town of Eagle Bridge is a eerily fascinating place.
Here the old Boston & Maine station survives as a relic, complete with the mast for the old train order signal.
At Eagle Bridge the Battenkill Railroad’s former Delaware & Hudson line connects with Pan Am Southern’s Boston & Maine route via a steeply graded junction. The old station sits between the tracks.
I made these views the other day using my Rollei Model T (with Zeiss Tessar lens) loaded with Fomapan Classic (ISO 100).
I processed the film with a Jobo processing machine and Kodak D76 (mixed 1 to 1 with water) as my primary developer. For added shadow detail, presoaked the film in water-bath mixed with a drop of Kodak HC110.
This was the first time I tried Fomapan 100 in the 120 size format (the Rollei makes 2 1/4 inch square images). These negatives demonstrate great detail, but they needed some nominal adjustment in post processing using Lightroom to manipulate contrast/exposure.
All things being equal I like my chemical process to yield negatives that don’t require post–processing adjustments. However, that level of refinement usually requires a bit of experimentation when using an unfamiliar emulsion type.
A couple of weeks ago, I bought an old Zeiss Ikomat folding camera for just $17.20 at a local antique market. The camera was in full working order, although I needed to sort out a couple of light leaks.
What makes this camera special is its f4.5 Zeiss Tessar lens. This is an exceptional piece of glass. Also important was the camera uses 120 film, rather than some variety of roll film that’s no longer commercially available.
I exposed this view at Gilbertville, Massachusetts on Sunday using Ilford Delta 100. I processed the film using a Jobo semi-automated processing machine with Kodak HC110.
My process includes a two-bath developer beginning with a very dilute water bath and a drop of HC110 at 74F, followed by HC110 mixed 1-32 for 4 minutes 45 seconds at 69F.
More than 30 years ago I admired New York Central System’s company photographs made by Ed Nowak from the elevated location above the Breakneck Ridge tunnels.
Over the years I’ve made many images from Breakneck Ridge. A couple of weeks ago, I made this view using my old Leica 3A with 35mm Nikkor lens.
There’s something about black & white film that has a timeless quality: Old, but new; traditional, reliable and comforting. Use of an antique camera-lens combination contributes to the nostalgic view point.
This frame was exposed on Ilford HP5, then processed in Kodak D76 (stock solution mixed 1-1 with water) for 9 minutes at 68F. Key to the tonality of the image is my ‘secret step’—a presoak water bath with a drop of Kodak HC110 in it.
The idea behind the water bath with a drop of developer in it is this: presoaking the film allows the gelatin to swell before encountering developer at full strength, while the very dilute amount of developer allows the chemical reaction to begin working before the primary development cycle. Since the developer is extremely dilute (and thus rapidly exhausted) the shadow areas receive proportionally greater development than highlight regions during this phase.
I noted this scene the other evening while walking by the Dublin Bus Conyngham Road bus depot.
Historically this facility was a tram depot for the Dublin & Lucan tramway.
What caught my eye were the reflections in the bus windows that make for array of abstract patterns.
I exposed this view on Ilford HP5 using my Nikon F3 with an f2.0 135mm lens. My processing was a bit complicated. After a three minute water bath with a very small amount of HC110 to start the processing, I used a dilute developer solution (HC110 1 to 64 with water) at 68 degrees F for 4 minutes.
After a full fix, hypoclear, and wash cycle, I then toned the negatives in selenium at a ratio of 1 to 9 with water for 8.5 minutes with regular agitation. (Please note: selenium solution is poisonous and exceptional care should be considered when working with it.)
The effect of the selenium toning is to accentuate the brightest highlights which produces a silvery glow. A secondary effect is greater longevity: the selenium solution produces an ion exchange with a portion of the silver in the film and selenium offers great stability long term.
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Tracking the light will be on ‘Autopilot’ for the next couple of days, but will continue to display new material every morning.