Marta

[John Escoe]

Trying some lights in the small improvised studio/darkroom/man's cave at home, I did attempt couple portraits of my partner, Marta.
Camera Wista 45N, Fujinon 210mm @ f/5.6, 1 sec., Fomapan 100, dev Rodinal 1+50

 

[Alan9940]

Ah, I see you're already becoming familiar with the lovely grayscale of Foma 100!

 

[John Escoe]

Ah, I see you're already becoming familiar with the lovely grayscale of Foma 100!

I quite like it myself I have to admit. However, that was shot at box speed and seems fine. If shot at 50EI would give even better tones you reckon?!

 

[Alan9940]

I quite like it myself I have to admit. However, that was shot at box speed and seems fine. If shot at 50EI would give even better tones you reckon?!

Can't say it would provide better tones, but a lower EI will give you greater shadow detail and separation. But, that may not be what you're looking for, though. Try shooting the same image at both EI 50 and EI 100, develop together (if possible), and decide which you like better.

 

[David M]

Yes, more shadow detail. There are some quite dark places, just below the ear for example. It's not compulsory to all print the shadow detail, but it does give you wider aesthetic choices.

 

[John Escoe]

I did some contact prints, just for fun

 

[Ian Grant]

Your contact prints indicate that reducing the contrast by exposing at half the box speed and cutting development slightly would give a marked improvement.

Ian

 

[John Escoe]

I will do. Thank you.

 

[Ian Grant]

John, I'm a sort of lapsed disciple of the Zone System that means testing to get the optimal negatives from a film/developer combination for printing on a chosen paper (& grade). By lapsed I really mean I'm not obsessive.

When I first used Foma films I was living abroad and didn't have a darkroon, however I still did some visual testing, and on my next trip home my films printed easily on the same grade as others like Tmax 100/400, Delta 100/40.

The idea it to have negative with good tonality, you can then print them in many different ways rather than being at the mercy of negative that's difficult to print. Foma films are rather odd ball in the way they build up contrast very quickly but they are good just needing that extra care.

Ian

 

[John Escoe]

John, I'm a sort of lapsed disciple of the Zone System that means testing to get the optimal negatives from a film/developer combination for printing on a chosen paper (& grade). By lapsed I really mean I'm not obsessive.

When I first used Foma films I was living abroad and didn't have a darkroon, however I still did some visual testing, and on my next trip home my films printed easily on the same grade as others like Tmax 100/400, Delta 100/40.

The idea it to have negative with good tonality, you can then print them in many different ways rather than being at the mercy of negative that's difficult to print. Foma films are rather odd ball in the way they build up contrast very quickly but they are good just needing that extra care.

Ian

I really appreciate your thoughts and the time you spent to offer me these infos.
You’re definitely right about squeezing as much as possible from the negative rather than struggle in the darkroom.
I know I got a lot to learn and your help it is very welcome. I can’t wait now to find a bit of time for myself and try to apply all these new knowledge.I will definitely come back with the results

 

[martin henson]

I not sure the head is connected to the body, of course it is, the DOF has worked against you in this I think, more prominent in the second image