Working with Czech-made Fomapan Classic in my Nikon F3, I’ve wandered the streets of Dublin seeking timeless images.
By careful chemical manipulation in the processing of the negatives, I aimed to extract exceptional shadow detail, maintain rich black tones and control highlight areas.
I’ve exposed these views over the last few weeks. In many instances, I’ve set my lenses to their widest apertures both to let greater amounts of light to reach the film, but also for the effects offered shallow depth of field.
Weather, including fog, added to the challenge and the atmosphere.
High sun in June doesn’t offer the most flattering light. Straight up and down sun, with harsh contrast, and inky shadows conspire to make for difficult photos.
Last week, Paul Goewey and I waited at this rural grade crossing near Cavendish, Vermont for Vermont Rail System’s southward (eastward) freight 263. Slow orders and other delays resulted in a much longer than expected wait.
I had Fomapan 100 black & white film in the Leica 3A. I’ve been experimenting with this Czech-made film since October last year. Among its benefits is its exceptional ability to capture shadow detail.
To intensify this desirable characteristic, I processed the film with two-stage development. First I let the film soak at 68F in a water bath mixed with a drop of HC110 and Kodak Photoflo for about 3 minutes.
For the primary developer I used Ilford Perceptol Stock for 5 minutes 25 seconds at 69F with very gentle agitation every 60 seconds. Then stop bath, two bath fixer, 1st rinse, Permawash, 10 minute second rinse.
I scanned the negatives using an Epson Perfection V750 Pro flatbed scanner, then imported the negatives into Lightroom.
Ideally my chemical processing should yield negatives that don’t require work in post processing. But in this case I found I needed to make minor adjustments to contrast and exposure.
I’ve presented two examples; one is scaled but otherwise unaltered. The other has my exposure and contrast adjustments.
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.
Back in October, I made photos of Tatra’s PCC-derived trams in the Czech Republic using Czech made Fomapan 100 Classic black & white film.
I was pleased with my results, so, I bought more of this film from B&H photo (saves me a trip to Prague). Earlier this month, while wandering in Philadelphia with my brother Sean, I exposed a few photographs of SEPTA PCC’s working the route 15 Trolley line on Girard Avenue in Philadelphia.
Where trams in Prague run on very tight intervals, often following one another through the city streets, making for a unceasing parade of vehicles to photograph, SEPTA’s Route 15 requires more patience.
I processed the film using the traditional tank method. For this batch, I used Kodak D76 developer 1:1 (with water) for 5 minutes 15 seconds at 69F, preceded by a water-bath presoak with a drop of HC110. After processing I scanned the negatives with a Epson V750 Pro and made minor adjustments to files using Lightroom.