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Understanding posted:that already happened, the film arm was spun off and became Kodak-Alaris and is based in the UK i was not entirely clear on that transfer, so thanks for letting me know. that said, it often seems eastman kodak is perfectly content to take credit for whatever alaris is up to? https://www.kodak.com/bd/en/corp/Blog/Blog_Post/?contentId=4295004769
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Mar 1, 2018 19:27
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| # ? May 25, 2024 02:45 |
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well, what else were they going to do? What I don't know is if they are handling Ektachrome because of that dumb 8mm camera. I hope not.
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Mar 2, 2018 00:16
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Understanding posted:well, what else were they going to do? it sure sounds like it
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Mar 2, 2018 03:42
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Understanding posted:that already happened, the film arm was spun off and became Kodak-Alaris and is based in the UK Kind of. Kodak Alaris is pretty much a holding company with a contractually exclusive right to market and distribute Kodak film (which Eastman Kodak produces) for still photography. I don't think it's actually very clear what happens to Tri-X, Portra, etc if the Eastman Kodak ship goes down - does Alaris get the formulas, processes, and equipment and try to go it alone, or does it just start rebranding third-party film? Understanding posted:well, what else were they going to do? Eastman Kodak is the only company in this equation with any actual production expertise or capacity, I hate to say.
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Mar 2, 2018 16:58
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I didn't know the Rochester plants could still be in production, I thought everything was moved to the UK or something . Well this is certainly not good news all the same
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Mar 2, 2018 23:46
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Did some film development over the weekend:  On a related note, has anyone ever had an allergic reaction to XTOL? Noticed a rash appearing on my hand the other day, the only time I've seen it happen before was last time I had a batch of XTOL on the go, I usually develop in Ilfosol.
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Mar 7, 2018 11:03
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I've never used XTOL and the most reaction I've had after film development is excessive dryness to my hands and everything feeling super slippery somehow. Probably time to start wearing gloves while developing.
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Mar 7, 2018 18:05
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Some film chemicals might cause an allergic reaction and they can over time in some folks cause your skin to sensitize to them causing localized eczema. XTOL doesn't do anything to me (other than smelling funky) but Dektol will cause an eczema outbreak anywhere it touches that can take weeks to heal up without medication. I do have very sensitive skin though. I wear nitrile gloves and long sleeves when working with chemistry or in the darkroom.
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Mar 7, 2018 20:30
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I have some weird poo poo happening with my MF negatives and I'm not sure what the hell is causing it. I'm getting what looks like a light leak except there's a lot of banding in the hazy area and it's way, way more visible in lighter areas than in darker ones. It's not on every frame, but it is across sections of the roll including the spaces between frames. As you can see, it runs down the length of the roll and it's not consistently strong either. Is it something I'm loving up during development? These are Ilford XP2 Super pushed a stop (27 minutes in Rodinal), but I also saw it on Fomapan 200 on a previous trip. It's clearly visible on the negatives, it's not a scanner artifact. On the previous trip it was very visible in the sky areas and almost invisible in the darker areas, this set are pretty thin negs and it's visible everywhere.  
Helen Highwater fucked around with this message at 00:34 on Mar 8, 2018 |
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Mar 8, 2018 00:29
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Bromide drag.
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Mar 8, 2018 02:21
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I thought that it could be that, but my understanding is that bromide drag goes downwards, towards the bottom of the tank. These streaks are lengthways along the roll. Am I missing something?
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Mar 8, 2018 02:40
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At least it looks cool. Also, is there any difference in image characteristics when processing XP2 in B&W instead of C41 chemicals? Seems kind of like a weird thing to do, although if it's the film you've got and you need to shoot something, I guess it works. I accidently developed a roll of Portra 400 in XTOL (which btw I've never been irritated by...one can be allergic to anything but kind of ironic to be bothered by the developer that's supposed to be less toxic) and it turned out ok, but pretty low-contrast.
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Mar 8, 2018 02:42
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Helen Highwater posted:I thought that it could be that, but my understanding is that bromide drag goes downwards, towards the bottom of the tank. These streaks are lengthways along the roll. Am I missing something? I think you are conflating bromide drag with mechanical surge marks. As far as I know bromide drag is related to the position of the highlights not the film. I've only ever personally gotten it on 4x5 though.
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Mar 8, 2018 02:43
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There were some salvageable shots from the two rolls I shot. I forgot that it was a C41 film when I bought it, I just wanted a finegrained 400 speed film that I could push to 1600 for the concert. The ones that worked better are pretty smooth and contrasty. Re bromide drag. I thought that it was bromide from very light areas mixing with the developer and reducing it's effectiveness in the local area. Because the bromide solution is denser than the developer, the dead developer runs down the surface of the film resulting in underdeveloped stripes on the negative. Is that a different thing to what happened here?
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Mar 8, 2018 02:57
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Depends on how the agitation was performed. I could imagine tank inversion and reel rotation producing different results; reel rotation could conceivably produce developer flow perpendicular to the rotation axis. Napalm Death is the poo poo btw. 
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Mar 8, 2018 03:33
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Developed my first roll of film last night. Considering I hadn't done that since high school I was happy that I didn't completely gently caress up the process. One question did come to mind: for shooting on Delta 3200 are some developers more likely to enhance the grain of the film compared to others? The reason I ask is that I ended up getting some Ilfosol 3 (since both local places were out of DD-X). But it just seems like there's more grain in the pics compared to some that were sent out to a processing facility. I scanned both negatives myself, both shot on a Pentax ES II with 50mm f/1.4. Delta 3200 developed elsewhere  filmcatte by Rob Swackhamer Productions, on FlickrDelta 3200 developed at home, Ilfosol 3 1+9, 71 degrees, 9.5 minutes  img199 by Rob Swackhamer Productions, on FlickrThe only reason I even shot on Delta 3200 was A) I had a roll available that was purely going to be used as a test run for this, and B) I was mostly going to do some dimly lit/night time shots so anything outside of that was mostly to finish up the roll. Since I'm pretty much re-learning everything I was just curious if there's things I should think about when it comes to the developer being used. I also tend to do a lot of concert shots I'll probably play around with pushing some HP5 as well.
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Mar 10, 2018 15:29
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Whats the best bet for BW mystery rolls shot at iso 400-1600 and sitting around for a year or 3? Rodinol stand development?
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Mar 11, 2018 02:22
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Putrid Grin posted:Whats the best bet for BW mystery rolls shot at iso 400-1600 and sitting around for a year or 3? Do you have access to diafine?
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Mar 11, 2018 07:01
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8th-snype posted:Do you have access to diafine? I have some somewhere but it must be 10 years old at this point. Any tips?
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Mar 11, 2018 07:51
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I did a bit of experimenting over the weekend. I was at a small comic convention that was held at a classic car museum and decided to run a roll of HP5 through the Pentax ES II. I already knew that the lighting wouldn't work well for ISO 400 so I decided to try my hand at pushing to 1600. Whoever it was that said something along the lines of HP5 being pushed performed better than Delta 3200... thank you for saying that. I really loved the look I got with this method. img241 by Rob Swackhamer Productions, on Flickr img273 by Rob Swackhamer Productions, on Flickr img275 by Rob Swackhamer Productions, on FlickrAs a bit of an aside... does anyone know what's up with DD-X being so hard to find? Neither of my local places here in Austin had any and both B&H and Adorama are back ordered. I had some Ilfosol 3 here but I really couldn't find a good direction on how to use it to push the HP5 to 1600. I ended up getting some HC-110 and it worked amazingly well for this purpose so I'm most likely set for now. Just kinda curious what's going on there.
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Mar 13, 2018 02:26
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I don't know what's up with its wider availability, but good ol' freestyle photo usually has it. Were you at Dick's Classic Car Garage?
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Mar 13, 2018 02:30
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Ilford's USA Distributor went tits up a few months ago. They have a new distributor but maybe they haven't been able to get fully up to speed yet or have the capacity to meet demand. I'm just guessing though. Ilford's Product Equivalency chart lists Kodak T-Max developers as the equivalent to DD-X if you want to try a different brand. No idea if they are actually similar formulations or not if there's something specific about DD-X that you like. Sauer fucked around with this message at 03:08 on Mar 13, 2018 |
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Mar 13, 2018 03:04
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SMERSH Mouth posted:I don't know what's up with its wider availability, but good ol' freestyle photo usually has it. Thanks for the link... I'll have to keep that in mind. And yep, that was the place. I knew a good chunk of the people who were either vending or invited to be there so I decided to go hang. Sauer posted:Ilford's USA Distributor went tits up a few months ago. They have a new distributor but maybe they haven't been able to get fully up to speed yet or have the capacity to meet demand. I'm just guessing though. Yeah, I knew they had some distro problems a while back and that's why I had to go to one place to get Delta 3200 during that time. But that seems to be more readily available than DD-X. I could get it if some locals had a hard time keeping stock but Adorama and B&H? Struck me as a bit odd. Not that I absolutely needed it... just a bit odd that the distribution was so uneven. I liked what I got out of pushing HP5 on Kodak HC-110 so that certainly gives me a usable path.
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Mar 13, 2018 05:45
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Developed my first roll of colour film today. Results are so-so but I'm digging it: 10.jpg by Brian Kennedy, on Flickr Kodak Portra 160 Rot fucked around with this message at 19:42 on Mar 15, 2018 |
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Mar 14, 2018 05:58
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Putrid Grin posted:I have some somewhere but it must be 10 years old at this point. Any tips? Diafine doesn't really age. If it's in powder form it's good forever. That stuffs my goto for mystery rolls, just do the standard 3.5 minutes in each solution and pray you didn't shoot in flat light.
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Mar 14, 2018 09:44
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A followup for anyone struggling with the colours of their film scans, as I obviously am: The ColorPerfect plugin for Photoshop does pretty great work. Scanned with Vuescan with default settings, output as raw, and then the ColorPerfect plugin was run. All I did with ColorPerfect is set the film type and the results are a much better place to start:  Edit: Oof, $67 for a license, though. Anyone know of any alternatives or have tips on getting similar results? I'm pretty new to film developing/scanning and trying to sort out all the variables and get proper results is difficult. Another edit: I found these actions also work alright, and don't cost $90 CDN... https://www.iamthejeff.com/post/32/the-best-way-to-color-correct-c-41-negative-film-scans Rot fucked around with this message at 20:12 on Mar 15, 2018 |
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Mar 15, 2018 19:51
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Those actions are what I use. Scan as a TIFF positive and then clean up/invert/colour balance in Ps. You can also do it manually fairly quickly as follows (again from a positive scan). 1: Crop down so that there are no unexposed film edges in the marquee. 2: Open a new levels layer and select the red channel. 3: Hold down the alt key and move the left slider until the image is almost completely black with a just a little red showing through. 4: Repeat step 3 for the right slider. 5: Repeat steps 3 and 4 for the green and blue channels (note: you have to do each channel separately, you can't just adjust the combined RGB channel). 6: Invert. If you have a lot of visible dust and scratches, it's best to clean that up before you adjust the levels. If you leave the film edges in, you'll get a cyan cast on most colour films which is why you need to crop that out first.
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Mar 15, 2018 21:47
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Scan as a positive, here is a visual to help what to do next, similar to HH's post: https://www.youtube.com/watch?v=NHXJN5kjXxo ALSO: Scan to 48-Bit. iSheep fucked around with this message at 00:42 on Mar 16, 2018 |
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Mar 15, 2018 22:30
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Oh beauty, that helps a tonne. Thanks!
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Mar 15, 2018 22:57
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I don’t find I need to set the black point for each channel individually, just the highlights. But yeah basically the same.
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Mar 15, 2018 23:03
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I use this action: http://eigakai.ro/ps-action/cn-scan-inversion. All its doing is creating a Divide layer filled with the negative's orange mask (I sample with an 11x11 paint dropper) then inverting and applying a contrast enhancing curve. A yellow'ish and magenta blending layer are also added to allow color correcting in a manner similar to how its done in the darkroom. You don't even need to buy the action, what I just described is the entire thing. Works pretty much perfectly out of the box with 16-bit per channel scans from my scanner, but I only use the scanner for medium format negatives. I scan 35mm negs with my mirrorless camera, lightbox and macro lens and that requires using a blue filter (Really a half blue and cyan 60 rosco gels) to bring the red and blue channels closer together so they don't clip. Then convert the raw file to a linear 16-bit TIFF with MakeTiff before running the action. If I don't linearize it first the resulting image ends up kind of... metallic or dull, which I think has more to do with ACR's base curve than anything else. Sauer fucked around with this message at 00:11 on Mar 16, 2018 |
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Mar 16, 2018 00:05
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Sauer posted:All its doing is creating a Divide layer filled with the negative's orange mask (I sample with an 11x11 paint dropper) then inverting and applying a contrast enhancing curve. A yellow'ish and magenta blending layer are also added to allow color correcting in a manner similar to how its done in the darkroom. You don't even need to buy the action, what I just described is the entire thing. I just tried doing the dividing orange layer on a few of my negative scans and am pretty impressed with the results. Required a lot less color correction after inverting to get the image where I wanted it.
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Mar 17, 2018 18:31
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Decided to try my hand at pushing some HP5 to ISO 3200 for a local show. Since I had shot there many times before on digital I knew 3200 was how I needed to shoot because of the lighting setup. Used the Pentax ES II with a Quantaray 28mm f/2.8. There were a couple that might be a tab bit overexposed due to the lighting at the time I took the shot but overall I'm happy with how well this process worked. img313 by Rob Swackhamer Productions, on Flickr img290 by Rob Swackhamer Productions, on Flickr img337 by Rob Swackhamer Productions, on Flickr img349 by Rob Swackhamer Productions, on Flickr
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Mar 18, 2018 23:29
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Still trying to get the hang of colour film (and film in general). The advice above have helped me greatly. Portra 400  raw0010.jpg by Brian Kennedy, on Flickr
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Mar 19, 2018 18:20
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 raw0001.jpg by Brian Kennedy, on Flickr Rot fucked around with this message at 08:13 on Mar 23, 2018 |
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Mar 23, 2018 06:00
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Does anyone here know anything about 8mm cameras? I have somehow ended up with a KMZ Quartz 5 (Soviet 8mm cine camera) and I have no loving idea where to start with it. I'd like to shoot some film but thanks to Nic Cage, googling for 8mm film is pretty pointless. An eBay search for 8mm film mostly returns people trying to sell prints of low budget vintage horror or soft porn. What should I be looking for and is it still possible to get the stuff developed? I guess I'd need some way to digitise it too. It is a cool thing and I'd love to actually play with it.
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Mar 26, 2018 22:23
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Helen Highwater posted:Does anyone here know anything about 8mm cameras? I have somehow ended up with a KMZ Quartz 5 (Soviet 8mm cine camera) and I have no loving idea where to start with it. I'd like to shoot some film but thanks to Nic Cage, googling for 8mm film is pretty pointless. An eBay search for 8mm film mostly returns people trying to sell prints of low budget vintage horror or soft porn. What should I be looking for and is it still possible to get the stuff developed? I guess I'd need some way to digitise it too. Isn't Kodak trying to do something with bringing back Super 8 cameras and film or something? I remember hearing about it a few years back, but nothing since.
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Mar 26, 2018 22:49
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I'm thinking of getting into B&W development and was looking up what is basically needed. Is there any particular brand to not buy or is preferred for the wheels, bags, squeegees, etc? I'm guessing a storage bottle, graduates, timer, etc are pretty much the same among all the brands so it would come to personal preference.
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Mar 27, 2018 00:20
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doomisland posted:I'm thinking of getting into B&W development and was looking up what is basically needed. Is there any particular brand to not buy or is preferred for the wheels, bags, squeegees, etc? I'm guessing a storage bottle, graduates, timer, etc are pretty much the same among all the brands so it would come to personal preference. If you decide to go with metal reels/tank (which I prefer, but tons of others prefer the plastic ones so whatever) splurge for Hewes reels, they are much better than generic ones. I think most people prefer the plastic reels with the wide flanges where you load the film, makes 120 much easier. Also, there is a massive dev chart app for IOS (and probably Android, I don't know) that has all the times in it for film/dev combos and it lets you set up an agitation scheme and has little notifications for when to agitate and stuff. It's pretty cool. Otherwise, generic stuff is probably fine.
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Mar 27, 2018 05:14
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when you buy your tank, make sure you buy at least the 3x35mm tank. Otherwise, when you get into 120 film, you can only do 1 roll at a time.
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Mar 27, 2018 05:51
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