(click on the image to enlarge)
"Untitled ( Tendick's Park Portafolio)"
Positive from a paper negative. Agfa Multicontrast Classic Paper.
Size_ 4 X 5 inches. Scanned and digitalized.
© Flavio Martín Morante_2012
(click on the image to enlarge)
"Untitled ( Tendick's Park Portafolio)"
Positive from a paper negative. Agfa Multicontrast Classic Paper.
Size_ 4 X 5 inches. Scanned and digitalized.
© Flavio Martín Morante_2012
(click on the image to enlarge)
"Untitled ( Tendick's Park Portafolio)"
Positive from a paper negative. Agfa Multicontrast Classic Paper.
Size_ 4 X 5 inches. Scanned and digitalized.
© Flavio Martín Morante_2012
(click on the image to enlarge)
"Untitled ( Tendick's Park Portafolio)"
Positive from a paper negative. Agfa Multicontrast Classic Paper.
Size_ 4 X 5 inches. Scanned and digitalized.
© Flavio Martín Morante_2012
As you may know (and will notice) trees suck a lot of light, and in the case of paper negatives that somehow becomes an issue because of the contrast and its difficulty to achieve detail in dark areas. Also, the way paper captures certain colors more than others, as it is the case of blue, most likely you always will end with a plain sky, and that is one of the many reasons why I do not see this process being used by me on the future for some of the landscape projects I do have in mind.
Without getting deep into, I share these samples of my "paper negative portfolio" which I dedicated to landscapes. As I mentioned before, despite that several things can be achieved through this process with really good results, I do not see myself photographing the Milwaukee River and its mills, project I have on my table, using this process but I will for sure use the pinhole because of the exposure times. Still, it has been nice to work this and be able to see how it works. I will be still be practicing and testing this and will share more samples along the way.
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