Got mine a few days ago, many thanks to Oxleyroad for the organising & also to all the participants. I wrote this about the last exchange but feel like like saying again that it's a really good thing to participate in. I teach beginner darkroom classes in Sydney & I've been encouraging the students to get involved in this. As I tell them, it's way to to advance your skills by having to select a good or interesting image & make a decent print of it without the stress of something as formal as an exhibition. I like the casual exchange nature of this, it makes me more inclined to experiment as I only need to make one image, not worry about a series or body of work. Whether any of them will take me up on it who knows, but I think it would be good to have a decent size pool of participants. Of course they/we also learn some new things from the prints we get in return.

Tom's railway tracks photo is very well done. It's interesting that if I cover the tracks & blue stone with my hand it is quite flat, obviously early morning fog, however removing my hand brings a good bit of contrast from the steel tracks against the dark tones of the stones. I also like the border & I'm curious about this having seen a few people including borders in the darkroom recently. Tom, please tell me what enlarger you used & how the border is done - just a filed out neg carrier?

Marc (munz) I already asked in a PM if he used movements to get that depth of field. I thought perhaps some front tilt but he doesn't think he used any. The resolution of this certainly shows the benefits of large format resolution. I also think the geometric organisation works well, with left to right, top to bottom diagonals of the implied streets against the overall left to right, bottom to top diagonal eye movement of the large, grand buildings. It makes me want to submit a photo taken with my Crown Graphic, once I have one that I'm happy with.
I was interested to read that the film was Tri-X 320, I think that's the only 45 film I haven't tried yet. I like Tri-X in 35mm & 120, keep meaning to get some but I still have a couple of boxes of HP5 to work through.

Shane - I like this one. Taken with a Pentax 67 & 90mm lens. I have the same gear as well as the 55 & 165 lenses. Was considering submitting a portrait taken with the 165 for this exchange but ultimately went for another image. The Acros and Rodinal combo works well. I've dabbled with it in the past, probably need to try a few more rolls with this. You've asked for any comments about improving however I don't have much in the way of technical criticism to offer. It's printed very well, the highlights look correct, there's a nice feeling of light on white paint on the yacht & I also like the highlights on the ropes off the front. I also like how it falls to deep black right next to the yacht. my only minor suggestion is that it could have done with some spotting. There's a few little distracting dots in the upper water area. In fact I might even spot them out on my print, although I won't be using that crap Nicholson's peerless dye.

Timk - Fuji Neopan 1600, what a disaster this has been discontinued; my favourite high ISO film. If you haven't done this, try it at 1,000 in Rodinal 1:50 for about 8.5 minutes, you get great tones & nice tight grain. I like the movement in the arm of the drummer; I always tell people if you want to give a sense of movement, shoot around 1/30 of a second with a moving subject such as this. With decent technique you should get a sharp image with a certain amount of blur in whatever parts are moving, which I suppose is close enough to what you have here. I'm not sure if you want any criticism, but I do find the bright area on the lower left edge distracting, it keeps drawing me eye there away from the main parts and I would suggest burning that down to see what happens.

Bob from Canada - interesting, you are using Tri-X 320 in 45, same as Munz. I'm looking at this image and visualising the tripod legs sinking into the snow & the photographer fumbling with the controls with his fingers inside thick gloves.

Andrew K - cool - two images, great to see & I might have a go at that next time if I can't decide between a couple. I like to see this sort of experimentation & also I think this is the type of thing these print exchanges are ideal for - sharing interesting work that might not be fully finished yet. I think the Holga image has reproduced pretty well - assume you put the neg on a lightbox & photographed it? So an ambrotype is a wet plate collodion neg put on a dark background to show as a positive? Meaning that you could also make prints from the glass neg, eg contact prints if you wanted to? I have seen an exhibition by Ben Cauchi from NZ & he presents his work as positive images against black perspex I believe.
Gold Street studios sounds great, I've looked at their course schedules & drooled on a few occasions. We don't really have anything like that in Sydney, except that you can do platinum printing at point light. I'm assuming this was a 45 sheet of glass? Also, is the emulsion ortho so you can process under red lights or is it done in the dark? 15 seconds sounds pretty fast.


So - when's the next one?