I’d use ‘gray’ in place of ‘dark’, but apparently the phraseology has assumed new meanings.
I could just say ‘Dublin in Black & White’, but that isn’t really correct either.
Working with my Nikon F3 loaded with Foma Classic 100 black & white film, I made these photos during March 2018 wintery weather in Dublin.
To keep my camera steady for long exposures, I used various tripods, depending on the surface and circumstance.
My exposures varied, but most were between 1 and 8 seconds. I calculated exposure manually using a Minolta IV Flash meter (in reflective mode).
I processed the Fomapan 100 film in Ilford ID-11 stock mixed 1-1 with water at 68F for 7 minutes 15 seconds, plus pre-soak with a token amount of Kodak HC110, then scanned negatives using an Epson V500 flatbed scanner.
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.