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  1. Tri-X dried normally, vertically hung. Yes, it has curls and bends at this point. Then when the tackiness has just gone, in my bathroom after an hour or so, I wind it back on to a dry reel the wrong way round and let it fully cure in a dust-free drawer. Absolutely flat from then on.
  2. Thanks all. Much to digest, not least the fact that I could go in myself... Probably won't! Anyway, just wanted to thank you for taking the time. And to apologise for an apostrophe that crept in somehow in my initial post... Jim.
  3. Afternoon all - well it is here. Please forgive me if this is a common question here, but I've had a look through previous posts to see if the answer's already observable but I failed to see anything. Probably my ineptitude at searching... Anyway; my Summaron 2.8 is now very very stiff to focus. Not unusual I know, but I'd welcome a pointer about where to send it for a tune-up. Contact a dealer, I hear you say, but I did have a previous Summaron 2.8 serviced when I bought it a few year's ago and after it came back it was indeed clean and smooth in use, but after a few days the iris leaves started not operating properly - not engaging I suppose and creating an inaccurate and eccentric iris. I won't mention any dealer names here because the dealer I bought the lens from was actually very good and gave the option of sending it back for another go or of giving me my money back. I chose to have my money back as I'd lost a bit of confidence in the lens and whichever the third party service agent was that that dealer used. And now I'm reluctant to send this lens to the same place. Would anyone be confident in suggesting a UK lensmeister? Thanks all, Jim.
  4. Yes - 9v. Thanks for your replies. I've done some research about possible Gossen issues and it appears to be prone (admittedly after several decades!) to this sort of thing. I think it's a failure of contacts rather than of the cell or anything, so... maybe I'll get brave. Probably will mess it up though. Perhaps I ought to consider the sunny 16 - which I've never really looked into. Anyway - thanks again.
  5. Morning all. Well, it is here. I wonder if anyone has experience they'd be prepared to share? I use a Gossen Luna-Pro F with my M2. It - the meter - is behaving weirdly. The battery level indicator showed that a new battery might be a good idea, and I duly put in a new Duracell. On testing it shot the needle hard over beyond the "good" green zone on the dial, and since then it's just been plain odd. I replaced the battery with the old one again, and the readings were pretty much where I expected them to be, in with the new one again and it was hard over to the right for both the metering and the battery test... Now it's weird with old or new batteries and, although I've not knowingly mechanically ill-treated the meter it might be that something's amiss inside, either with the mechanics or the electronics. I wouldn't be surprised if this rather old unit was exhibiting a failure, but before I look at other meters is there a repair option? If so is a repair likely to be more expensive than just getting another meter? Or is there something I might be able to do myself? If another meter is required I'm tempted by the Voigtlander VC II for the way it mounts on the camera and would thus be an improvement in convenience over the need I currently have for taking out the Gossen and finding somewhere to put it while I work on the camera. But - does anyone have any advice or knowledge of the Voigtlander, or, maybe, have alternatives to suggest? Many thanks, Jim.
  6. Leica M2, but, mostly, Olympus Trip 35. Then also OM1n and OM2-SP, Olympus 35SP, Olympus XA, Olympus MjuII, Yashica Mat. I do use some digital but really not much. When I do I have a Nikon D80 with a short f2.8 Sigma zoom, or just use the camera in my ipad. Digital is not something that I bother with much or am bothered by.
  7. Beer in Dorset, South coast of UK. Beer as in the place, not the beverage. Mind you, they had beer in Beer, but that came later.
  8. Not a big help to those whose own particular favourite film does become unavailable, but as a general observation, and in the interests of keeping our glass half full, I would hope that as the range of available films decreases, the market for those that remain will increase as we all have to buy what is available. Maybe this will keep an albeit smaller range of available films going for longer? Incidentally, when asked whether I saw a glass as half full or half empty, I had to admit that I was more of a glass quarter empty kind of person... Jim.
  9. I've just seen a review of the Monochorome and one of the good things they had to say about it was that it, at last, saved "all that expense of shooting with film!" If I had the time I might try to work out how much film one would have to not use before breaking even. But maybe this just shows my ignorance of how much it does cost some people... Personally unmmoved by digital cameras, though years ago I did send send my idea to various manufacturers about providing a B&W option on digital colour cameras with better dynamic range than is currently available. I wondered if it was possible to set the sensitivity of each of the three colour data points, that are normally amalgamated to become one colour pixel, by varying the amplication of the voltage for each of the three colour areas on the sensor. After suitable in-camera processing of data to see what was in the image (discarding anything blown and integrating the information from the three colour points into one B&W luminance per pixel), allowing a greater dynamic range for B&W use. No one was interested, no doubt because its a barmy idea. Jim.
  10. Don'tknowmuch

    Suffolk Farm

    I like the raggedy edge of farming. I have many farming links and for most prosperity is a remote concept. Then there's my brother, who is a raggedy farmer. He works too hard taking his drills about Europe. All photos here taken with M2, Summaron 2.8, HP5 in neat Perceptol. I flirt with alternatives, and then, when it matters, I keep coming back to HP5 @ 200 in neat Perceptol.
  11. Andy's Tri-X experience and knowledge is well known and so for Tri-X you could do no better than start with his regime although I myself rate at 200 asa and go for Dil H for 10 mins, with inversions on 0,1,2,4,6,8 mins, at 20 degrees. The difference in our regimes may be small in actual fact by the time one works out the concentration/time factors, and I would guess how one chooses to interpret one's meter probably makes more difference than the difference between 200 and 320 asa. For HP5 I'm a great fan of it at 200 asa developed in neat Perceptol for 13 mins with inversions at 1,2,3,4,5,6,9,11 mins, at 20 degrees. There's practically no grain and the tones are wonderful. HC-110 is a lot cheaper than this, though! I've not gone into C41 apart from with colour film, and I've only used colour film once in living memory. I have to say, though, that the scans of the colour negs to which I refer (Fuji Superia rated at it's box speed of 200 asa) developed in the mini lab in my local Boots were very good. But I tend not to bother with colour and am happy enough to leave that to a digital camera. Jim.
  12. It is difficult. Often the exposures that I imagine will make great prints don't scan as well as I expect, and the negs that look flat end up being real winners. The bit of advice which chimes best with me here is also the simplest and cheapest to implement; slightly forget how to make good negs for wet printing, and go for reduced contrast negs and work it up in Photoshop. Downsides are that it seems a bit of a shame to contrive to make "poorer" negs after years of trying to get that right, and then relying on something as nerdy as working on computers; chemistry has an elemenatlly satisfying aspect to it which getting good at Photoshop doesn't. However, there are good things about not sitting for hours in a dark and often poorly-ventilated cupboard absorbing miscellaneous chemicals; one can more easily enjoy music, and coffee, and wine and, maybe even talk to other people whilst working! Other upsides for me are that by encouraging lower contrast negs I find using HP5 or Tri-X at 200 asa in a regime of reduced development brings great things out of these films in an asa area that also allows me to use my Summaron and 35mm Elmar at f-stops that complement the lenses. Once one forgets the downs, there are lots of ups! Jim.
  13. I have just re-found this thread, and can only re-iterate how simple it is to wind newly processed, dry but not hard, film onto a DRY reel, emulsion side out (the film is not at all "damp" as read above somewhere so, yes, it goes onto a DRY plastic reel). This simply works. There is, therefore, no contact with either surface of the film with anything at all until the film has hardened, and once hard it stays flat. No curl with any film and it stays flat through storage. Jim.
  14. Hello. First of all I would like to say that I ought to be able to help myself on this, but I've got myself in a spin about development/exposure. I've chosen the worst example of this on the film, (scanned in a Coolscan 5000), but in general the balance of all the negs on the roll was a bit like this: [ATTACH]248683[/ATTACH] And another was like this: [ATTACH]248684[/ATTACH] Both examples are un-manipulated and straight off the scanner. Now, in the top example I've clearly lost the highs of sky (as it happens), which I sort of knew given the subject, but I am clearly not using the lows well, and the photos are all a bit washed out and grey. I can fiddle in Photoshop to get some sort of image out of this, but I'm doing something wrong I know. I ought to be able to work this one out, but am I under-exposing, over-exposing, under-developing or over-developing or some combination of 2, 3 or all of the above?!? This is a new developer/film combination, but to be honest I suspect I'm not as sorted on all this as I like to think I am. So, at the risk of being thought rather dumb in this company, can someone give me a bit of advice? Many thanks, Jim.
  15. I had this with Tri-X too. I wait for the film to just get dry enough to not be at all sticky, then wind it onto a dry spool emulsion side out. This forces the film to fully dry against any inclination it might otherwise have to curl. Then, when fully dry I cut it out in 6-frame lengths and go from there. It works, and doesn't then curl even when stored. Jim.
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