Anton Corbjm 's style!

Discussion in 'B&W: Film, Paper, Chemistry' started by peters8, Apr 30, 2013.

  1. peters8

    peters8 Member

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    Hi my friends!
    Some days ago I saw a book of this artist!...incredible,amazing...I can' find the correct words!!!
    Do you know something (or all,is it possible?)about the darkroom's tecniques of thi genius?...He uses lith pinting or am wrong?....thank you very much!:smile:
     
  2. PVia

    PVia Member

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    Yes, lith printing on Oriental Seagull (no longer available), but his printing is done by Mike Spry, a London printer.
     
  3. Jed Freudenthal

    Jed Freudenthal Member

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    Anton gave me once his recipe for developing film with the course grain. This was probably in the 1980-s. Is that what you mean? I used the recipe for a while. But the light conditions are important as well.
    If you are interested in the recipe I have to dig it up.

    Jed
     
  4. Ghostman

    Ghostman Subscriber

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    Get digging!
     
  5. Trask

    Trask Subscriber

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    Yes, I'll admit that it would be interesting to know what developer he used.
     
  6. Thomas Bertilsson

    Thomas Bertilsson Subscriber

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    Just using his film developer recipe isn't going to give you the same look. As mentioned by Jed, the lighting is probably the most important thing. It just isn't that easy.
     
  7. peters8

    peters8 Member

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    Please Jed,I'm interested.If you want write here in this post or if you prefierer to my email:
    marchicapietro@libero.it:smile:

    Thank you very much!
     
  8. Bob Carnie

    Bob Carnie Subscriber

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    Tri X pushed two stops , processed in HC110 for 12 min Dilution B if I can remember correctly.

    Mike Spry was the genius behind this look btw.
     
  9. naaldvoerder

    naaldvoerder Member

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    Gold toned lith prints...
     
  10. MaximusM3

    MaximusM3 Member

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    I will take a wild guess and say that his "look" has A LOT more to do with printing than the use of HC110...but what do I know.
     
  11. Jed Freudenthal

    Jed Freudenthal Member

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    Digging

    I tried to find the recipe. I didn't find that. But, in fact , the recipe I do remember; it was HC110 dilution 1:9. What I donot reember is he agitation. But try 3 seconds per minute inersion in a Paterson tank. I used a Paterson tank and a Tri X 320. But I think, it was not a Rochester film, but from another Kodak factory. Often, very unpredictable fllms ( this was in the first part of the 1980's) And I am talking about the US time of Anton Corbijn, photographing captain beafheart in an western desert.

    Jed
     
  12. Bob Carnie

    Bob Carnie Subscriber

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    The look is generated by having a negative that is quite **contrast** HC110 is the right developer for this situation.
    by underexposing and overdeveloping the negative will have the quality's needed for the look Mike Spry then used in the darkroom. You need a negative that when the blacks emerge , it almost explodes. One is not concerned with the highlights blowing out a bit as the flash fills in with creamy goodness.

    Star Trax is an excellent example of this style , Oriental G4 in Champion Nova Lith A - B . Heavy exposure on the enlarger and creative use of secondary flash to fill in highlight detail.

    I would like to comment that this technique goes completely against the sensitometry crowd and should be approached with a good dose of bourbon and Van Halen.

    I can recommend ** Dance the Night Away ** at the highest level your ears can handle, over and over and over .........
     
  13. MaximusM3

    MaximusM3 Member

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    Ha, yes indeed Bob. I do the same with Rodinal. Expose for highlights (underexpose) and cook in Rodinal 1:25. Printing those negs is a blast of fun (no joke). Sensitometry in these cases? Way out the window...but the prints..great! What I meant with my comment, is that the developer (and the way it is used) is simply at the service of the final print and the look one wants to achieve in a print. Duplicating that recipe and scan the negs, or going into the darkroom without a clear understanding of how to work contrast, will not lead to those type of prints.

    Oh..and VH in the darkroom is a must! :smile:
     
  14. Bob Carnie

    Bob Carnie Subscriber

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    Yes I agree, I just happen to like the HC110 for this and a few esoteric applications.

    For me and my printing I am not kidding about the music , I find that the high energy and a bit of libation helps me work.
    Totally against the classical music, red wine and microwave crowd. Some of the most boring subject matter, in the tripod holes of others before, work that really has been done to death. How many super sharp images of Rocks , Trees and mountains can we be forced to endure before one cry's enough already.
     
  15. MaximusM3

    MaximusM3 Member

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    :smile: :smile: We're on the same page there! I personally blast Rush, Foo Fighters, VH and with a healthy dose of Jeff Beck. For all the pain you endure printing super sharp rocks, flowing water and trees though, you probably need Alice in Chains, Pantera, and maybe even some Motorhead. :smile:
     
  16. Trask

    Trask Subscriber

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    Too much bass will get yer enlarger shakin'!
     
  17. Thomas Bertilsson

    Thomas Bertilsson Subscriber

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    Hate to break it to you: Rollins Band gets you there. Or The Ramones.
     
  18. Ghostman

    Ghostman Subscriber

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    Tom Waits and a glass of Laphrioag :smile:
     
  19. M Carter

    M Carter Member

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    For getting crazy in the darkroom - radiohead. And St. Vincent... that girl makes some gorgeous, spacey music.

    I spent the other day working on a "destroyed bromoil" look with her voice egging me on...

    [video=youtube;8JwXCBi-Eh8]http://www.youtube.com/watch?v=8JwXCBi-Eh8[/video]
     
  20. Kirk Keyes

    Kirk Keyes Member

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    Bringing it back to Corbijn, you should be listening to U2 and Depeche Mode.