View Full Version : A/NZ PX Round #7 - comments and feedback.
09-11-2012, 07:14 PM
wait a while
14,000 km (give or take) away:whistling:
09-11-2012, 08:18 PM
Spatz and walburgb - Your parcels left at the PO today.
09-11-2012, 09:03 PM
Mine just arrived in Sydney. Had a quick look - best print exchange ever.
09-12-2012, 01:57 AM
Michael, I agree with you on this.
09-12-2012, 06:50 AM
Well..it looks like I'm going to be the first one to make comments.....my comments are based on first impressions (and too many years spent printing photos in commercial and custom darkrooms) , and are in no particular order - just in the order each print came out of the envelope..
Oxleyroad - Flower 11 June 2012
I promise Andrew's was a random first choice! Of the 2 prints I much prefer the one on white linen. I am a sucker for a van Dyke Brown print, but I feel the texture/tonality of the print is wonderful, and I like the way the stem of the tree blends in with the background to a greater extent than the Lith Developed print does. However having said that the staining caused by the Lith Developer has given the print a wonderful tone - warm and inviting - reminds me of prints made on Agfa Portrega many, many years ago..
Nige - Axedale cemetery
Great to see a infra red shot - especially shot on film (I know - this is a Analog group..all my infra red is now digital). I like the composition, but the lack of any true black in the print somehow bothers me. Maybe I spent too many years printing photos commercially and got used to putting black into everything? Just a suggestion, but I would have split printed - used the same grade (or slightly lower) that you sed for this print for 80% of your exposure, and printed the remaining 20% of the exposure through a grade 5 filter to put a bit of black in it without altering the tonal range too much.
Walbergb - Exposed Tree Roots
Again another print I like, and the split toning you've used suits it perfectly. I'm surprised you think the prints you made are dark - I think the density is perfect. Personally I would have burnt the 4 corners of the print in (with a bit extra on the top right side) to bring your eye to the tree and the roots in the centre of the image - letting the sunlight lead your eye across the image from right to left, stoping at the tree trunk.
SM Booth -Eurobin Creek
Nice print Shane - great tonal range, and please remember - I'm not a landscape photographer, but to me well composed. Personally I would have printed the top left corner a little bit darker (maybe 20-25% more exposure) so that your eye followed the waters path through the print from top to bottom (mine goes up the waters path to the top corner).
You're right - the Fuji rangefinder is an impressive travel camera! Nice print - I would have liked to see the sky printed a litle darker on the top left corner to balance the photo (the right side of the sky is a little darker) - although I'm sure what we're seeing is how the scene was (lucky bugger!)
Spatz - Where the calm things are
I like it. I like the boats position, the contrast, the tonal range. I'm not sure about the half sprocket holes along the edge of the image? It's one of those photos that will immediately bring back the memory of where you were when you took the photo...nice
hoffy - Chopped,lowered, whitened
What can I say? I totally agree with you about the Koni Omega - I had the same love/hate relationship with it - super sharp, but not a natural camera to use....thats why I sold it.. You've done an excellent print - great detail in the highlights, good detail in the shadows. And nice use of depth of field.
2 prints...my kind of man :-)
Photo of your nephew. Lovely prints - both of them. This is one instance when I can't decide which print I prefer. Sometimes I prefer the darker one (I tend to print on the dark side), but then I like the extra detail in the lighter print. Maybe the lighter face on the darker print? As for the papers - I think both are capable of excellent results, and great tonal range.....and I may just have to order some Fuji paper for myself.
Print of the darkroom dismantled...I love small prints. I love the look you get using an older camera. And I'm amazed by the result you got using such out of date/high contrast glass plates. You've got me thinking I really should shoot that box of Kodak Tropical 1/2 plate glass plates I've got. Might be pushing it a bit, as they expired in 1948, but after seeing your results who knows??
I'm glad I was involved in this print exchange, and if people will have me I'll go and sign up for the next one. I have to agree with everyone who has said this is the best print exchange to date.
I hope people don't mind me making a few comments about their printing techniques.
I've avoided making comments in the past because I've been sumitting commercially made prints, but now that my old darkroom has been gutted and is in the process of being renovated I'm actually looking forward to getting back into the darkroom and making a few prints, and I've started thinking again about how to make a good print.
Having worked full time for over 15 years in commercial darkrooms I never thought I'd miss making prints, but I'm starting to realise I do, and I'm looking forward to making a few black and white prints once the darkrooms finished..
09-12-2012, 04:16 PM
Thanks Andrew, I like the fact that your offering positive advice on the images.
09-12-2012, 05:56 PM
I have resisted the urge to read Andrews comments, apart for the comments on mine - So Thank You! (You do remember that the KO that I own, I bought off of you at the Adelaide Camera Market a few years ago).
Anyhow, I am hoping my prints arrive today or tomorrow - I am going to Queensland for a week and I don't know if I can hold out until I get back!
09-12-2012, 08:59 PM
Thanks heaps Andrew!! My printing philosophy tends to be "print to the contrast and exposure where most things are visible" - so once I can see detail in shadows, and haven't burnt out highlights, that's 'it'. I have never liked my attempts at dodging and burning, and thus leave my meddling to only exposure, composition, filtering, & 'being there'!! Although I do like spot metering, so I'm not at all 'against' faffing about...
09-12-2012, 10:54 PM
Marc, I am hearing you - its funny, I now know of a few darkroom technicians who do minimal dodging and burning - its somethign that I try and avoid as well.
BTW, my prints are in - Thank you to everyone who participated. These are Awesome!
09-12-2012, 11:41 PM
Thanks Andrew for the constructive feedback. I'm all for anything that makes me a better printer. Your experience is a tremendous asset to our group. I'm REALLY looking forward to seeing the prints you are talking about. I saw one of Andy's linen prints in the Gallery not long ago. That's what I like about analog photography: there is so much more to it than straight up b&w.
09-12-2012, 11:55 PM
thanks guys - I'm glad you didn't mind my comments...
PS - Hoffy - I'm kind of glad you feel the same way about the KO as I did....I wanted one because one of my favorite photographers, William Clift used one to take some of my favorite photos of his. I could never understand why I didn't get along with it, especially considering the results - which I can best describe as medium format Leica (or Konica hexar) ish negatives - they have an almost 3 dimentional look to them....
09-16-2012, 08:43 PM
Well, this being my first print exchange i must say i am thoroughly humbled by the quality of the prints. I am rather new to analogue photography so my comments should be taken with a grain of salt.
In no particular order:
Michael W: of the two portraits i particularly like the one on varycon paper. i think the boys enigmatic expression pairs very well with the texture of the paper and the way you have captured the midtones.
Nige: i have always had a soft spot for b&w infrared shots. i think you have captured the eeriness really well, both in composition and tonality. i do wonder though what effect a more dramatic sky would have on the image? just a thought.
Andrew K: what an interesting way to achieve a panorama! the print is a little dark but i guess you didnt have too much control over that.
Oxleyroad: never thought id receive a van dyke on linen! it has certainly spurred me into thinking about alternative processes - particularly liquid emulsion printing. one day! the lith print really suits the subject matter, i think. nicely done.
walbergb: a lovely print. has a wonderful tonality, especially as a result of toning. i dont think the print is too dark, though.
hoffy: i really love this image. not sure how you managed it but i find the contrast between the white walls, the black tire and the chrome wheel nuts superb. kudos
marc: i was in Germany late last year and though i went to Munich i didnt have time to visit the Neuschwanstein castle. im a fan of the acros/rodinal combo and you've managed to pull a great print from it. only thing i would do differently is add more drama to the sky, but each to their own!
smbooth: this is the first time ive seen a print from a 4x5 negative. wow! ill have to give large format a go one day. i like the way ones eyes follow the 's' shape of the stream.
And many thanks to Andrew for organising the exchange. I look forward to what subsequent ones will bring. Cheers!
09-16-2012, 10:11 PM
Thanks Spatz for your kind words.
Since doing my prints using the strong bleach, I have changed my approach to making ferri bleach. Instead of mixing the potassium ferricyanide and potassium bromide together (100 g each/liter), I make up a 10% stock solution of each, then mix them to suit my needs. I'm finding 50ml of each per liter (5 g) gives me the control I want: 2-4 minutes for a split in the mid tones; 8 minutes for a full tone. I've also started making my own variable sepia toner. Again, preparing a 10% stock solution of both thiouria and sodium hydroxide and mixing them in different combinations allows me to control the tone.
The waiting is hard to take. I'm really excited about seeing everyone's prints!
09-20-2012, 10:44 PM
That was fast! Prints arrived today. I had a cursory look at them, and all I can say is WOW:eek:
I'll spend some time viewing & admiring them over the weekend and post some comments thereafter (sounds like a lawyer talking :confused:) BTW, I've started a "Print Exchange" binder to store all these exchanged prints so I can view them time and time again (read: count me in on the next print exchange).
09-21-2012, 05:39 AM
Bob tell me more about this print exchange binder.
I have asked the question before about what everyone does with the prints from the exchanges, and there is no one definitive answer. I keep mine in the plastic bags photo paper comes in - not ideal as it isn't an inviting way to show off what was produced in each exchange.
Sounds like you've got something...
09-21-2012, 06:03 AM
I keep mine in a large Ilford paper box labelled 'print exchange prints'!
09-21-2012, 07:53 AM
I keep mine in an empty paper box. When exchange time comes I take them out and send the box with my new prints to Oxleyroad. When it comes back with the fresh additions I admire them and then put the older prints back in with them.
09-22-2012, 11:52 PM
I put the prints in a plastic page protector, two prints back-to-back in each. Info sheets goes between prints. Page protectors go into a regular 3-ring binder. That's how I store my negatives and contact sheets (PrintFile negative1/contact sheet1/contact sheet2/PrintFile negative 2). I'll type up a cover page with the date of the exchange and insert it at the beginning of each round.