Got the prints a day or two ago but now I have some time to comment. These are in no particular order:
SteveB: What a wonderful print. I like the image to paper size ratio and the aesthetic that the P&S brings to the subject. I think all your creative choices work seemlessly for this image.
AndrewC: I have been fascinated with your alternative processes in the past few exchanges. The contrast and grain makes the image feel very raw. Just out of interest, is the grain due to massive enlargement, the caffenol dev or the lith dev?
BobW: A great print. It's always refreshing to see a print of a landscape from the other side of the world.
AshleyH: With this print I'm starting to consider dropping E6 for colour (which I have a soft spot for) esp. for ektar/reala. Really punchy colours and composition on a great subject! I'm wondering if a skylight filter would balance out the blue shadows which I've noticed are quite apparent with ektar? Or can it be neutralised when printing?
Marc: Incredible LF print. It's interesting how big a difference there is between TX400 and TXP320 in terms of tonality but in the case of this image it really works and the detail is stunning.
Toan: Very nice image - it was a nice surprise to read it was taken in Nagoya. I was there recently but your print shows a different side to life there. And the portra colours work really well alongside..
MichaelW: I always enjoy your images. Contact prints have a kind of intimacy that is hard to put into words - wonderful tones and great composition.
AndyK: The vertical panorama definitely shows federation square in a totally different way in what I would see it as. Your prints seem to have this fleeting nature which is quite unique. and oh an slr that does 6x12! damn...
LenM: ahh kakadu! How far inkjet printing has come along - but i especially like the ragged cliffs contrasted against the smooth boulders reflected in the water. nicely done.
WilliamBT: Both prints have a great feel to them but I'm really impressed with how you balanced all the different colour temperatures from the lights on the colour print. Is it hard to do? If not I might give it a shot since one can't print directly from slides anymore..
Thanks for the comment Michael. I just used dektol 1+2 with a slightly longer dev time than normal. No toning though I did think about some selenium but Ive never done it before so that might be something to try for the next exchange.
And thanks for the exchange everyone and especially Andrew for organizing it.
That Melbourne night shot is a straight RA4 print, no colour manipulation whatsoever. It was very easy to make, just requiring a little burning for the bright lights. You should totally try RA4 printing; it's no more difficult than B&W though you have different controls available (hue instead of contrast).
I made another copy of the grain elevator. I used my "memory" for the exposure instead of my notes and exposed it 1/3 stop more than the print you see. Turned out a much better print. I had to dodge the front of the elevator, but burned in the rest using the same ratios. A professional photographer once told us "You won't know you have the right exposure until you've gone too far." I should have followed that advice in this case. Can't wait to see everyone's prints!
The fix is in!
William: fab colour print, of the building I walk past every day en route to work, and the soon-to-be very much altered 'Celtic Club'. I know you 'say' colour prints are easy, but I am still in awe. The light filtering through the leaf detail on the left of the print is ace. The sluice gate print is full of energy, and the composition unsettling (which way up does it go?).
Bob: I love grain elevators, and there are heaps of them in the Victorian mallee region (mostly concrete, but kind of epic too). As an LF stickler for extreme rectilinearness (is that even a word?), the jaunty angle of the building is confronting to me, but it works (damn you!!) somehow really well in the composition. I just don't understand :-)
Steve: that's a great print, and the presentation really suits it. I felt like I'd just opened the page of an interesting book or magazine article - the misted window hides a story of some kind. It's just full of life.
Yannick: Ha! I recognise that bamboo forest (I think I did an LF print of that for a previous round) - that stuff is like photographically magnetic. I went for a 'wall of trees', so I like how you've found a completely different sense of the forest, and pointed UP! The ice print is great abstraction, and the textures of each icicle are so different (and so well framed). The contrast in each is beaut.
Ashley: Again with the amazing colour. It's just beautiful and makes me want to throw my inkjet printer into a skip. You have done a great thing with Ektar there, a great thing.
Toan: Is this the most colour we've had in a print exchange? That really IS like Mars, and yet a bit 'yellow brick road-ish' at the same time. For a lab print and small format, the subtle bits of colour in the ash and on the hill are an affirmation of film technology.
Len: Beautiful, art magazine print. I'm a wet print fellow, but I respect awesome craft when I see it. The composition is grand, and the sharpness... owwh!
Michael: Loved these pocket treasures - like mad postcards with a deeper story embedded when you look further, especially the weird glass negative portrait - there's an experiment that paid off!
Andrew K: The fed square print makes me feel a bit bad for hatin' Lomo (not always, but often). You've made a great print with 'rubbish' and pointing the camera into the sun even! Respect. The notion of a 6x12 SLR is crazy as well (as shown by some well composed rocks). Great stuff.
Andrew C: Lith prints are a bit of a revelation to me in recent times - This is beaut and makes a simple botanical detail into something epic. And in caffenol no less. Inspirational!
Thanks Michael & Yannick for your nice comments too! How sharp is that Nikon 135mm f/5.6 lens hey? With that and TXP320 I've had some great successes...
Once again - hooray for the lot of us (esp. Andrew C for doing the organising), and I've learnt heaps!!
The film was developed in caffenol. The neg ended up a little flat in contrast so during printing had to max the magenta filter for max contrast. The lith developer was Maco superlith.
Originally Posted by spatz
Cheers - Andy C
16mm Cine, 35mm, 120, 5x4 & 7x5.
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Thanks Marc. Yeah I spent a day walking through that forest and it was surreal. I did use similar compositions as you described but I shot those with velvia and with a normal lens. Looks like you have a winning film/lens combo!
Nice one Andrew. Lith printing sounds like a fun game.
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