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During a biking ride with my MP and a roll of Kodak TX400

It  lacks birds song in the image :)

 

 

Summilux 50 Asph

 

 

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Henry

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Lovely shot Gary. I love cannons.

 

M6

Canon 50/1.4 LTM

Fomapan 100

R09

Epson 4870

Gary

 

I guess the tricky thing is to know if it is 'bromide drag' or what I believe they call 'surge' due to too active agitation. I think it is the latter but I'm no expert. 

 

Im just attaching 2 shots of the negatives to see if it helps understand where Im making mistakes (still dont get it if it's undeveloped or the rotations?!) I used to develop smoothly and I havent done in a while and I feel im totally rusty...

 

 

R0000433.jpg

 

 

Excellent choice Eoin. My 1N is starting to become erratic regarding the battery, sometimes draining a new one over the course of a couple of days. Even though it's an intermittent problem it has given me a very good excuse to get a 1V, which is my dream EOS camera. If you have the HS with the NP-E2 battery you'll get the truly necessary 10fps continuous mode :D Handling-wise the EOS 1 series cameras feel just lovely, like a true extension of the hand. The follow AF on the 1N is very good so I can only imagine it must be great on the 1V. Would work great for cycling ;)

 

Thanks, Gary. I'm looking at a couple of EOS-1V HS bodies, both of which are fairly low roll-counts (211 and 245). I have some nice EF-mount lenses which, for some strange reason, I'd never thought of for using on film. Some of us are a bit slow on the uptake.

 

I'm not sure if it depends on the scanner. Perhaps it has something to do with the light source in the 8000/9000 models. But it seems to me that it could happen also with flatbeds since they also use a very broad light source which might cause light to spill over into the frame (at least that's my own amateur-theoretical explanation for what causes this effect).

 

I have reluctantly realised that it pays to read the manual. If I had done that I would have noticed that Nikon has a section, in fact a whole separate leaflet, about using the included masks specifically to deal with this issue...  :rolleyes: I have a few ideas for how to address this using self-fashioned masks. It should be quite easy since the Image Mechanics tray I use is just a big flat piece of glass.

 

 

Yes that is interesting, thank you. I have not seen that scanning 120 flat on the bed of the V850 with no mask at all just museum glass over. Is it scanner dependant perhaps?

 

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"Paris is Paris" as said the song  !

the french way of life :  ballad on the Seine river as in the Impressionist time

 

with one camera "outdate" of 1984 (still works)  and a lens Summicron 50 same date :)

 

Kodak TX400-Leica R4S-Cron 50

 

 

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Henry

 

 

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Paris in front of Notre Dame Cathedral

March 2017

my selfie at right :)

 

I like the position and the fur coat of this lady :)

 

 

Kodak TX400-Leica R4S-Summicron 50

 

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Henry

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Firstly, lovely pictures Coogee - that NSW landscape and colours are really spectacular. Also, love that 90 Summicron-R - I had one too with my R system. Actually all the R-series lenses are good.

 

Secondly, thank you for your kind comment about the 80s pictures from London. I was absolutely rapt to see Hardster's as it took me back in a way to those days. Great stuff and, as you say, today's pictures are the stuff of fascination and good vibes in another XX years.

 

Which brings me to the other important point you raise - jonnyboy's negatives. There is nothing here that can't be fixed but I think there are a number of issues, starting with light leaks. I'm going to speculate that this is happening as you load the negatives from the cassette into your tank, jonnyboy. Please ensure you are doing this in a completely dark environment. I don't do it in a dark room, I use a light-tight "darkroom tent" that I bought from B&H (https://www.bhphotovideo.com/c/product/41880-REG/Photoflex_AC_CROO1_Film_Changing_Room_25.html) and which will last you years.

 

Once you've gotten to the wet stage, ensure your chemicals are mixed to the correct proportions and are the correct temperature - 20 degrees celsius/68 fahrenheit works for most things, and the massive developer chart app gives you a great tool which will help you adjust the development time if you are at a higher temperature for whatever reason. I don't recommend developing at UNDER 20/68.

 

Next, follow this technique by Chris Crawford who really knows his stuff:

 

I am a lot gentler on my negatives than he is, just giving my tank a sharp tap on the bench when I've finished inverting the tank. Also, I do the inversions a bit less enthusiastically than Chris, too, more like a mild-mannered cocktail shaker.

 

And Coogee gives a great suggestion - just develop a roll. Rattle off the first half of the roll at a white wall or something giving a range of exposures, from -5 stops to +5 stops from correct exposure (if using a white wall, correct exposure will be what your meter reads PLUS two stops eg if it reads 1/125 at f8, give and exposure of 1/30 f8 for correct exposure, then for -5, give 1/1000 f8, then 1/500 etc through to 1 sec f8 for plus 5 stops. This will be an invaluable resource for, not only your developing technique, but also your meter/shutter etc. Take notes of each frame you shoot, and exactly the proportions of chemicals you mix, agitation scheme, temperatures etc. It seems a lot of work, but I can pretty much guarantee it will provide enough data for the good minds on this thread to point you in the right direction. And good luck!

 

I like the nice beard ,  it inspires me :D

Thanks for the video link Phil

Rg H

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"I love you" in Paris from Philipines

Pont des Arts

2015

 

and for Gary :)  just for the pleasure to see the red color

Kodak Portra 400-Leica M7-35 Lux Asph

 

 

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Henry

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Might take a look with a roll of colour, and on a day when it's not wet like this day.

SWC
FP4+

R09

Epson 4870

Gary

 

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Might take a look with a roll of colour, and on a day when it's not wet like this day.

SWC

FP4+

R09

Epson 4870

Gary

 

In waiting for the look of 'a roll of colour" ,  these two pictures in b&w are superb Gary

Black, grey and white tone are perfect if speaking about film !

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Henry

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Ardèche farm (South of France)

and its vineyard 

 

Green of leaves and blue sky well reproduced by Kodak Portra 400 :)

 

 

Kodak Portra 400-Leica M7-35 Lux Asph

 

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Henry

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another color , but street photos with a  Leicaflex SL

 

 

Kodak Portra 160-SL-Summicron 50

 

You shoot me ? :)

 

 

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Henry

 

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some nature now and in color

 

 

the purple of Kodak Portra 400 is nice too :)

 

Leicaflex SL-Kodak Portra 400-Summicron 50

 

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Henry

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Landscape in b&w now

 

French Alpes

Haute Savoie

1990's

 

Ilford FP4 -Leica R4S-50 Summicron

 

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Henry

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Very nice framing and composition in this picture Bob.

Where is it ?

Thanks

Henry

Thank you Henry for your kind words. It's in the Snowdonia region of North Wales, a loverly place to visit if you are ever over here.

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Yes I agree with Chris , Jonny your developer doesn't move enough inside the bath

Look at the edge of the negative , it's unhomogeneous

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Henry

 

You can see this with over-agitation too, just to be awkward. If there is fast turbulent flow through the sprocket holes the film adjacent to them sees a lot more fresh developer molecules than the rest of the film. It's a bit like rubbing a print's highlights with a finger while it is in the developer tray to darken them. The clue here is that if it were over agitation those stripes should be on both sides of the film, though not so pronounced on the side that was uppermost in the tank.

 

There are two things to do here: a bit more initial agitation gently tumbling the tank in your hands, and you might try a presoak in water (when the emulsion is saturated with water it can only take up the developer more slowly and there is less likelihood of some bits getting more than others)

 

Chris.

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Leica CL, 35 Summilux pre, Agfa Vista 200

 

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