折叠三人行，顶风冒雨奔马召。马召在周至县，我们都没有去过，也不知远近，只是看到环山路的路牌向前的指向就是马召。

遂约好从郭杜出发，

经沣峪口骑上环山路，向着路牌指示的方向出发。

行至东大，听深山中有火箭弹发射的声音，汆人肺腑的震撼。不一会，雨就稀稀拉拉的下起来。无奈，只有向着目的地冒雨前行。

一路很单调。每隔一阵就有指示牌指向马召，但从未提及里程，好不让人泄气。也经过几次询问，但村民的答复与实际相差遥远，15里的路程，骑行30多km还未到达；说是2km的路程结果骑行10多km。

最终，经过6个多小时，终于到达。单程99.8km。

雨太大，折叠车子，坐车回家

周至县城

前日新入手nokia 6120c，这下就派上了用场。

端午时分，我兜揣6120c，手提oyama m900，就来到延安。

一宿的颠簸，早晨5点出头就到了站。晨曦掩映延安站。

一路顺着杜甫川，向东，目标万花山。

五点多些，天色初亮，骑着折叠，乡村气息沁人肺腑，这样骑车才叫享受

一桥飞架，这是陕南通达陕北的高速公路

向着万华山的山路一路向上，海拔逐渐增高，衣服渐渐湿了，高原的气候温差很大，日出前我清鼻流淌

路过个村落，炊烟还为升起，都很寂静

仙境中游

快到万花山的时候，生机出现了，早晨的阳光真漂亮，迎着它，村民们扛着农具下地干活

我知道此行我追求的是过程，并不在乎结果

干涸

之后我就原路返回，来回25km。

补杜甫川一张：前几个月来还是黑色的污水渠，可能环境整治了，有了点黄土高原原生态的意思

第二回，骑折叠车去的，来回120km。

见小胖描述！ 

oyama 天际 m-900折叠车前日入手。

今晚飙车，行程40km左右；均速18km/h；最高时速达39.67km/h，耳边有声响，像有摩托随后。

骑行时候心情很轻松，一切烦恼都抛之脑后，一心只向着目标奔进。两眼观前方，选择好自己将走的路，不与人争道，心中了然前方通何方，少走冤枉路。过去骑行的路给了我经验教训，教我如何避让与超越，最终只需看好前方。

这不，有点像人生。

4月12日，孙晋强《大地情怀》摄影展在陕西省美术馆举办开幕式。我有幸拿到一份请柬，遂去观看。步入入环形展厅，便被一幅幅巨幅风景照片中的气势所震撼，在每幅照片前赏玩少许，还真有身临其境之感。孙晋强善风光摄影，足迹遍布中华大江南北，并涉足南极大洲的冰盖之上。 所摄之景均用宽幅表现，效果无反转片所不能及。我心里纳闷，孙晋强何许人也？我爱好摄影许久，明白器材对于摄影的重要性，尤其风光摄影，能有所成绩的必定有强大的经济后盾，号称的上大师的，并不是仅凭其一腔热情的冲动！不久前，曾看过一集采访节目，隐约还记得主角是好利来快餐店的老总，也是摄影人，足迹遍布非洲、南极等人迹罕至之地，拍出野生动物的稀有照片而引起关注。在参观过程中，果真不出我所料的发现，孙晋强也是事业有成的商海大帆。 风光摄影，是钱夯出来的！再看看一般的爱好者拍的片子，在这种专业的气势下，还真有些到此一游的感觉。

工欲善其事,必先利其器！至理真言。

两只心仪已久的蔡司镜头到手，Carl Zeiss Jena 135/3.5，Carl Zeiss Jena Pancolar 50/1.8。廉价老头，改ai口。效果德味没得说。

【转】“德味”的文字表达：

A:德味就是当你花20000买了一个镜头，拍出来的照片，和4000的对比的时候，也看不出什么很大的区别。那么20000和4000总是有区别的，区别在哪里呢？就在“德味”
譬如说，Nikon的28/1.4，10000多的时候，很少有人说它有德味的，涨到18000以后，德味就越来越浓了。
                                                                                                
B:最大特征——浓烈泛黄，但不是亮黄，颇似陈黄，很有中世纪的色彩！仔细瞅瞅之下，却不似黄，而是由一层层绵延不绝的中间色彩集合而成，层次的过渡致密无间，远看泛黄，近看或者放大就不觉得了。
再就是浓郁之中的通透，所谓黑中有黑，白中有白，绝非那种死黑死白。

C:
焦内锐但不是太锐
焦外柔但不是太柔
亮部泛黄介乎明黄与土黄之间
暗部泛紫比酱紫轻点的紫
由于亮部和暗部存在对比色的偏色情况
所以有一种像油画绘画技法的感觉
现场感强

D:拍彩色时：色彩有种克制的感觉。不过火，不张扬。成像细致。反差适中。
说到 油润。我想是成像细腻和明暗中的对比造成的。是对比度。不是反差。
成像耐看，厚重．

E:
色彩和层次过镀自然，锐中有柔，柔中带锐，平衡感好，绝对不是傻锐和夸张的色彩表现。

到秦镇去吃正宗的凉皮

过了沣河桥，就进入了秦镇界，顺着西户线，道路两旁都是这样的景象。

很有特色的大刀，这是正宗。

沣河边

Pyrocat-HD，1:1:250，20°C， 50min，公元100.

Film Preference

Film choice depends on one's style of photography as well as the feeling that one wishes to convey. For good speed and also high resolution I primarily use ISO 100 films. Generally speaking, films with higher ISO ratings show more grain and less resolution. They can be used in situations when there is less available light. Films with factory rated ISO numbers of 100 or lower are nearly free of grain and are high in resolution. Ilford Delta 3200 is probably the fastest film available today and there are a few films still on the market as slow as ISO 25. Two films that I liked a lot were Kodak Technical Pan and Agfa APX 25. They are no longer produced so the stock that I have on hand is the end of it for me. One fairly new film on the market is Bluefire Police ultra-high-resolution film which is very similar to Technical Pan. It was originally formulated for surveillance photography, identification, and documentation.

My overall film of choice now is Fuji Neopan 100 Acros developed in the ascorbic acid-penidone developer, E-76. In low light situations I sometimes use Neopan 400 Presto, also developed in E-76.

Rodinal

Agfa Rodinal is (was) a p-aminophenol film developer that has been around for well over 100 years. It is a high acutance developer that renders high resolution, lovely gradation and a pronounced grain. It was my favorite developer for over twenty years when I was working mainly with large format film. Now that I use mainly 35mm and 645 film I find the resulting sharp grain structure a bit too much for my taste so I stopped using it. Agfa went out of business and Rodinal is no longer available but a very similar developer is made by FOMA Bohemia Ltd. called Fomadon R09. R stands for Rodinal.

FX-37

Another film developer that I have used in the past is FX-37 formulated by Geoffrey Crawley to be used with tabular grain films. It slightly enhances film speed and renders good resolution and tonal gradation.

Stock Solution

Usage

The original formula calls for distilled water but I use boiled tap water with excellent results. After preparation I decant the stock developer into 150 ml bottles and then dilute it 1:5 to make the working solution. Before development I run the working solution through a coffee filter. I have used FX-37 that has been decanted for as long as a month so its shelf life seems to be quite good. My standard development time for TMax 100 and Acros is 10 minutes at 20°C.

D-78

I found the formula for D-78, a very simple glycin developer, at Per Backman's site. Per found it in a Russian handbook. Glycin, as a film developer, is noted for even development and works well in formulas such as FX-2 used as a stand developer. My stock of glycin is very old and now looks like dark cocoa powder. It stains print highlights to such a degree that it is useless in paper formulas such as Ansco 130. It does still seem to be effective as a developing agent in film developers though.

I first used D-78 when making transparencies by contact printing negatives onto sheet film. I found that the old glycin produced a warm toned positive image and that development was very even.

Working Solution

I mix the working solution just prior to use, filter it through a coffee filter and then let it cool to 20°C. The transparency directly below was made by contact printing the negative onto TMax 100 sheet film and then developing it for 10 minutes in D-78.

Glasses & Books

TP-78 (Modified D-78 for Technical Pan)

The first time that I tried D-78 with Technical Pan I got very even development but the contrast was too great. Lowering the amount of sodium carbonate gave me very evenly developed negatives with acceptable contrast. I also lowered the amount of sodium sulfite to give greater acutance. I expose Technical Pan at EI 25 and develop it for six minutes at 20°C.

I also use TP-78 with Bluefire Police film and get very good results. I expose Bluefire at EI 25 and develop it for ten minutes at 20°C.

Working Solution

This Technical Pan Negative was developed for six minutes in TP-78 at 20°C.

Pomegranates

Agitation

Except for Technical Pan I agitate for the first 30 seconds and then for five seconds at one minute, five seconds at a minute and a half and five seconds at two minutes. After that I agitate for ten seconds every minute until development is complete. For Technical Pan and Bluefire Police I agitate for five seconds every thirty seconds until development is complete.

Negative Intensification

To intensify negatives that are lacking in contrast I first soak them in a wetting agent such as Kodak Photo-Flo or Fuji Driwel and then immerse them in Kodak rapid selenium toner diluted 1:4. The maximum toning effect is acquired after about six minutes. I then run the negatives through a clearing bath and wash them thoroughly.

5.0 gm

    唯有一个字可以代表最近一直以来的状态。懒！博客都许久没有打理了。

   现在是丁亥年的最后时刻，牵着猪尾巴还不肯放手，再继续一下猪的贪玩乐无进取心。

  明年，也就是明天就戊子年了，似乎在态度上也需一改先前的作风，起码工作努力，积极进取，具有灵活机变的适应能力。

  现在还是猪年，就先不说什么了。

  再懒一会！

再懒年货还是要准备的。

国庆节那天就到北京，到处都人如潮水，四溢到北京的各个地方。

好在我要在这里呆上几个月，过一阵，有空了再到处转转，省的挤着汹涌的人流。

等星期天我打算到五棵松，看看这个市场上到底有什么好东西。

无忌上有人说：黑白，本来就是一种投机取巧的办法——要么你是色盲，要么你觉得彩色的画面太平常，否则俺实在想不出来，为啥非得用黑白来表现那些咱们熟悉的大街小巷。

此话诧异，我觉得现在“玩”黑白，其实是玩一种过程，影像的拍摄、药水的配置、冲洗的手段、甚至暗房放大，影像的形成完全控制在自己的手中，其乐无穷。对于彩色片子，我从没有排斥过，并且也非常喜欢，当然，彩色也完全可以自己动手，但是其过程繁杂，条件的苛刻对于“玩”来说，有些放不开，显得局限了些，乐趣也就少了，于是得到影像的过程交给别人去做，就少了些什么。

2007.09.15

半年都没有参加户外登山活动，身体里陈旧的体力有了些怀才不遇的埋怨，再也忍受不了了，于是约了同事同去爬山。

此次活动，由秦岭引镇的扯袍峪进山，向海拔1500米的人头山登顶，来回路程30到40里路，强度不是很大，加之天气晴朗，心情畅爽，一路轻盈向山巅奔去。

近日天气大好，天空炯蓝，日光刺眼。我依旧选用pyrocat-DH显影液。ais20f2.8超广角镜头。

打头阵的驴友

山路莽莽，小草指迷

问顶山巅

人头的局部，到了顶端，却不识真面目了

登山人的征服欲

那时候，刚刚拿到精致的612针孔相机。迫不及待跑到广场拍摄。没有任何经验，装了一卷富达，取景曝光心里都没底，估摸着出了一卷。结果，6张里就一张比较满意，直到今天依然满意，以后拍的也许还没有能出其右者。背景是广阔的天空，旁侧伸进的树枝别具韵味。

针孔就是要大胆的夸张。

超广角的梦想圆了。ais 20f2.8一枚。

大概12年前，动物园就在离我家不远的地方，一次小伙伴们无意间发现了一条逃票的路线，以至于一个暑假，我们几乎每日一游。那些时间，我们对里面的动物都耳熟能详，差不多成了动物学者。不过，每次最吸引我们的，是一种灵长类动物，狒狒。雄性的狒狒有很强烈的好胜心，每次都想以首领的姿态统治者周围的一切，可是关在笼子里面，面对我们这群小伙伴的肆虐挑衅，也只能愤怒的趴在笼子上吼叫，当时这只狒狒肯定被我们气的上了不少火。
转眼，昔日的动物园已经搬迁扩建，座落在秦岭北麓。怀着旧时的念想，我前些时候游玩了一圈。感觉令人十分失望，野生在何处？铁网墙圈定的范围可以尺量，动物们在这狭小的走廊内蹲守着，等待观光客车从其旁边掠过。而坐在车上的游客也以及其快速的反应发现着某处数量极少隐藏着的动物，而刚刚看到的时候，车早已飞驰而过。动物们可怜，游客可怜。在步行区内，大步流星疾走许久，终于见到几处动物舍。或许是天气炎热，人心浮躁的缘故吧。我特地来到灵长馆看看久别的狒狒，昔日的铁笼已经变成玻璃，厚厚的玻璃隔绝了狒狒与人的世界，它们表情麻木地一动不动。

7月31日下午，雨后的晴日显得尤为闷热，湿气从地缝里蒸腾而出，糊在人们的皮肤之上。虽然在大街上行走不怎么舒服，但我们还是选择了登城望远。最近天气很不稳定，全国水灾频发，雨水到处肆虐，就在登城不久，就迎来了狂风暴雨的袭击。感受着天色从烈日突变阴霾，雷声轰隆，雨水倾盆。我携带者fm2，以及心爱的福伦达40f2sl与nikon105f2.5两个镜头，从城墙上瞭望着动魄的西安城。

暴雨的前夕

雨打车湿

城内容纳古今

出入自由

等待洗礼

片子用的公元100，比尤特勒冲洗，本来规定18C°冲7-10min，我在20C°时冲了8.5分钟，出片后显影液温度23C°，感觉上时间久了点，片子有点厚，第一次比尤特勒，经验不足，下次应该注意温度控制。比尤特勒显出的片子确实清晰，喜欢这种调子。

时隔一年，最近再次配置了些pyrocat-hd显影液。主要显影成分邻苯二酚，适合做补偿类显影液，对于反差极大的场景，可以兼顾明亮及黑暗处的细节。

这次用理光r1胶片小相机，公元100按iso64曝光。显影工作液按1A+1B+100水配制。21°C，显影13min。

这张照片站在树荫下曝光，烈日下的物体及其明亮尤其是汉白玉佛香，反差较大。